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Easter Epic

The Easter Epic is the nickname given to a National Hockey League (NHL) ice hockey game during the 1987 Stanley Cup playoffs between the New York Islanders and Washington Capitals. The seventh and deciding game of the Patrick Division semifinals, it was played April 18–19, 1987, at the Capital Centre in Landover, Maryland, and is so named because the game started on Saturday evening but did not finish until the early hours of Easter Sunday.

As of 2023, the game is notable for the following:
 * It is the longest Game 7 in Stanley Cup playoff history and one of two Game 7's (the other being in 1939) to need three or more overtimes
 * It was the first Game 7 since 1968 to need more than one overtime period
 * It was the first game since 1971 to go into a third overtime and the first since 1951 to go into a fourth
 * It was the first time in Stanley Cup playoff history that the road team won Game 7 beyond the first overtime period
 * It was the only playoff game that season to go beyond one overtime period

The game finally ended at the 8:47 mark of the fourth overtime when Pat LaFontaine was able to keep the puck in Washington's zone, firing a slapshot over the glove side of Washington goaltender Bob Mason.

The game was included in its entirety on the New York Islanders 10 Greatest Games DVD box set released in 2009.

The series
The 1987 Patrick Division semifinals pitted the third-place New York Islanders against the second-place Washington Capitals in a best-of-seven series. It was the fifth consecutive playoff meeting between the teams; the Islanders had won three of the previous four series, but looked to avenge their earliest exit ever from the playoffs at the hands of the Capitals the previous spring.

The first two games were played at the Capitals' home arena, Capital Centre. Washington won Game 1, 4–3, and the Isles were victorious in Game 2, 3–1, sending the series to Long Island tied at one game apiece.

At the Nassau Veterans Memorial Coliseum, the Islanders dropped Games 3 (2–0) and 4 (4–1) to fall behind in the series, 3–1. No NHL team had won a series coming back from such a deficit in 12 years; coincidentally, it was the Islanders who performed the feat, climbing out of a 3–0 hole to beat the Pittsburgh Penguins in 1975. In similar comeback fashion, just two years earlier, the Islanders became the first team to win a best-of-5 series after trailing 2–0; that series was also against the Caps.

Armed with that history, the Islanders staved off elimination, winning 4–2 in Game 5. Their momentum continued, and the Islanders won Game 6, 5–4, at home. This brought the Islanders and Capitals to a decisive Game 7, before a sold-out crowd on Washington's home ice.

Game 7
With national television audiences watching in both the United States (on ESPN, with Mike Emrick and Bill Clement on the call) and in Canada (on Hockey Night in Canada, with Bob Cole and Harry Neale on the call), Game 7 began at 7:30 p.m. Eastern Daylight Time. ESPN was blacked out in the New York City and Washington, D.C. markets, to protect the Islanders' and Capitals' local broadcast outlets. This was the lone game of the night, as the other seven first-round playoff series had already concluded.

Regulation
The Capitals dominated the first period. The game was scoreless through 19 minutes when Washington's Mike Gartner beat Islander goaltender Kelly Hrudey to give the Capitals the lead after one period, 1–0.

Patrick Flatley tied the score at 1 midway through the second period, but Grant Martin responded for the Capitals, and after two periods, they led 2–1. Washington had outshot New York to this point 25–10, and carried the play for most of the first forty minutes.

The game remained 2–1 through most of the third period, thanks to the strong netminding efforts of Hrudey and Mason.

Then, with just over five minutes remaining in regulation, Islander legend Bryan Trottier backhanded a shot between Mason's pads, thanks in part to a strap breaking on one of Mason's pads. A frantic final minutes produced no further scoring, and the game went into sudden death overtime tied at 2–2. Little did anyone know that this game had not even reached its halfway point yet.

Overtime
In the first overtime, Mason and Hrudey thwarted many scoring chances, and the game remained tied. Greg Smith of the Capitals had the best chance with seconds left, as his long-range slapshot beat Hrudey, but caught the right goal post and bounced away.

