document_title: United States foreign aid

question_text: who do we give the most foreign aid to

question_tokens: who do we give the most foreign aid to

text: United States foreign aid

text: Overview[edit]

text: In fiscal year 2014, the U.S. government allocated the following amounts for aid:

text: Total economic and military assistance: $43.10 billion

text:
Top 25 Recipient Countries of U.S. Foreign Aid FY 2013 Reported in $US millions, Obligations [10]

Country
Economic and Military Assistance FY 2013, $US millions
Aid received per person recipient FY2013, $US
Economic Assistance FY 2013, $US millions
Military Assistance FY2013, $US millions

Afghanistan
4533.51
148
2653.93
1879.58

Israel*
2961.04
367
17.81
2943.23

Egypt
1566.24
19
330.6
1235.6

Jordan
1211.83
188
879.64
332.19

West Bank/Gaza
1007.73
370

Ethiopia
686.53
7
685.19
1.34

South Sudan
618.74
55
598.79
19.96

Malawi
571.18
35
570.91
0.27

Uganda
541.93
14
538.3
3.62

South Africa
526.19
10
523.86
2.32

Nigeria
518.84
3
509.41
9.43

Russia
465.16
3
445.07
20.08

Iraq
444.81
13
382.7
62.11

Tanzania
430.66
9
427.82
2.84

Mexico
419.94
3
348.72
71.21

Congo (Kinshasa)
379.24
6
366.73
12.52

Haiti
378.77
37
377.04
1.73

Lebanon
376.41
84
286.03
90.38

Somalia
367.18
35
188
179.18

Zambia
310.8
22
310.26
0.54

Sudan (former)*
290.05
8
290.05

text: Notes:

text:
Sudan (former) refers to the geographic area of Sudan, based on the area that was Sudan before the creation of South Sudan
Except special considerations to countries such as Israel and Egypt, the direction of US foreign aid flow reflects the government efforts in’ alleviating poverty, promoting democracy and encouraging economic openness of the recipient countries.
As of 2016 the US has undertook a ten year pledge to provide $3.9B per year until 2026.

text: History[edit]

text: World War I[edit]

text: During World War One, the Committee for Relief in Belgium (CRB), which sent food to the hungry in that war-torn country, received $387 million from the U.S. government (as well as $314 million from the British and French governments and about $200 million from non-governmental sources). These government monies were given in the form of loans, but a considerable portion of those loans were forgiven.[11]

text: After the war, the American Relief Administration, directed by Herbert Hoover who had also been prominent in the CRB, continued food distribution to war-devastated European countries. It also distributed food and combated typhus in Russia during 1921-23. The U.S. Congress appropriated $20 million for the ARA under the Russian Famine Relief Act of 1921.

text: World War II[edit]

text: Levels of United States aid increased greatly during World War Two, mainly on account of the Lend-lease program. United States government aid remained high in the decade after the war because of contributions to European reconstruction, and competition for influence versus the Communist powers in the first years of the Cold War. By 1960, the annual aid amount had receded to about half of what it was in the early post-war years, and, in inflation-adjusted terms, it has remained at that level—with some fluctuations—until the present.[12]

text: The Lend-lease program, which began in 1941 (before the U.S. entrance in the war) was an arrangement whereby the United States sent large amounts of war materials and other supplies to nations whose defense was considered vital to the defense of the United States. It began with the passage by Congress of the Lend-lease act (PL 77-11) on 11 March 1941.[13] Initially, the main recipient was Great Britain; the Soviet Union began receiving supplies (paid for in gold) in June 1941 outside of Lend-lease, and was included in the Lend-lease agreement in November 1941. By the end of the war, most of the Allied countries had been declared eligible for Lend-lease aid, although not all received it. By the time the program was ended by President Truman in August 1945, more than $50 billion worth of supplies had been disbursed, of which the Commonwealth countries received $31 billion and the Soviet Union $11 billion. Although formally the material was loaned, in the end only partial repayment was demanded.

text: A second wartime aid program, the United Nations Relief and Rehabilitation Administration (UNRRA), was founded in November 1943, by 44 Allied governments, for the purpose of assisting and resettling displaced victims of the war.[14] Its initial focus was on assisting people in areas the Allies had captured from the Axis powers: distributing food, clothing and other essentials, and helping with medical care and sanitation. Later it also assisted in the resumption of agriculture and industry. Each of the 44 signatories was supposed to contribute one percent of its national income.[15] The chief beneficiaries were China, Czechoslovakia, Greece, Italy, Poland, the Ukrainian SSR and Yugoslavia. UNRRA returned about 7 million displaced people to their countries of origin and provided refugee camps for about one million who were unwilling to be repatriated. UNRRA ceased operations in Europe in mid-1947;[16] some of its activities in Asia continued under other auspices until early 1949. In the end 52 countries had contributed as donors. Contributions from governments and private organizations during the four years of the program totaled over $3.8 billion; more than half of that was from the United States.

text: Cold War[edit]

text: After the war, the United States began giving large amounts of aid to Greece and Turkey under the Truman doctrine. Both countries were experiencing civil strife between communist and anti-communist factions, and the President and his advisors feared that their efforts to keep European countries from adopting communism might be about to suffer a serious setback. In December 1946, the Prime Minister of Greece visited Washington and requested additional United States aid. Truman promulgated his containment doctrine in early 1947, a major component of which was to be aid to the world's poor countries in order to blunt the appeals of radicalism to their hungry peoples and to bolster their anti-communist political elements. In May 1947 the U.S. government granted Greece $300 million in military and economic aid. Turkey received $100 million. The U.S. government gave Greece $362 million in 1949, and U.S. aid to Greece generally remained over $100 million annually until 1998.[17]

text: The most well-known, and largest, United States aid program in the immediate post-war years was the European Recovery Program (ERP). More often known as the Marshall Plan, it was the creation of George Kennan, William Clayton, and others at the U.S. State Department under Secretary of State George Marshall. Publicly suggested by Marshall in June 1947, and put into action about a year later, the Plan was essentially an extension of the Greece–Turkey aid strategy to the rest of Europe. The U.S. administration considered the stability of the existing governments in Western Europe vital to its own interests. On 3 April 1948, President Truman signed the Economic Cooperation Act, establishing the Economic Cooperation Administration (ECA) to administer the program, and actual disbursements got underway. The focus was on promoting production, stabilizing currencies, and promoting international trade. To be eligible for the aid, a country had to sign an agreement with the United States government committing itself to the Act's purposes. The Communist countries were formally invited to participate in the Plan although Secretary Marshall thought it unlikely that they would accept and they did in fact decline the aid. Also in 1948, the United States and the recipient countries created the Organisation for European Economic Cooperation (OEEC – it became the OECD in 1961) to coordinate the use of the aid. A large portion of the money given was used to purchase goods from the United States, and the ships used to transport the goods had to be of U.S. nationality. Until after the Korean War, military aid was not part of the plan.[18] The Marshall Plan ended in December 1951 and its functions were transferred to the Mutual Security Administration.[19] The United States government gave out about $12.5 billion under the Plan during its three-and-a-half year existence. The countries receiving the most were Great Britain ($3.3 billion), France ($2.3 billion) and West Germany ($1.4 billion).[20]

text: From 1945 to 1953 – U.S. provides grants and credits amounting to $5.9 billion to Asian countries, especially China/Taiwan ($1.051 billion), India ($255 million), Indonesia ($215 million), Japan ($2.44 billion), South Korea ($894 million), Pakistan ($98 million) and the Philippines ($803 million). In addition, another $282 million went to Israel and $196 million to the rest of the Middle East. The main category was economic aid, but some military aid was provided.[21] All this aid was separate from the Marshall Plan.[22]

text: USAID[edit]

text: Congress passed the Foreign Assistance Act on September 4, 1961, reorganizing U.S. foreign assistance programs and separating military and non-military aid. The Act mandated the creation of an agency to administer economic assistance programs, the United States Agency for International Development (USAID), which was established by President Kennedy two months later. USAID became the first U.S. foreign assistance organization whose primary focus was long-term economic and social development.

text:
U.S. Foreign Aid by Implementing Agency FY2009-FY2013, Reported in $US millions, Obligations [23]

Implementing Agency
2009
2010
2011
2012
2013
2014

African Development Foundation
35.32
30.86
33.91
29.64
27.84
31.78

Department of Agriculture
244.23
545.52
329.56
369.45
334.82
248.86

Department of Commerce
9.26
9.87
6.23
15.65
18.33
9.11

Department of Defense
14,527.79
15,274.05
18,821.63
17,666.48
8,250.63
10,552.90

Department of Energy
749.51
1,036.85
1,426.41
691.14
972.90
670.21

Department of Health and Human Services
2,713.37
2,717.16
2,258.21
2,281.97
3,079.29
2,695.37