As the game moved on into the second overtime, the players began to show fatigue. Short bursts of action were replaced by longer periods of slow play. Hrudey continued to shine, stopping 17 shots in the second overtime session alone; Mason contributed nine more saves and was aided by a shot that hit the post by Randy Wood.

The scoreless second overtime set-up the first triple-overtime game since Pete Stemkowski had scored for the New York Rangers against the Chicago Blackhawks 16 years earlier.

Slowly, the Isles began to finally take the play from the Caps, outshooting Washington 11–10 in the third overtime. They had the better chances as well, but Mason continued his excellent play as the game remained tied. The scoreless third overtime set up the first quadruple-overtime game since Maurice Richard had scored for the Montreal Canadiens against the Detroit Red Wings 36 years earlier.

LaFontaine wins it
With both teams exhausted, play was choppy through the first eight minutes of the fourth overtime, the seventh period total. The Capitals had managed only one shot to the Islanders' five. Finally, with eight minutes elapsed in the fourth overtime period, New York's Ken Leiter carried the puck into the Capitals' zone and sent a pass through the slot.

Gord Dineen pinched in and carried the puck around the net for a shot which was blocked out to near the blue line. The deflection bounced to Islander star Pat LaFontaine, who had gone back to the blue line to cover for Leiter. He spun and launched a slapshot toward the net. Mason, screened on the play, never saw the puck as it clanged off the post to his left and into the net for the game-winner. The then-fifth-longest game in NHL history, and longest since 1943, was over after 68:47 of OT (128:47 overall). The Islanders, weary but jubilant, mobbed LaFontaine, and then Hrudey, having won Game 7, 3–2.

Washington had not trailed the series up until that point, nor had they trailed in the game. It is still the longest game in Islanders history and was the longest the Capitals had ever played to that point; the Capitals lost a longer game (79:15 of OT in Game 4) to Pittsburgh in the 1996 Stanley Cup Playoffs.

Boxscore

 * Number in parentheses represents the player's total in goals or assists to that point of the playoffs

 * Power play opportunities

 * Goaltenders
 * NYI — Kelly Hrudey
 * WAS — Bob Mason

 * Officials
 * Referee — Andy Van Hellemond
 * Linesmen — John D'Amico, Ron Finn

Epilogue
The "Epic" concluded at 1:58 a.m. local time, 6 hours and 18 minutes after the first face-off. Kelly Hrudey stopped 73 shots over the seven periods, including 50 straight from the end of the second period on. Mason stopped 54 shots, including 36 from the end of regulation until LaFontaine beat him to end the marathon.

The Islanders had to regain their composure, as well as their strength, as they advanced to the Patrick Division finals against a rested Philadelphia Flyers squad. They once again fell behind three games to one, and once again tied the series with consecutive victories. However, their luck ran out in Game 7, as Philadelphia won decisively, 5–1, to win the series. The Flyers went on to defeat the Montreal Canadiens in the Wales Conference finals in six games before eventually losing in the Stanley Cup Finals to the Edmonton Oilers.

At the time, the game gave the Islanders franchise the unique accomplishment of having won both the shortest (0:11 in game 3 of 1975 preliminary series vs. the New York Rangers) and longest overtime series-deciding games in the history of the Stanley Cup playoffs. The longest elimination game mark would be surpassed in 2008 when the sixth and deciding game between the Dallas Stars and the San Jose Sharks took 16 seconds longer than the Easter Epic before the Stars scored to eliminate the Sharks. However, the Islanders still own the distinction of winning the shortest and longest overtime winner-take-all games in playoff history.

title: Easter Epic


text:
Talk:Gravenstein

Please, not the Russians
This is a popular myth. The Gravenstein apple was not introduced to California by Russian fur trappers. It made it to Oregon in 1847, we’ll after the Russians departed, and was brought south as the first grafted fruit. The Gravenstein is only propagated by a graft; the Russians had nothing to graft from or to. <IP_ADDRESS> (talk) 00:58, 31 August 2022 (UTC)

source: wikimedia

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Gravenstein


text:
Advanced Java/Bitwise Operators

Short-Circuit Evaluation
It should be noted that, when given a boolean logical operator, the JVM checks as few operands as possible, from left to right. For example, if the first operator of an OR expression is true, then the expression will be true no matter what the second operand is. Short-circuiting applies to the AND and OR operators.

This is called short-circuit evalution and is important if the second operand is a method call. Consider the following methods:

public boolean showFalse { System.out.println("False!"); return false; }

public void go { System.out.println("Foo!"); if(true && showFalse) { // huzzah }   System.out.println("Bar!"); }

If the go method is called, the output is

Foo! False! Bar!

Why? The JVM hits the if statement and looks at the first operand — here, the true literal. The expression could still go either way: for an AND to be true, both operands must be true. So the JVM checks the second operand; since it's a method call, the method is called in its entirety.

What if the first operand was the false literal?

public void go { System.out.println("Foo!"); if(false && showFalse) { //huzzah }   System.out.println("Bar!"); }

The JVM sees that the first operand is false and immediately evaluates the entire AND expression as false. (Remember, an AND expression is only true if both operands are true.) Because the second operand is never checked, the method is never called, and the output is

Foo! Bar!

Long-Circuit Evaluation
Usually, short-circuit evaluation is a good thing, because it saves running time. But if the second operand is a method call that changes something before returning a value, you might want to force the method to run no matter what. To do this, use the long-circuit logical operators. They're the same as the bitwise operators, but they operate logically when applied to booleans. They're exactly the same as the short-circuit boolean operators, only not doubled.

Note that there is no short-circuit form of the XOR operator, because, mathematically, it always needs to evaluate both its arguments to compute its result.

If you use a bitwise operator in a boolean expression, both operands are always evaluated. Consider the above code again. If the go method is rewritten:

public void go { System.out.println("Foo!"); if(false & showFalse) { //huzzah }   System.out.println("Bar!"); }

Then the output will be:

Foo! False! Bar!

Because the showFalse method will be called even though the first operand (the false literal) alone determines the result of the entire expression.

Bitwise Operations
The other use of the bitwise operators is manipulating individual bits in an int. (Note that the operands can be any integral type; but if it is a type smaller than int, it will be promoted to an int type, and the result will be int.)

For the purposes of this section, we'll define the following variables:

int a = 12; // 0000 0000 0000 0000 0000 0000 0000 1100 int b =  5; // 0000 0000 0000 0000 0000 0000 0000 0101 int x = -37; // 1111 1111 1111 1111 1111 1111 1101 1011

Bitwise NOT
The bitwise NOT is a unary operator (it takes only one operand) that flips every bit in its operand.

int c = ~b; // 1111 1111 1111 1111 1111 1111 1111 1010 = -6

Bitwise AND
The result of a bitwise AND has on-bits (ones) only where both operands has an on-bit.

int d = a & b; // ...0000 1100 //& ...0000 0101              //= ...0000 0100 = 4;

Bitwise OR
The result of a bitwise OR has on-bits where either (or both) of its operands has an on-bit.

int e = a | b; // ...0000 1100 //| ...0000 0101              //= ...0000 1101 = 13

Bitwise XOR
The result of a bitwise XOR (eXclusive-OR) has on-bits where one and only one of its operands has an on-bit.

int f = a ^ b; // ...0000 1100 //^ ...0000 0101              //= ...0000 1001 = 9

Left Shift
The left-shift operator shifts the bits of the first operand left by the number of places specified by the second operand. Bits shoved off the left side are lost; empty bits on the right are filled in with zeros.

int g = a << 2; // ...0000 1100 // ...0011 0000 = 48

Right Shift (Keep)
The right-shift operator (keep bits) shifts the bits of the first operand right by the number of places specified by the second operand. Bits shoved off the right side are lost; bits on the left side are the same as the original left-most bit (the "sign bit").

int h = x >> 2; // 1111 .... 1101 1011               // 1111 .... 1111 0110 = -10 int i = b >> 2; // 0000 .... 0000 0101               // 0000 .... 0000 0001 = 1

Right Shift (Force)
The right-shift operator (force bits) is the same as the right-shift (keep) operator. However, the new bits on the left are always set to zero.

int j = x >>> 2; // 1111 .... 1101 1011                // 0011 .... 1111 0110

title: Advanced Java/Bitwise Operators


text:
Marinduque Provincial Board

The Marinduque Provincial Board is the Sangguniang Panlalawigan (provincial legislature) of the Philippine province of Marinduque.