Department of Homeland Security
8.04
6.08
4.09
5.15
0.00
2.67

Department of Justice
43.60
36.46
20.86
18.72
14.06
13.85

Department of Labor
53.78
73.47
52.75
12.16
30.55
17.00

Department of State
6,674.46
6,477.13
6,023.83
6,089.06
5,390.79
6,824.22

Department of the Air Force
4.90
6.43
18.51
0.00
0.06
3.62

Department of the Army
935.81
774.72
420.50
137.53
37.02
15.18

Department of the Interior
1,087.52
225.67
328.07
225.00
216.95
292.18

Department of the Navy
26.57
0.26
17.84
6.81
4.67

Department of the Treasury
1,637.74
2,245.32
2,033.89
2,834.18
2,673.16
2,838.22

Department of Transportation
2.17
3.84
2.87
7.61
3.95
0.27

Environmental Protection Agency
24.67
40.59
22.19
50.62
21.92
20.44

Federal Trade Commission
0.61
0.73
0.33
0.21
0.00

Inter-American Foundation
24.96
25.84
22.96
25.44
26.20
27.79

Millennium Challenge Corporation
1,016.78
873.67
581.00
413.02
1,115.55
567.34

Open World Leadership Center
15.50
12.82
0.00
0.00
0.00

Peace Corps
350.67
389.61
419.09
401.34
386.75
405.60

Trade and Development Agency
42.78
49.88
41.17
44.14
40.64
44.34

U.S. Agency for International Development
16,191.31
17,344.78
15,644.51
18,232.36
17,461.78
17,822.82

text: President Obama announced to the UN Millennium Development Goals summit in September 2010 that the United States was changing its policy towards foreign aid. The President said the country would focus more on effectiveness, and make sure donated food, medicine, and money help countries get to the point where they no longer require such aid. Infrastructure set up for the President's Emergency Plan for AIDS Relief would be used to build capacity in local health care systems to improve maternal and child health, and also fight tropical diseases. The new policy would increase the profile and participation of the United States Agency for International Development (USAID), which would coordinate more directly with the National Security Council and Secretary of State Hillary Clinton.[24] Some observers criticized the link with national security and foreign policy as unhelpful for the impoverished, and others lamented the attempted streamlining as only adding more bureaucracy.[24] Foreign aid is a highly partisan issue in the United States, with liberals, on average, supporting government-funded foreign aid much more than conservatives do,[25] who tend to prefer to provide foreign aid privately.

text: Public Opinion[edit]

text: This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (December 2017) (Learn how and when to remove this template message)

text: This section may need to be rewritten entirely to comply with Wikipedia's quality standards. You can help. The discussion page may contain suggestions. (December 2017)

text: Interviews with 1,012 adult Americans were conducted by telephone by Opinion Research Corporation in January 2011: Published by CNN, the response was that 81% felt that reducing aid to foreign countries was a good way to reduce the federal budget deficit, while 18% thought aid was more important than reducing deficit.[26] Thomas Pogge, Director of the Global Justice Program and Leitner Professor of Philosophy and International Affairs at Yale University, has predicted that public opinion will not change even while the hardships suffered by poor people are rising, partly as a result of the Global Financial Crisis.[27] Some claim the U.S. is helping corrupt governments with the aid.

text: Worldwide opinion of the United States improves with contributions to developing countries.[28]

text: Public knowledge of aid[edit]

text: Several polls have been done assessing the knowledge of the US Public in regards to how much they know about the government’s foreign aid spending. A poll conducted by World Public Opinion in 2010 found that the average estimate for how much of the government’s budget is spent on foreign aid was 25 percent.[29] The average amount proposed by the public was 10 percent of the federal government’s budget be used on foreign aid.[29] In actuality, less than 1 percent of the US federal budget goes towards foreign aid.[29] Less than 19 percent of respondents thought that the percent of the budget that goes towards foreign aid was less than 5 percent.[29] Steven Kull, director of PIPA, relates this overestimation towards an increase in hearing about foreign aid efforts during the Obama administration, but estimates of foreign aid have always been high.[29]

text: A poll conducted in 2013 by Research Pew Center found that the majority of Americans wanted to either maintain or increase spending on all US government initiatives except foreign aid. This is attributed, by Alice C. Hu, to a gross misconception of how much of the federal budget is actually spent on foreign aid.[30]

text: Opinions change[edit]

text: A study by the Washington Post from 2017 shows that Americans are easily persuaded in regards to their opinions on US foreign aid.[31] The percentage of people who were provided no argument regarding foreign aid and though the US spends too much on it was 67 percent.[31] The percentage of people who were provided a positive argument for foreign aid and thought the US spent too much on it was 28 percent.[31] The percentage of people who were provided a negative argument against foreign aid and thought that the US spends too much on it was 88 percent.[31] This shows that the US public is perceptive to changing their beliefs about US foreign aid based on the information presented.

text: Because the US public is perceptive to information regarding public aid, Steven Kull, Director of the Program on International Policy Attitudes, laid out steps to preserve or create a positive outlook on US foreign aid.[32]

text:
Understand the attacks on foreign aid.
Do not frame questions about public opinion in terms of priorities because people are likely to prioritize domestic issues.
Emphasize that only 1 percent of the federal budget goes towards foreign aid, as the Clinton administration did in the 1990s.
Americans feel that the US does more than its fair share on the world stage, so differentiate between foreign aid and military spending.
Note that other countries apart of multilateral frameworks are doing their part in contributing to foreign aid efforts.
Discuss that NGOs get a large sum of foreign aid to counter claims that aid only leads to further governmental corruption.
Point out that foreign aid is a safe way to improve US relations with other nation-states, therefore promoting self interest.[32]

text: Recipients of foreign aid[edit]

text: A study by Andy Baker, a political scientist at the University of Colorado at Boulder, found that Americans are more likely to support foreign aid going to an African country than they are to support foreign aid going to an Eastern European country.[33] Respondents averaged wanting to cut aid going to those of European descent by 40 percent, while respondents averaged wanting to cut aid going to those of African descent by only 11 percent. Baker attributes this to a paternalistic view Americans have of themselves over those of African descent.[33]

text: Spend Amount and destination[edit]

text: Because of the size of the US federal budget, the 0.7 percent of the budget put towards foreign aid totaled 23 billion dollars in 2012.[30] Most US foreign aid does not go other governments due to skepticism about corruption in other countries. There is a fear amongst the American people that foreign aid is funneled and used to increase the personal wealth of corrupt government leaders of foreign countries. However, about 85 percent of foreign aid goes to non-governmental organizations (NGOs) and US-government contractors, meaning that most of foreign aid is not being given directly to foreign governments.[30]


document_title: List of largest houses in the United States

question_text: who owns the biggest house in the united states

root

text: This List of the largest houses in the United States includes the largest houses which have existed (i.e. were constructed fully or are under construction with substantial progress made, not merely proposed) ranked by square footage (which includes livable space of main house only, and does not count such ancillary buildings as guest houses, pool houses, etc.).

tag: p

text: Largest houses by floor space[edit]

text:
Rank (does not include demolished and under construction)
Rank (includes demolished and under construction)
Square footage
Name
Location
Built for
Owner
Year completed
Architectural style
Architect
Image

1
1
135,280[1]
Biltmore Estate
Asheville, North Carolina
George Washington Vanderbilt II
William A.V. Cecil
1895
Châteauesque
Richard Morris Hunt

2
2
109,000 [2]
Oheka Castle
Huntington, New York
Otto Hermann Kahn
Gary Melius
1919
Châteauesque
Delano and Aldrich

-
3
100,000
Whitemarsh Hall
Wyndmoor, Pennsylvania
Edward T. Stotesbury
(demolished in 1980)
1917
Georgian
Horace Trumbauer

3
4
97,188[3]
Arden House
Harriman, New York
Edward Henry Harriman
Research Center on Natural Conservation
1909
Châteauesque
Carrère and Hastings

4
5
96,582
Winterthur
Winterthur, Delaware
Henry Francis du Pont
Winterthur Museum, Garden and Library
1932
Georgian Revival
Henry Francis du Pont

-
6
90,000
Cornelius Vanderbilt II House
New York, New York
Cornelius Vanderbilt II
(demolished in 1926)
1882
Châteauesque
George B. Post

5
6
90,000
Shadow Lawn
West Long Branch, New Jersey
Hubert Templeton Parson
Monmouth University
1927
Beaux-Arts
Horace Trumbauer

6
8
88,000
Meadow Brook Hall
Rochester Hills, Michigan
Matilda Dodge Wilson
Oakland University
1929
Tudor Revival
Smith Hinchman & Grylls

7
9
80,000
Florham
Florham Park, New Jersey
Hamilton and Florence Vanderbilt Twombly
Fairleigh Dickinson University
1897
Georgian Revival
McKim Mead & White

-
9
80,000
Harbor Hill
Roslyn, New York
Clarence Hungerford Mackay
(demolished in 1947)
1899
Châteauesque
McKim Mead & White

8
11
75,000
Indian Neck Hall
Oakdale, New York
Frederick Gilbert Bourne
St. John's University
1908
Federal Style
Ernest Flagg

-
12
72,215 [4][5][6]
Pensmore
Highlandville, Missouri
Steven T. Huff
Steven T. Huff
2016
Châteauesque

-
13
72,000
Inisfada
North Hills, New York
Nicholas Frederic Brady
(demolished in 2013)
1919
Tudor Revival
John Torrey Windrim

9
14
70,000
Idle Hour
Oakdale, New York
William K. Vanderbilt
Dowling College
1901
English Country Style
Richard Howland Hunt

9
14
70,000
Lynnewood Hall
Elkins Park, Pennsylvania
Peter A. B. Widener
Richard Yoon
1900
Neoclassical
Horace Trumbauer

9
14
70,000[7]
Woodlea
Briarcliff Manor, New York
Margaret Louisa Vanderbilt Shepard
Sleepy Hollow Country Club
1895
Georgian Revival
Stanford White

12
17
68,500[8]
Hearst Castle
San Simeon, California
William Randolph Hearst
California Department of Parks and Recreation
1947
Spanish Colonial Revival
Julia Morgan

13
18
66,341[9]
Grey Towers Castle
Glenside, Pennsylvania
William Welsh Harrison
Arcadia University
1896
Gothic Revival
Horace Trumbauer

14
19
64,389[10]
Fairfield Pond
Sagaponack, New York
Ira Rennert
Ira Rennert
2003
Italian Renaissance
Ferguson and Shamamian

15
20
62,500 [11]
Mar-a-Lago
Palm Beach, Florida
Marjorie Merriweather Post
Donald Trump
1927
Spanish Colonial Revival
Marion Sims Wyeth
Joseph Urban

16
21
62,482[12]
The Breakers
Newport, Rhode Island
Cornelius Vanderbilt II
Preservation Society of Newport County
1895
Italian Renaissance
Richard Morris Hunt

-
22
62,317[13]
Versailles
Windermere, Florida
David A. Siegel
David A. Siegel
(under construction)
Châteauesque

17
23
62,220[14]
Gemini
Manalapan, Florida
Gerard Barnes Lambert, Sr
Dirk Edward Ziff
1940s
Mediterranean Revival
Marion Sims Wyeth
Edson E. Dailey

18
24
60,000
Whitehall
Palm Beach, Florida
Henry Morrison Flagler
Henry Morrison Flagler Museum
1902
Beaux-Arts
Carrère and Hastings

-
24
60,000
Pembroke
Glen Cove, New York
Joseph De Lamar
(demolished in 1968)
1916
Neoclassical
C.P.H. Gilbert

-
24
60,000
El Mirasol
Palm Beach, Florida
Edward T. Stotesbury
(demolished in 1958)
1920
Spanish Colonial Revival
Addison Mizner

-
27
58,000[15]
Duke Farms
Hillsborough Township, New Jersey
James Buchanan Duke
Duke Farms Foundation (Mansion was demolished in 2016)
1903
Tudor Revival
Henry H. Kendall

19
28
57,000[16]
Eschman Meadows
Nashport, Ohio
Tami Longaberger

2001
Georgian
George Acock
Phil White

20
29
56,881
Castle Hill
Ipswich, Massachusetts
Richard Crane
The Trustees of Reservations
1928
English Baroque
David Adler

21
30
56,368[17]
Andrew Carnegie Mansion
New York, New York
Andrew Carnegie
Smithsonian Institution
1901
Georgian Revival
Babb, Cook & Willard

22
31
56,000[18]
Blairsden
Peapack-Gladstone, New Jersey
Clinton Ledyard Blair
T. Eric Galloway[19]
1903
Châteauesque
Carrère and Hastings

23
32
55,360
Ralston Hall
Belmont, California
William Chapman Ralston
Notre Dame de Namur University
1864
Italianate
Henry W. Cleaveland

24
33
55,000
White House
Washington, D.C.
United States of America
National Park Service
1800
Neoclassical
James Hoban

-
33
55,000
Belle Grove
White Castle, Louisiana
John Andrews
(demolished in 1952)
1857
Greek Revival
Italianate
Henry Howard

24
33
55,000
Elm Court
Lenox, Massachusetts
Emily Thorn Vanderbilt
Travaasa Experiential Resorts
1885
American Shingle Style
Peabody and Stearns

26
36
54,838[20]
Dumbarton Oaks
Washington, D.C.
William Hammond Dorsey
Harvard University
1801
Colonial Revival

27
37
54,400[21]
Chateau Montagel
Shoal Creek, Alabama
Larry House
Medical Cloud Computing LLC
1997[22]
Châteauesque
Bill Shephard[23]

28
38
54,246[24]
Searles Castle
Great Barrington, Massachusetts
Mary Hopkins Searles
John Dewey Academy
1883
Châteauesque
McKim Mead & White

29
39
53,000
Nottoway
White Castle, Louisiana
John Hampden Randolph
Paul Ramsay
1858
Greek Revival
Italianate
Henry Howard

30
40
52,897[25]
Hala Ranch
Aspen, Colorado
Bandar bin Sultan
John Paulson
1991
Rustic
Hagman Yaw

31
41
52,503[26]
The Manor
Los Angeles, California
Aaron Spelling
Petra Stunt [27]
1988
Châteauesque
James Langenheim & Associates

32
42
52,300[28]
Felix M. Warburg House
New York, New York
Felix M. Warburg
Jewish Museum of New York
1906
Châteauesque
Charles Pierrepont Henry Gilbert

33
43
51,134[29]
Stan Hywet Hall
Akron, Ohio
Frank Seiberling
Stan Hywet Hall Foundation
1915
Tudor Revival
Charles Sumner Schneider

34
44
51,000[30]
Hacienda De La Paz
Rolling Hills, California
John Z. Blazevich
John Z. Blazevich
2008
Spanish Colonial Revival
Rafael Manzano Martos

35
45
50,853
Chase Mansion
West Hartford, Connecticut
Arnold Chase
Arnold Chase
2009
Georgian
Allan Greenberg Architect, LLC

36
46
50,729[31]
Perry Belmont House
Washington, D.C.
Perry Belmont
Order of the Eastern Star
1909
Beaux-Arts
Ernest Sanson
Horace Trumbauer

37
47
50,316[32]
Otto H. Kahn House
New York, New York
Otto Hermann Kahn
Convent of the Sacred Heart
1914
Renaissance Revival
J. Armstrong Stenhouse
Charles Pierrepont Henry Gilbert

38
48
50,000
Reid Hall
Purchase, New York
Whitelaw Reid
Manhattanville College
1892
Renaissance Revival
Stanford White

-
48
50,000
Wingwood House
Bar Harbor, Maine
Alexander Cassatt
(demolished in 1953)
1903
Neoclassical
Louis Magaziner

-
48
50,000
Riverside
New York, New York
Charles M. Schwab
(demolished in 1948)
1906
Châteauesque
Maurice Hébert

38
48
50,000[33]
Hempstead House
Sands Point, New York
Howard Gould
Nassau County, New York
1912
Tudor Revival
Richard Howland Hunt

-
52
49,951
Chateau Bray
Madisonville, Texas
James and Sonya Bray
James and Sonya Bray
(under construction)
French Baroque
James and Sonya Bray

40
53
49,568[34]
8271 E Left Hand Fork Hobble Creek
Springville, Utah
Tom Mower
Tom Mower
2010
Italian Renaissance

41
54
49,300[35]
The Pritzker Estate
Los Angeles, California
Anthony Pritzker
Anthony Pritzker
2010
Contemporary
Grant Camden Kirkpatrick

42
55
49,000[36]
Ziff Mansion
Pawling, New York
William Bernard Ziff, Jr.
Dirk Edward Ziff
2000

43
56
48,515[37]
50 Poplar Hill Drive
Farmington, Connecticut
Benjamin Sisti[38]
Curtis Jackson[39]
1985
Contemporary

44
57
48,160[40]
Xanadu 2.0
Medina, Washington
Bill Gates
Bill Gates
1995
Pacific Lodge
James Cutler

45
58
47,000
Nemours
Wilmington, Delaware
Alfred I. du Pont
Nemours Foundation
1909
Neoclassical
Carrère and Hastings

46
59
46,054[41]
Greystone Mansion
Beverly Hills, California
Edward L. Doheny
City of Beverly Hills
1928
Tudor Revival
Gordon Kaufmann

47
60
46,000[42]
Elstowe Manor
Elkins Park, Pennsylvania
William L. Elkins
Dominican Sisters of St. Catherine de' Ricci
1898
Italian Renaissance
Horace Trumbauer

48
61
45,891[43]
457 Bel Air Road
Los Angeles, California
Beny Alagem
Beny Alagem
2006
French Normandy
Robert A.M. Stern[44]

49
62
45,854[45]
Villa Collina
Moorestown, New Jersey
Vernon Hill
Vernon Hill
2002
Italian Renaissance[45]