The members are elected via plurality-at-large voting: the province is divided into two districts, each having four seats. A voter votes up to four names, with the top four candidates per district being elected. The vice governor is the ex officio presiding officer, and only votes to break ties. The vice governor is elected via the plurality voting system province-wide.

The districts used in appropriation of members is not coextensive with the legislative district of Marinduque. Unlike congressional representation which is at-large, Marinduque is divided into two districts for representation in the Sangguniang Panlalawigan, with the western half of the province (Mogpog, Boac and Gasan) constituting the body's first district, and the eastern half (Santa Cruz, Torrijos and Buenavista) forming the second district.

Aside from the regular members, the board also includes the provincial federation presidents of the Liga ng mga Barangay (ABC, from its old name "Association of Barangay Captains"), the Sangguniang Kabataan (SK, youth councils) and the Philippine Councilors League (PCL).

Current members
These are the members after the 2022 local elections and 2023 barangay and SK elections:

 * Vice Governor: Adeline Marciano-Angeles (PDP–Laban)

title: Marinduque Provincial Board


text:
Cookbook talk:Easy Scrambled Eggs

The recipe should mention that the amounts of ingredients needn't be propotional. For example, some people may prefer many eggs but little salt.

I am unsure as to the listing of Canola oil as an ingredient. If it enhances the flavor, fine -- however if it is merely used to prevent the eggs from sticking to the pan, it should be removed from the list. The ONLY necessary ingredient that I am aware of is the eggs themselves.

Perhaps mention that 4 eggs is a typical serving -- or whatever the case may be.

--Eibwen 20:13, 25 Sep 2004 (UTC)

 * Oil does taste good. AlbertCahalan 16:11, 8 October 2005 (UTC)

--User:Anonymous 04:02, 7 December 2005 (UTC) Changed ingredients to allow for different sizes, seasoning to taste (orig recipe had WAY too much salt, I think it was measure in tablespoons), and different fats.

Re-wrote instuctions, but left others because there is more than one way to do it. The new instructions are clearer and more thorough.

Shaped Scrambled Eggs?
Does anyone know how to make shaped scrambled eggs? Like what you would get if you were at a restaurant and ordered a sausage egg and cheese biscuit?

I once bought a ring that was supposed to this, but it didn't work. So please don't edit this if you're only guessing. I was hoping someone could add more depth to this article by adding different ways scrambled eggs could be made.MagnoliaSouth 12:29, 10 June 2006 (UTC)

title: Cookbook talk:Easy Scrambled Eggs


text:
User:Rich Farmbrough/temp218

ODNB August 2020

Adams, John Franklin (1843–1912), astronomer and astrophotographer

Busbridge, Ida Winifred (1908–1988), mathematician

Dingle, Herbert (1890–1978), physicist, historian and philosopher of science

Edney, David James Reginald (1875–1964), meteorologist and astronomer

Elger, Thomas Gwyn Empy (1836–1897), civil engineer and astronomer

Elson, Rebecca Anne Wood (Becky) (1960–1999), astronomer and poet

Evans, David Stanley (1916–2004), astronomer

Hey, James Stanley (1909-2000), radio astronomer and physicist

Kopal, Zdeněk (1914–1993), astronomer

Mees, (Charles Edward) Kenneth (1882–1960), chemist and photographic scientist

Monck, (William Henry) Stanley (1839–1915), lawyer, philosopher, and astronomer

Porter, John Guy (1900–1981), astronomer and broadcaster

Tennant, James Francis (1829–1915), army officer and astronomer

Thackeray, (Andrew) David (1910–1978), astronomer

Twiss, Richard Quintin (1920–2005), mathematician and astronomer Richard Q. Twiss