50
63
45,842[46]
Townsend House
Washington, D.C.
Richard T. Townsend
Cosmos Club
1901
Beaux-Arts
Carrère and Hastings

51
64
45,000[47]
Yaddo
Saratoga Springs, New York
Spencer Trask
Corporation of Yaddo
1893
Tudor Revival
William Halsey Wood

51
64
45,000[48]
Darlington
Mahwah, New Jersey
George Crocker
Ilija Pavlovic[49]
1907
Jacobean
James Brite

51
64
45,000[50]
Henry Clay Frick House
New York, New York
Henry Clay Frick
Frick Collection
1914
Beaux-Arts
Carrère and Hastings

54
67
44,936[51]
Anderson House
Washington, D.C.
Larz Anderson
Society of the Cincinnati
1905
Beaux-Arts
Arthur Little
Herbert Browne

55
68
44,925
Le Palais
Beverly Hills, California
Mohamed Hadid
Lola Karimova-Tillyaeva[52]
2011
Châteauesque

56
69
44,309[53]
Glencairn
Bryn Athyn, Pennsylvania
Raymond Pitcairn
The New Church
1929
Romanesque
Raymond Pitcairn

57
70
44,234[54]
Villa Vittoriosa
Fayetteville, Georgia
Evander Holyfield
Rick Ross[55]
1994
Neoclassical
Portman Fuchtman Vinson Sunderland

58
71
44,229[56]
Ochre Court
Newport, Rhode Island
Ogden Goelet
Salve Regina University
1892
Châteauesque
Richard Morris Hunt

59
72
44,000[57]
Hyde Park
Hyde Park, New York
Frederick Vanderbilt
National Park Service
1899
Beaux-Arts
Charles Follen McKim

60
73
43,793[58]
Boldt Castle
Alexandria Bay, New York
George Boldt
Thousand Islands Bridge Authority
1904
Chateauesque
G.W. & W.D. Hewitt

61
74
43,561[59]
Marland Mansion
Ponca City, Oklahoma
Ernest Whitworth Marland
City of Ponca City
1928
Mediterranean Revival
John Duncan Forsyth

62
75
43,517[60]
Asherwood
Carmel, Indiana
Melvin Simon
Bren Simon
1999
Chateauesque

63
76
42,831[61]
Château des Fleurs
Los Angeles, California
James A. Kaplan
James A. Kaplan
2014
Chateauesque
William Hefner

64
77
42,014[62]
51 Winding Brook Drive
Saratoga Springs, New York
John Breyo
John Breyo
2006
Mediterranean Revival
Robert Flansburg[63]

65
78
42,000
Payne Mansion
Esopus, New York
Oliver Hazard Payne
Marist College
1911
Beaux-Arts
Carrère and Hastings

-
78
42,000
Rose Terrace
Grosse Pointe Farms, Michigan
Anna Thompson Dodge
(demolished in 1976)
1931
Neoclassical
Horace Trumbauer

66
80
41,774[64]
Le Palais Royal
Hillsboro Beach, Florida
Robert Pereira[65]
Robert Pereira
2014
Beaux-Arts
Denio Madera

67
81
41,050[66]
Carolands
Hillsborough, California
Harriet Pullman Carolan
Charles Bartlett Johnson
1914
Second Empire
Ernest Sanson
Willis Polk

68
82
41,000[67]
Hayes Mansion
San Jose, California
Mary Hayes Chynoweth
City of San Jose
1905
Mediterranean Revival
George Page

69
83
41,000[68]
NYIT de Seversky Mansion
Old Westbury, New York
Alfred I. du Pont
New York Institute of Technology
1918
Georgian Revival
Carrère and Hastings

70
84
40,916[69]
Il Palmetto
Palm Beach, Florida
Joseph E. Widener
James H. Clark
1927
Mediterranean Revival
Maurice Fatio

71
85
40,280[70]
Walker McCune Mansion
Paradise Valley, Arizona
Walker McCune
George A. Hormel family
1962
Contemporary

72
86
40,000
Mills Mansion
Hyde Park, New York
Ogden Mills
New York State Office of Parks, Recreation and Historic Preservation
1896
Beaux-Arts
Stanford White

72
86
40,000
The Braes
Glen Cove, New York
Herbert L. Pratt
Webb Institute
1912
Jacobean
James Brite

72
86
40,000
Coe Hall
Oyster Bay, New York
William Robertson Coe
Planting Fields Foundation
1921
Tudor Revival
Guy Lowell

72
86
40,000
Bishop Gallagher House
Detroit, Michigan
Fisher Brothers
Bishop Wayne T. Jackson[71]
1925
Tudor Revival
McGinnis and Walsh

72
86
40,000[72]
Rynwood
Old Brookville, New York
Samuel Agar Salvage
John Mariani Jr
1927
Tudor Revival
Roger Bullard

77
91
39,648[73]
Seaview Terrace
Newport, Rhode Island
Edson Bradley
Martin Carey
1925
Chateauesque
Howard Greenley

78
92
39,576[74]
La Reverie
Palm Beach, Florida
Sydell Miller
Sydell Miller
2001
Neoclassical
Jeffrey W. Smith

79
93
39,257[75]
Serenity Ridge
Parker, Colorado
Cal Turner, Jr.
Cal Turner, Jr.
2001
Italianate

80
94
38,500[76]
North Wales
Warrenton, Virginia
William Allison[77]
David Ford
1776
Georgian

81
95
38,196[78]
144 Hopewell Road
Alton, New Hampshire
Bob Bahre
Bob Bahre
2003
Georgian

82
96
38,000[79]
Ardrossan
Villanova, Pennsylvania
Robert Leaming Montgomery
Robert Montgomery Scott
1912
Georgian
Horace Trumbauer

-
96
38,000[80]
Charles Gates Mansion
Minneapolis, Minnesota
Charles Gates
(demolished 1933)
1913
Renaissance Revival

82
96
38,000[81]
Billionaire
Los Angeles, California
Bruce Makowsky[82]
Bruce Makowsky
2016
Contemporary
Bruce Makowsky

84
99
37,100[83]
ʻIolani Palace
Honolulu, Hawaii
King Kalākaua
State of Hawaii
1879
American Florentine
Thomas J. Baker

85
100
36,957[84]
Arbor Hill
Fort Washington, Pennsylvania
Dennis Alter
Dennis Alter
1998
Contemporary
Rafael Viñoly[85]

tag: table


document_title: Mind Your Own Business (song)

question_text: who sings mind your own business with hank jr

text: Mind Your Own Business (song)

text: Background[edit]

text: "Mind Your Own Business" was recorded on March 2, 1949, at Castle Studio in Nashville. During the same session, Williams also recorded "You're Gonna Change (Or I'm Gonna Leave)", "My Son Calls Another Man Daddy", and "Honky Tonk Blues". He is backed by Dale Potter (fiddle), Don Davis (steel guitar), Zeke Turner (lead guitar), Clyde Baum (mandolin), Jack Shook (rhythm guitar), and probably Ernie Newton (bass).[1]

text: Content[edit]

text: In the song, the narrator admonishes a local busybody for snooping and gossiping. While the delivery is light and breezy, the song's lyrics were likely inspired by the singer's own tempestuous relationship with wife Audrey Williams and the buzz it created. The opening lines seem to reference this: "If the wife and I are fussin', brother that's our right/'Cause me and that sweet woman's got a licence to fight..." His delivery is measured, laconic, and dry.[2] The day before, Hank had cut several duets with his wife Audrey, who by all accounts had limited singing talent. Introducing it in October 1949, he told his radio audience that it was a "little prophecy in song", and indeed it would prove to be.[2]

text: The song is similar in tone and structure to Williams' first Billboard hit "Move It on Over", with the singer couching his moral indignation in humor, allowing the subject matter to resonate with the public. "Mind Your Own Business" went to #6 on the C&W Best Seller list where it stayed for two weeks.[3]

text: Cover versions[edit]

text:
In 1964, Jimmy Dean hit the country charts with his version of the song. His version spent six weeks on the charts and peaked at #35.
Ernest Tubb included it on his 1968 LP Ernest Tubb Sings Hank Williams.
In 1971, Steve Goodman recorded it on his debut album.
In 1975, Henry McCullough recorded the song, and used it as the title track of his solo album on Dark Horse Records.
Moe Bandy recorded it for his 1975 LP Here I Am Drunk Again.
Charley Pride recorded it for his 1980 album There's a Little Bit of Hank in Me.
Moe Bandy recorded the song for his 1983 tribute Sings the Songs of Hank Williams.
In late 1986, Hank Williams, Jr. recorded the song along with Reba McEntire, Tom Petty, Reverend Ike, and Willie Nelson. This version was the most successful, going to #1 on the country chart for two weeks.

tag: ul


document_title: Violin technique

question_text: a sharp sound made with the fingers or a type of pizz

text: Violin technique

text: Posture[edit]

text: It is possible to play the violin holding it in a variety of ways. Most players hold the lower bout of the instrument between the left shoulder and the jaw, often assisted by a semi-permanently attached chinrest and detachable shoulder rest. If held properly under the chin, the violinist can let go of the instrument with their hands and it will stay there firmly. Other common ways to hold the instrument include the seated Carnatic attitude, with the scroll resting on a foot, or the dancing-master's "kit" or "pochette" hold, along the forearm, by the lower margin of the rib cage, even though these are not widely traditional holds. In Morocco the violin is often held completely upright resting on the seated player's thigh with the left hand stabilizing the balance while fingering.

text: The chinrest and shoulder rest accessories come in a great variety of styles and shapes, so each individual may find the combination that best suits their build and playing style. The search for the ideal combination can be a lengthy one in some cases. Whatever the equipment, the player will usually aim to maintain a balanced, natural, and comfortable attitude, with the spine straight, especially the neck. Many violinists have a reddish mark on the neck, the so-called "violin hickey" (or "fiddler's hickey") from long-term pressure at that spot. The spot may be aggravated by an allergic reaction to nickel plating on the chinrest clamp hardware, or by microbial pathogens present on the instrument.[1]

text: Keeping the left wrist relaxed and nearly "straight" allows freedom of finger motion, and reduces the chance of repetitive strain injury. Collapsing the wrist to "support" the violin with the heel of the hand is an unfortunate habit that many novice players fall into, and may take years of constant vigilance to overcome. The left forearm will be rather extremely supinated, and the left elbow drawn medially, or to the right. Players may sometimes be advised to bring their left elbow to where they can see it, so as to reach the lower strings more easily.

text: Raising either shoulder beyond a natural relaxed position is an easy habit to acquire without noticing it. Like any other unwarranted tension, it limits freedom of motion, and increases the risk of injury, while decreasing sound quality. It is useful to pay attention to the "square" formed by the right arm and bow, keeping it in a flat plane, and noticing which parts "lead" in string-crossing motions.

text: Left hand: producing pitch[edit]

text: While beginning violin students often rely on tapes or markers placed on the fingerboard for correct placement of the left hand fingers, more proficient players place their fingers on the right spots without such indications but from practice and experience. To attain good intonation, violin players train their fingers to land in the right places, learning to hear when a note is in or out of tune, and cultivating the ability to correct the pitch rapidly and automatically as notes are being played. "Singing" the note mentally helps to land in the right spot. (In practice, intonation may be checked by sounding an adjacent open string, and listening for the interval between the two notes.) Although adjusting to the desired pitch after landing the finger is indeed possible, the amount of adjustment needed may be greatly reduced by training the fingers to fall properly in the first place. That said, a quote widely attributed to Jascha Heifetz goes something like: "I play as many wrong notes as anyone, but I fix them before most people can hear them."

text: The fingers are conventionally numbered 1 (index) to 4 (little finger). Especially in instructional editions of violin music, numbers over the notes may indicate which finger to use, with "0" above the note indicating "open" string, or playing on a string without manipulating the pitch using the left hand. The second finger may be either "low" or "high," corresponding to G or G♯ on the E string in first position. Similarly, the first finger may reach a half-step down for the F, and 3rd and 4th fingers reach up for A♯ and C respectively, as shown on the chart of Bornoff finger patterns on the left. (Pattern number 5 may be seen to be the same as pattern number 3, but a half step lower, or in "half position.")

text: The lower chart on the left shows the arrangement of notes reachable in first position. Note well: left hand finger placement is a matter of the ears and hand, not the eyes, that is, it has strong aural and tactile/kinesthetic components, with visual references being only marginally useful. Note also (not shown on this chart) that the spacing between note positions becomes closer as the fingers move "up" (in pitch) from the nut. The blue bars on the sides of the chart represent the usual possibilities for beginners' tape placements, at 1st, high 2nd, 3rd (and 4th) fingers, or Bornoff pattern number 2. This particular pattern results in an A major scale on the A and E strings, which is a natural start for simple tunes like "Twinkle Twinkle Little Star".

text: Positions[edit]

text: The placement of the left hand on the fingerboard is characterized by "positions". First position, where most beginners start (some methods start in third position) is nearest to the nut, or scroll end, and furthest from the player's face. The lowest note available in this position in standard tuning is an open G; the highest notes in first position are stopped with the fourth finger on the E-string, sounding a B.

text: Thus, in first position, the first finger placed on the E-string gives an F♯; from this position, the second finger can play a G or a G♯, the third finger an A, and - as previously mentioned - the fourth a B. Positioning the first finger so when pressed it gives a G (still on the E-string) is called second position, from which position all the ascending notes up to C (by the fourth finger) may be played. Third position is achieved when the first finger presses down on an A, and so on, with fifth position on one string sounding the same notes as first position on the string above. There is also a "half position" where the first finger sounds a semitone above the open string and the other fingers a tone or semitone below their normal positions, e.g. (on the A string) A♯-B-C♯-D. The same notes could be played in first position with the first finger moving from "low first" (A♯) to B, but this would produce a sliding first finger, which is not always desirable.

text: The upper limit of the violin's range is largely determined by the skill of the player. A skilled player can play more than two octaves on a single string, and four octaves on the instrument as a whole. All except the lowest and highest notes can be played on multiple strings in different positions. That is, the "high" B note referred to above can be played not only by the fourth finger on the E-string in first position, but also by the fourth finger in fifth position on the A-string, in ninth position on the D-string, and in thirteenth position on the G-string.

text: Violinists often change positions on the lower strings, sometimes to the consternation of composers and much to the confusion of beginners. This is usually done to handle a musical passage which would otherwise require fast switching (or "crossing") of strings. It is also done to produce a particular timbre: the same note will sound substantially different depending on what string is used to play it. That "high" B, when played on the E-string (the highest, usually a mono-core metal string) can have a clear, even piercing timbre; the same "high" B played on the A-string or D-string or G-string (usually wrapped strings rather than mono-core) may sound "warmer" or less abrasive. For this reason violinists often avoid playing a single note on the E-string within a phrase of notes on the A-string, as one E-string note would stand out with a different timbre.

text: Different strings have different tone quality, because of their different physical composition and their different resonances on the instrument. The choice of timbres on different strings is vital to the musicality of the instrument, and intermediate and advanced players will often deliberately play in a higher position on a lower string for effect. This effect is sometimes indicated by the composer or arranger. The most common indication uses the letter name of the string: for example, if a composer wants a passage that would otherwise be taken on the D-string to be played on the G-string, they write "sul G" or "G Saite" or "auf G" or "G corde" (or simply, "on G") in the part. Occasionally, numbers are used, so the example might be written "4. corde" or "IV corde" (as above, with the highest string being #1 and the lowest #4); the simplest way to indicate which string to play is to write the number (e.g., 'IV' or 'III') alone.

text:
Audio sample

Violin sounds and techniques:  566 KB (help·info)

Open strings (arco and pizzicato)
An A major scale (arco and pizzicato)
Beginning of an A major scale with vibrato
An A major scale played col legno
A double stop
Natural harmonics on the A string at the octave, octave and a fifth and two octaves
An Artificial (false) harmonic produced on the E string
Harmonic glissando on the A string

See media help for assistance with audio links.See the Violins category at Wikimedia Commons for more media

text: Open strings[edit]

text: A special timbre results from playing a note without touching its string with a finger, thus sounding the lowest note on that string. Such a note is said to be played on an open string. Open string notes (G, D, A, E) have a very distinct sound resulting from absence of the damping action of a finger, and from the fact that vibrato (see below) is produced differently from on fingered notes. Other than low G (which can be played in no other way), open strings are sometimes selected for special effects.

text: One striking effect that employs open strings is bariolage. This is the repeated alternation of notes played on two or more strings, where one of the notes is usually an open string. This string crossing is often rapid, and is best executed with a sinuous movement of the bow arm. Sometimes the same pitch as an open string will be fingered on an adjacent string, so that the alternation is between the same note on two strings, one stopped, one open, giving a rhythmic pulsating effect. Bariolage was a favorite device of Joseph Haydn, who used it for example in his string quartet Opus 50 no. 6, and in the "Farewell" Symphony. It is also prominently featured in the Preludium of Bach's Partita No.3 in E major for solo violin.

text: Playing an open string simultaneously with a stopped note on an adjacent string produces a bagpipe-like drone, often used by composers in imitation of folk music. Sometimes the two notes are identical (for instance, playing a fingered A on the D string against the open A string), giving a ringing sort of "fiddling" sound.

text: Double stops and drones[edit]

text: Double stopping is when stopped notes are played on two adjacent strings, producing a two-note harmony. This is more difficult than normal single-string playing, as fingers must be accurately placed on two strings simultaneously. Sometimes moving to a higher position is necessary for the left hand to be able to reach both notes at once. Double stopping is also used to mean playing on three or all four strings at once, although such practices are more properly called triple or quadruple stopping. Collectively, double, triple and quadruple stopping is called multiple stopping. However, triple or quadruple stopping is more commonly just called a chord. Sounding an open string alongside a fingered note is another way to get a harmony. While sometimes also called a double stop, it is more properly called a drone, as the drone note (the open string) may be sustained for a passage of different notes played on the adjacent string.