Waddington, Robert (d. 1779), mathematician Robert Waddington (mathematician)

Williams, John (1797–1874), astronomer and Egyptologist, perh. https://en.wikisource.org/wiki/Author:John_Williams_(1797-1874)

title: User:Rich Farmbrough/temp218


text:
User:Enidwexler/sandbox

WOWCafe theatre planning:

WOW Cafe (Women's One World) is a feminist theater space in New York City. In the mid-1980s, WOW Cafe was central to the avant garde theatre and performance art scene in the East Village, New York City. Among the artists who have presented at the space are Lisa Kron, Holly Hughes, Deb Margolin, Dancenoise, Carmelita Tropicana, Eileen Myles, Split Britches, and The Five Lesbian Brothers.

History
The WOW Cafe began when two of the founding members, Lois Weaver and Peggy Shaw were traveling Europe with performance troupes Spiderwoman Theater and Hot Peaches, and after seeing women’s theater festivals during their tour were inspired to establish one in America. '''Shaw and Weaver, also founding members of the Split Britches theater troupe, described their subtle style, making lesbianism and feminism not issues, but givens: "We didn't make it that clear-- switching roles. We didn't even basically mention it," Shaw said of their time teaching at Hampshire. ''' Together with Jordi Mark and Pamela Camhe, veterans of feminist- and street-theater performing, they established the Women’s One World Festival in 1980, setting up in the Allcraft Center in the East Village and using what they had seen at the women’s theater festivals in Europe for structural inspiration. The organizing women wanted the festival to have what Weaver described as a "multimedia environment," and so in addition to performances the WOW Festival incorporated things like the social cafe atmosphere, film showings, and dancing. Many of the performers came in troupes from Europe, and, because the WOW festival was self-funded and on a very tight budget, they covered their own costs of living and arranged their own housing, often being taken in by festival supporters; the opportunity to perform in a festival in New York and the chance for exposure was motivation enough to participate in the festival. The success of the festival prompted management from the Allcraft Center to allow the women to stay in the performance space and continue to produce women’s performance art, after which the women began hosting performance nights on a weekly basis.

Eventually, the women of WOW had to leave the Allcraft Center due to pressure from the board that funded the center, believed to be at least partially motivated by homophobic sentiments towards the group's largely lesbian makeup, and had to find a new space in which to perform, ending up at the Ukrainian National Home and adapting a ballroom to their uses. After hosting a second festival at the Ukrainian National Home and not wanting to dissolve their creative collective, the members of the WOW Festival began plans to establish a permanent performance space/café for the group. Using money they raised through parties, special performances, and other benefits, WOW settled on a space at 330 E 11th Street. At first, WOW primarily used the venue as an actual cafe rather than a performance space, selling sandwiches and coffee and serving more of a social purpose than an artistic one while they were getting settled. Before long, however, the WOW women built a small stage in the cafe and began to once again hold performances for women artists.

Early works in the space included Holly Hughes's Well of Horniness; Split Britches's Split Britches and Beauty and the Beast; and Tennessee Waltz, a show depicting the women of Tennessee Williams plays, devised by early collaborators in WOW. In addition to theatre, the space was home to brunches, art shows, Variety Night, Cabaret BOW WOW, and Talking Slide Shows (where artists would present slides of their work and discuss it).

In 1983 Susan Young became the booking manager for the WOW Cafe and it became more organized as a performance space instead of being managed entirely as a collective. Young’s influence transformed the Cafe into a more formal space as well, allowing outside groups to organize and manage some of the events that took place there, rather than leaving all production responsibilities up to the Café for every performance.

In 1984, WOW moved to its current location on E. 4th St.