text: Vibrato[edit]

text: Vibrato is a technique of the left hand and arm in which the pitch of a note varies in a pulsating rhythm. Mechanically, it is achieved by fingertip movements which alter the length of the vibrating string. There are several different styles of vibrato ranging from the use of just the fingers, to the use of the wrist or even the whole forearm. By employing these different techniques both the speed and amplitude of vibrato oscillations can be varied for musical effect.

text: Vibrato is often perceived to create a more emotional sound, and it is employed heavily in music of the Romantic era. The acoustic effect of vibrato has largely to do with adding interest and warmth to the sound, in the form of a shimmer created by the variations in projection of strongest sound. A well-made violin virtually points its sound pattern in different directions depending on slight variations in pitch.

text: Violinists oscillate backwards, or lower in pitch from the actual note when using vibrato, since aural perception favors the highest pitch in a varying sound. Vibrato does little if anything to disguise an out-of-tune note. Violin students, especially of beginner level, are taught to use it only on extended notes and or during points of emotional tension. Vibrato can be difficult to learn and may take a student several months, if not years, to master.

text: Harmonics[edit]

text: Lightly touching the string with a fingertip at a harmonic node while bowing close to the bridge can create harmonics. Instead of the normal solid tone a wispy-sounding overtone note of a higher pitch is heard. Each node is at an integer division of the string, for example exactly halfway along the length of the string, or exactly one-third along the length of the string. The pitch produced in these two cases will be an octave higher in the case of halves, and an octave and a fifth higher in the case of the string vibrating in thirds. A responsive instrument will provide numerous possible harmonic nodes along the length of the string.

text: Harmonics are marked in music with a little circle above the note that determines the pitch of the harmonic. There are two types of harmonics: natural harmonics and artificial harmonics (also known as "false harmonics").

text: Artificial harmonics are more difficult to produce than the natural harmonics described above. Stopping a note on one string, for example first finger "E" on the D string, and having another finger just touching the string a fourth higher, in this case on the position of the note "A", produces the fourth harmonic of the "E," sounding a tone two octaves above the note that is stopped, in this case, E. Finger placement and pressure, as well as bow speed, pressure, and sounding point are all essential in getting the desired harmonic to sound.

text: The "harmonic finger" can also touch at a major third above the pressed note, or a fifth higher. These harmonics are less commonly used because they are more difficult to make sound well. In the case of the major third, the harmonic is higher in the overtone series, and does not speak as readily; in the case of the fifth, the stretch is greater than is comfortable for many violinists. The sounding pitch of the major third harmonic is two octaves and a major third above the lower note, and in the case of the fifth, it is an octave and a fifth above the lower note.

text: Traditional notation of artificial harmonics uses two notes on one stem: the lower note employs a round note-head representing where the string is strongly stopped with the first finger, and the upper note uses an open diamond note-head representing where the string is lightly touched with the fourth finger.

text: Harmonics are also rarely played in double stops, where both notes are harmonics.

text: Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries.

text: Right hand and tone color[edit]

text: The right arm, hand, and bow are responsible for tone quality, rhythm, dynamics, articulation, and certain (but not all) changes in timbre. The bow is held in the right hand with the thumb bent underneath the frog to support it and the other fingers loosely touching the wood. The middle and ring fingers are usually wrapped around the frog, although in some cases (such as in baroque performance practice) the whole hand holds the stick above the frog. Holding the little finger curved and resting on the near facet of the octagonal shape of the stick, next to the facet on top of the stick, allows that finger to "unweight" the bow, using the thumb as a fulcrum. Bowing action should be initiated and solely dependent upon movement of the right hand, not by the forearm, upper arm, and shoulder. Flexion and extension of these parts should be passive led by right hand action. Otherwise, subtle and delicate bowing control is impossible, leading to excessive tension in the right arm, making bow control difficult.

text: Bowing techniques[edit]

text: Increasing pressure on the strings is the primary way to produce louder notes on the violin. Pressure is added mainly by the index finger of the bowing hand. Another method sometimes used to increase volume is using greater bow speed; however, a violinist can increase bow speed and still play softly at the same time. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a focused, more intense sound.

text: The sounding point where the bow intersects the string also influences timbre. Playing close to the bridge (sul ponticello) gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (sul tasto) makes for a delicate, ethereal sound, emphasizing the fundamental frequency. Dr. Suzuki referred to the sounding point as the "Kreisler highway"; one may think of different sounding points as "lanes" in the highway.

text: There are several methods of "attack" with the bow that produce different articulations; this list is by no means exhaustive:

text:
Détaché - The term détaché simply means "separated" and it can be applied to any notes not linked by a slur. Stopping the bow on the string deadens the vibrations and thus creates a muted accent, elastic détaché which covered off-the-string strokes, and dragged détaché (détaché traîné) where smooth bow changes leave no audible gap between each note.[2]
Martelé (French; Italian martellato) - literally "hammered," is a type of détaché stroke with a lightly hammered attack. A strong attack is referred to as Martellato.
Collé - "stuck," or "glued," is a stroke that begins from a heavily weighted bow resting motionless on the string. Ideally, the initial weight will be almost enough to cause an undesirable scratch sound.[3]
Spiccato - Technique that uses a bowing style that leaves the string clearly to produce a light "bouncing" sound. Despite major misconceptions, violinists play this technique with a horizontal stroke; the "bouncing" motion is only due to the natural resistance of the violin string and light weight of the blow. Spiccato becomes Sautillé at faster tempos, due to the lower amplitude of the "bounce". Spiccato is usually performed at the balance portion of the bow, which is the area of the bow where weight is distributed evenly on both sides, allowing for maximum control. Spiccato articulation is indicated by a small triangle directly under the note. Alternatively, spiccato can be indicated by a small dot under the note in conjunction with the word 'spiccato'.
Legato - Of successive notes in performance, connected without any intervening silence of articulation. In practice, the connection or separation of notes is relative, and achieved through the presence or absence of emphasis, Accent and attack, as much as silences of articulation; degrees of connection and separation vary from legatissimo (representing the closest degree of connection), tenuto, portamento, legato, portato, non legato, mezzo-staccato, Staccato (the natural antonym of legato), to staccatissimo. Some of these terms have connotations going beyond simple degrees of connection or separation.
Sautillé (French; Italian saltando, German Springbogen, Spanish saltillo) - A bowstroke played rapidly in the middle of the bow, one bowstroke per note, so that the bow bounces very slightly off the string. If the bounce becomes higher at this speed, it is really a flying staccato or flying spiccato. It is not indicated in any consistent manner: sometimes dots are placed above or below the notes, sometimes arrow-head strokes, and sometimes the stroke is simply left to the performer's discretion. spiccato and sautillé are sometimes used as synonyms, though spiccato tends to be applied to a broader range of off-the-string strokes.[4]
Jeté - Also known as "ricochet" bowing, this consists of "throwing" the bow on the string in the upper third of the bow on a down bow, so that it bounces and produces a series of rapid notes. Usually from two to six notes are sounded this way, but up to ten or eleven can be played. This technique was especially important among nineteenth-century virtuosi, particularly Paganini.[5]
Louré (French; Italian portato) - This bow stroke, used in slow tempos, separates slurred notes slightly to articulate them, without stopping the bow. It is used in passages of a cantabile character.
Arpeggio, arpeggiando, arpeggiato - A bouncing stroke, played on broken chords, so that each note of the arpeggio is played on a different string.
Tremolo - Chiefly used for orchestral playing, this consists of moving the bow back and forth in very short strokes extremely rapidly, not in measured rhythm.
Col legno - Occasionally the strings are struck with the stick of the bow ("with the wood.") This gives a muted percussive sound, and is most effective when employed by a full orchestral violin section. The eerie quality of a violin section playing col legno is exploited in some symphonic pieces, notably the "witches' dance" of the last movement of Berlioz' Symphonie Fantastique as well as Frederic Chopin's Warsaw-era Piano Concerto No. 2, which predates it.
"Shuffle" - A repetitive pattern of slurs and accents, much used in some fiddling styles. Named shuffles include the Nashville shuffle, the Georgia shuffle, and the double shuffle, which is often considered to be a trick or showoff shuffle.
"Chopping" - A more modern percussive technique, in which the hair near the frog of the bow is struck against the strings with a quick scratching sound of indeterminate pitch. It is used predominantly by bluegrass musicians to replicate the off-beat chop of the mandolin however more recently the technique has been embellished by musicians such as Casey Driessen, Darol Anger, and Rushad Eggleston creating cyclical chops and triple chops. Chopping features as a mainstay of many bands arrangements such as Crooked Still, Teho and Turtle Island String Quartet.

text: Straight bow[edit]

text: No matter which attack or bow stroke is used, most violinists use a straight bow stroke, keeping the bow perpendicular to the string. This ensures that the bow will stay in the desired sounding point and will create a consistent sound quality. One technique to achieving a straight bow is as follows. When taking a downbow, focus on the upper arm, the lower arm, and the hand/wrist. First, move the upper arm backwards as if elbowing someone in the nose. Next, follow through with the lower arm. Near the end of the bow stroke, rotate the wrist and hand as if opening a jar of peanuts. When used correctly, these motions will create a straight downbow bow stroke. A crucial step is to watch the bow and make sure it remains straight. An upbow is created in the opposite way. Still keeping an eye on the bow, move the lower arm in the direction that it came. Follow through with the upper arm. Near the end of this stroke, rotate the hand and wrist as if closing a jar of peanuts.

text: There is, however, another school of bowing, popularized by violin pedagogue Ivan Galamian, in which the bow is kept at a slight angle to the bridge. When the player draws a down bow, he is to move his right hand gradually away from his body; when he draws an up bow, towards his body. According to proponents of this style, these slight angles help create greater contact with the bridge and thus produce a fuller sound.

text: Pizzicato[edit]

text: When a note is marked pizz. (abbreviation for pizzicato) in the written music, it is played by plucking the string with a finger of the right hand rather than by bowing. When the bow hand is occupied (or for virtuosic effect) the left hand can be used; this is indicated by a "+" (plus sign) in the music. This allows players to simultaneously play bowed notes while plucking on a different string. In addition, some players have acquired the trick of playing fast pizzicato passages using two alternating fingers of the right hand. Players continue playing pizzicato until there is an indication to return to arco (playing with the bow).

text: There are two common positions for playing pizzicato. One is to clench the bow in the right hand, rest the right thumb on the right side of the finger board, then pluck the string. This position can enhance the tonal quality of the pluck and can reduce fatigue during long durations of plucking. Another pizzicato position is to maintain the bow grip, then pluck the strings with the right index finger. This position is especially helpful when the composer alternates between series of arco and pizzicato notes, because it allows the violinist to quickly and accurately switch styles.

text: Violinists may also pluck a string with their left hand, denoted on written music as a "+" symbol above the note desired. Left-handed pizzicato is generally less flexible pitch-wise than the right-handed technique, but allows the right hand to either stay where it is or simultaneously play, a technique composer and violinist Niccolo Paganini was renowned for.

text: A snap pizzicato, first specified by Gustav Mahler, but often called a Bartók pizzicato since Béla Bartók was the first to use the technique extensively, requires the player to pull the string away from the fingerboard so that when it is released it rebounds with force onto the fingerboard, yielding a sharp, percussive snapping sound. Examples can be found in Bartók's 44 Duos (No. 42, Arabian Song) and Solo Sonata for violin. .

text: Mute[edit]

text: Attaching a small rubber, wooden, or metal device called a "mute" to the bridge of the violin alters the tone, softening the instrument's sound by adding mass to the bridge and therefore reducing its ability to vibrate freely, decreasing volume and giving a more mellow tone, with fewer audible overtones. In performances, it may give a desired dulled effect. Mutes are mostly used in orchestras with the entire string section playing with mutes, resulting in a soft, hushed sound quality. Parts to be played muted are marked con sord., for the Italian sordino or occasionally mit Dämpfer in German. (The instruction to take off the mute is senza sord., sometimes marked just senza or "ohne Dämpfer" in German.) In French, instruction is given for application of mutes at the beginning of muted passages, "mettez les sourdines", and for removal at the end "ôtez les sourdines".

text: Sharing the same name but with a completely different purpose, massive metal, rubber, or wooden "practice mutes" or "hotel mutes" are available. These mutes are used to drastically reduce the volume when practicing where others can be disturbed.

text: Tuning[edit]

text: Violins are tuned by turning the pegs in the pegbox under the scroll, or by turning the fine tuner screws at the tailpiece. A violin always has pegs, but fine tuners (also called fine adjusters) are optional. These permit the string tension to be adjusted in very small amounts much more easily than by using the pegs. Most fine tuners work by turning a small metal screw, which moves a lever that is attached to the end of the string. (Another type of tuner, using a screw to crimp a short segment of the string's afterlength near the tailpiece, is sometimes found, most generally on smaller instruments.) Fine tuners are usually recommended for younger players, fractional-sized instruments, those using high tension or metal strings, or beginners. Fine tuners are most useful with solid metal strings; since they do not stretch as much as synthetics, solid-core strings can be touchy to tune with pegs alone. Fine tuners are not useful when using gut strings; since these strings are more "stretchy", the tuners lack enough range of travel to make a significant pitch difference, and the sharp corners on the prongs may cause the string to break where the string passes over them. Most players use a fine tuner on the E-string even if the other strings are not so equipped.

text: The A string is tuned first to a reference pitch source such as a tuning fork or, in most orchestras, the oboe, typically to 440 Hz, although some orchestras tune to another standard A such as 442, or even as high as 445 or 446 Hz to produce a brighter sound. Early music groups interested in authentic performance may use a lower standard A. When playing with a fixed-pitch instrument such as a piano or accordion, the violinist must tune to accommodate that instrument. The other strings are then tuned to the A in intervals of perfect fifths by bowing them in pairs. This puts the open strings in just intonation, which means the lower strings may sound flat compared to their nominal equal-tempered equivalents. In practice, this means some compromises must be made, and the strings not always tuned in perfect fifths, particularly on the viola and cello, where the lowest string is the C, three fifths away from the reference A, making the difference more apparent.

text: Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be flattened by pulling it above the fingerboard, or sharpened by pressing the part of the string in the pegbox. These techniques may be useful in performance, reducing the ill effects of an out-of-tune string until the arrival of a rest or other opportunity to tune properly.

text: Tuning the violin, especially with the pegs, can cause the bridge to lean, usually toward the fingerboard. If left that way, it will warp. After tuning, experienced players typically check that the bridge is standing straight and centered between the inner nicks of the f holes, since bridges are free to move about, being held in place only by friction and the tension of the strings. Capable violinists know how to straighten and center a bridge; this can easily be done under normal string tension without damage to the instrument.

text: The tuning G-D-A-E is used for the great majority of all violin music. However, any number of other tunings are occasionally employed (for example, tuning the G string up to A), both in classical music, where the technique is known as scordatura, and in some folk styles where it is called "cross-tuning." Numerous such tunings exist, often being named for a prominent tune played in that tuning. A good example of scordatura in classical solo violin repertoire is Paganini's First Violin Concerto in E-flat major, where the violin part is written in D-major and the violinist is supposed to tune a half tone higher to match the orchestra's key of E-flat major.


document_title: List of Governors of New Jersey

question_text: who was the last governor of new jersey

question_tokens: who was the last governor of new jersey

text: List of Governors of New Jersey

text: Governors[edit]

text: New Jersey was one of the original thirteen colonies and was admitted as a state on December 18, 1787. Prior to declaring its independence, New Jersey was a colony of the Kingdom of Great Britain.

text: The first New Jersey State Constitution, ratified in 1776, provided that a governor be elected annually by the state legislature, the members of which were selected by the several counties.[4] Under this constitution, the governor was president of the upper house of the legislature, then called the Legislative Council.[4] The 1844 constitution provided for a popular vote to elect the governor,[5] who no longer presided over the upper house of the legislature, now called the Senate. The 1844 constitution also lengthened the governor's term to three years, set to start on the third Tuesday in January following an election, and barred governors from succeeding themselves.[6] The 1947 constitution extended terms to four years, and limits governors from being elected to more than two consecutive terms, though they can run again after a third term has passed.[7]

text: The 1776 constitution provided that the vice-president of the Legislative Council would act as governor (who was president of the Council) should that office be vacant.[4] The 1844 constitution placed the president of the Senate first in the line of succession,[8] as did the subsequent 1947 constitution.[9] A constitutional amendment in 2006 created the office of lieutenant governor,[10] to be elected on the same ticket for the same term as the governor,[11] and if the office of governor is vacant, the lieutenant governor becomes governor.[12] This office was first filled in 2010.

text:
Federalist (4)   Democratic-Republican (3)   Democratic (27)   Whig (4)   Republican (17)
(official numbering, does not include repeat or acting governors)

text:
#
[note 2]
Portrait
Governor
Term start
Term end
Party
Lt. Governor
[13]
Terms
[note 3]

1

William Livingston
August 31, 1776
July 25, 1790
Federalist
None
 13 1⁄2
[note 4]

—

Elisha Lawrence
July 25, 1790
October 29, 1790
Federalist
 1⁄2
[note 5]

2

William Paterson
October 29, 1790
March 30, 1793
Federalist
 2 1⁄2
[note 6]
[note 7]

—

Thomas Henderson
March 30, 1793
June 3, 1793
Federalist
 1⁄2
[note 5]