Performance Atmosphere and Lesbian Focus
To maintain the feeling of collective effort and openness, the WOW organizers declined to hold auditions for their performers, believing that requiring an audition to qualify for their performance space would lead to censorship, which they felt they had experienced after being locked out of the Allcraft Center. It was important for the WOW Cafe to maintain its integrity as an uncensored, collective space since the space itself, the performers, performances, and even audience members were all very geared towards lesbian lives and narratives. Because of this emphasis on the life experiences of lesbians, a lot of the subject matter of the performances had to do with gender roles and norms, often recreating them to highlight and challenge them as social constructs. Some of the criticism that the WOW Cafe received actually targeted their usage of the butch/femme binary in their performances, considering it to be problematic and regressive, but the Cafe maintained its stance that the portrayal and incorporation of these stereotypes served as social commentary. Very often, the performers used comedy to facilitate the realization of these stereotypes and caricatures, exaggerating the gendered aspects of the characters they portrayed to highlight them. '''Despite the primary focus of WOW productions on lesbian experiences and subcultures, WOW remains an open space for all women and trans identified people, particularly women of color and queer women.  Since 2005, WOW has made it a priority to explicitly welcome people of intersecting identities of all ages, races, religions, ethnicities, sexualities, and gender identities. '''

Funding and Publicity
'''Finding funding for the WOW Cafe was always a complicated affair. While most bills could be covered by the box office sales, at times the rent and utilities were paid via benefits, parties, paid dances, or beging passerby. The founders of WOW refused to apply for large grants, preferring grassroots fundraising, donating their own salaries from outside jobs, and receiving small grants here and there. They rejected the notion of changing their work to receive or maintain grants, insisting WOW was a place for complete freedom of expression for the outsiders of society. WOW collective members resented the money and publicity received by gay men's theaters, noting that The New York Times had never attended a show and The Village Voice rarely ever came, while both regularly reviewed and lauded gay men's theaters. '''

Notable Productions

 * Agnes de Castro (written by Catherine Trotter (1695), directed by Karena Rahall (1990))
 * Well of Horniness (written by Holly Hughes (1985))
 * Split Britches (written and directed by Peggy Shaw, Lois Weaver, and Deborah Margolin (1981))
 * Beauty and the Beast (written and directed by Peggy Shaw, Lois Weaver, and Deborah Margolin (1982))
 * Upwardly Mobile Home (written and directed by Peggy Shaw, Lois Weaver, and Deborah Margolin (1984))
 * Voyage to Lesbos (written by Maureen Angelos, Lisa Kron, Babs Davy, Dominique Dibbell, and Peg Healey (1990), directed by Kate Stafford (1990))
 * Little Women (written and directed by Peggy Shaw, Lois Weaver, and Deborah Margolin (1988))

Hello fellow Wikipedians! I'm planning to make some changes to the WOW Cafe page soon, and I wanted to share the sources I plan on using. I essentially want to get into the origins of the WOW Cafe and what has been happening there since the 1980s since the page currently seems to stop after the 80s. This is such a vital part of New York lesbian art, and the page really deserves to be more complete.

I'm using the following:

Drorbaugh, Elizabeth Thaxter. "Queer adaptations of classic plays and the precipitate of change." New York University, ProQuest Dissertations Publishing, 2002.

Stahl, Christopher. "XY(T), solo performance by Kestryl Cael Lowrey and Waiting for the show by Theresa Diamond." Women & Performance 20, no. 3 (November 2010): 361-363. Film & Television Literature Index with Full Text, EBSCOhost (accessed October 10, 2017).

Johns, Merryn. "A World of Women: Celebrating the WOW cafe, New York City's Legendary Lesbian Experimental Theater Space." stamps.umich.edu. https://stamps.umich.edu/creative-work/stories/world-of-women (Accessed October 10, 2017)

Warnock, Kathleen. "WOW Café Theatre: Celebrating the Beginnings of a Historic Women’s Theatre." howlround.com. http://howlround.com/wow-caf-theatre-celebrating-the-beginnings-of-a-historic-women-s-theatre. (Accessed October 10,2017).

WOW Cafe. "Our Story." wowcafe.org. wowcafe.org/story. (Accessed October 10, 2017).

Holly Hughes, Carmelita Tropicana, and Jill Dolan, Editors. "Memories of the Revolution" (USA: University of Michigan Press, 2015)

Let me know if you have any thoughts

title: User:Enidwexler/sandbox