3

Richard Howell
June 3, 1793
October 31, 1801
Federalist
8
[note 8]

4

Joseph Bloomfield
October 31, 1801
October 28, 1802
Democratic-
Republican
1

—

John Lambert
October 28, 1802
October 29, 1803
Democratic-
Republican
1
[note 9]

4

Joseph Bloomfield
October 29, 1803
October 29, 1812
Democratic-
Republican
9
[note 10]

5

Aaron Ogden
October 29, 1812
October 29, 1813
Federalist
1

6

William Sanford Pennington
October 29, 1813
June 19, 1815
Democratic-
Republican
 1 1⁄2
[note 11]

—

William Kennedy
June 19, 1815
October 26, 1815
Democratic-
Republican
 1⁄2
[note 5]
[note 12]

7

Mahlon Dickerson
October 26, 1815
February 1, 1817
Democratic-
Republican
 1 1⁄2
[note 13]

8

Isaac Halstead Williamson
February 6, 1817
October 30, 1829
Federalist
 12 1⁄2
[note 14]
[note 15]
[note 16]

—

Garret D. Wall
—
—
Democratic
—
[note 17]

9

Peter Dumont Vroom
November 6, 1829
October 26, 1832
Democratic
3

10

Samuel L. Southard
October 26, 1832
February 27, 1833
Whig
 1⁄2
[note 13]

11

Elias P. Seeley
February 27, 1833
October 25, 1833
Whig
 1⁄2
[note 18]

9

Peter Dumont Vroom
October 25, 1833
November 3, 1836
Democratic
3

12

Philemon Dickerson
November 3, 1836
October 27, 1837
Democratic
1

13

William Pennington
October 27, 1837
October 27, 1843
Whig
6

14

Daniel Haines
October 27, 1843
January 21, 1845
Democratic
1
[note 19]

15

Charles C. Stratton
January 21, 1845
January 18, 1848
Whig
1
[note 20]

14

Daniel Haines
January 18, 1848
January 21, 1851
Democratic
1

16

George Franklin Fort
January 21, 1851
January 17, 1854
Democratic
1

17

Rodman M. Price
January 17, 1854
January 20, 1857
Democratic
1

18

William A. Newell
January 20, 1857
January 17, 1860
Republican
1

19

Charles Smith Olden
January 17, 1860
January 20, 1863
Republican
1

20

Joel Parker
January 20, 1863
January 16, 1866
Democratic
1

21

Marcus Lawrence Ward
January 16, 1866
January 19, 1869
Republican
1

22

Theodore Fitz Randolph
January 19, 1869
January 16, 1872
Democratic
1

20

Joel Parker
January 16, 1872
January 19, 1875
Democratic
1

23

Joseph D. Bedle
January 19, 1875
January 15, 1878
Democratic
1

24

George B. McClellan
January 15, 1878
January 18, 1881
Democratic
1

25

George C. Ludlow
January 18, 1881
January 15, 1884
Democratic
1

26

Leon Abbett
January 15, 1884
January 18, 1887
Democratic
1

27

Robert Stockton Green
January 18, 1887
January 21, 1890
Democratic
1

26

Leon Abbett
January 21, 1890
January 17, 1893
Democratic
1

28

George Theodore Werts
January 17, 1893
January 21, 1896
Democratic
1

29

John W. Griggs
January 21, 1896
January 31, 1898
Republican
 1⁄3
[note 21]

—

Foster McGowan Voorhees
January 31, 1898
October 18, 1898
Republican
 1⁄3
[note 22]

—

David Ogden Watkins
October 18, 1898
January 17, 1899
Republican
 1⁄3
[note 23]

30

Foster McGowan Voorhees
January 17, 1899
January 21, 1902
Republican
1
[note 24]

31

Franklin Murphy
January 21, 1902
January 17, 1905
Republican
1
[note 25]

32

Edward C. Stokes
January 17, 1905
January 21, 1908
Republican
1

33

John Franklin Fort
January 21, 1908
January 17, 1911
Republican
1
[note 26]

34

Woodrow Wilson
January 17, 1911
March 1, 1913
Democratic
 1⁄3
[note 27]
[note 28]

—

James Fairman Fielder
March 1, 1913
October 28, 1913
Democratic
 1⁄3
[note 29]

—

Leon R. Taylor
October 28, 1913
January 20, 1914
Democratic
 1⁄3
[note 23]

35

James Fairman Fielder
January 20, 1914
January 16, 1917
Democratic
1
[note 30]
[note 31]

36

Walter Evans Edge
January 16, 1917
May 16, 1919
Republican
 1⁄3
[note 13]
[note 31]
[note 32]

—

William Nelson Runyon
May 16, 1919
January 13, 1920
Republican
 1⁄3
[note 33]

—

Clarence E. Case
January 13, 1920
January 20, 1920
Republican
 1⁄3
[note 34]

37

Edward I. Edwards
January 20, 1920
January 15, 1923
Democratic
1

38

George Sebastian Silzer
January 15, 1923
January 19, 1926
Democratic
1

39

A. Harry Moore
January 19, 1926
January 15, 1929
Democratic
1

40

Morgan Foster Larson
January 15, 1929
January 19, 1932
Republican
1

39

A. Harry Moore
January 19, 1932
January 3, 1935
Democratic
 1⁄3
[note 13]

—

Clifford Ross Powell
January 3, 1935
January 8, 1935
Republican
 1⁄3
[note 33]

—

Horace Griggs Prall
January 8, 1935
January 15, 1935
Republican
 1⁄3
[note 34]

41

Harold G. Hoffman
January 15, 1935
January 18, 1938
Republican
1

39

A. Harry Moore
January 18, 1938
January 21, 1941
Democratic
1

42

Charles Edison
January 21, 1941
January 18, 1944
Democratic
1

36

Walter Evans Edge
January 18, 1944
January 21, 1947
Republican
1

43

Alfred E. Driscoll
January 21, 1947
January 19, 1954
Republican
2
[note 35]

44

Robert B. Meyner
January 19, 1954
January 16, 1962
Democratic
2

45

Richard J. Hughes
January 16, 1962
January 20, 1970
Democratic
2

46

William T. Cahill
January 20, 1970
January 15, 1974
Republican
1

47

Brendan Byrne
January 15, 1974
January 19, 1982
Democratic
2

48

Thomas Kean
January 19, 1982
January 16, 1990
Republican
2

49

James Florio
January 16, 1990
January 18, 1994
Democratic
1

50

Christine Todd Whitman
January 18, 1994
January 31, 2001
Republican
 1 1⁄5
[note 36]

51

Donald DiFrancesco
January 31, 2001
January 8, 2002
Republican
 1⁄5
[note 33]
[note 37]

—

John Farmer Jr.
January 8, 2002
January 8, 2002
Republican
 1⁄5
[note 38]

—

John O. Bennett
January 8, 2002
January 12, 2002
Republican
 1⁄5
[note 39]

—

Richard Codey
January 12, 2002
January 15, 2002
Democratic
 1⁄5
[note 39]

52

Jim McGreevey
January 15, 2002
November 15, 2004
Democratic
 1⁄2
[note 40]

53

Richard Codey
November 15, 2004
January 17, 2006
Democratic
 1⁄2
[note 34]
[note 37]

54

Jon Corzine
January 17, 2006
January 19, 2010
Democratic
1
[note 41]

55

Chris Christie
January 19, 2010
Incumbent
Republican

Kim Guadagno
2
[46]
[note 42]

text: Acting governor[edit]

text: Prior to 2010, unlike most other states, New Jersey did not have the office of lieutenant governor. Until 2010, when the office of governor was vacant or the governor was unable to fulfill his/her duties through injury, the President of the State Senate served as the acting governor. The Senate President continued in the legislative role during his/her tenure as the state's acting chief executive, thus giving the person control over executive and legislative authority. The acting governor served either until the next general election, until the governor recovered from his/her injuries, or, if the governor died or resigned less than 16 months before end of the term, until the end of the term. Richard Codey served as acting governor of New Jersey until January 2006, following the resignation of Jim McGreevey in late 2004. Following the resignation of Christine Todd Whitman in 2001 to become EPA Administrator, Donald DiFrancesco assumed the acting governor's post. The position of lieutenant governor was created in the 2005 state election effective with the 2009 election.

text: Following Whitman's resignation and DiFrancesco's departure, John O. Bennett served as acting governor for three and a half days. During that time, he signed a few bills into law, gave a State of the State Address, and held parties at Drumthwacket, the New Jersey governor's mansion. Similarly, Richard J. Codey served as acting governor as well. Because control of the New Jersey State Senate was split, resulting in two Senate co-presidents, Codey and Bennett, each held the office of acting governor for three days. Perhaps this spectacle as much as any other factor led to the voters' decision to amend the state constitution to create the office of Lieutenant Governor of New Jersey.

text: Other high offices held[edit]

text: This is a table of congressional seats, other federal offices, and other governorships held by governors. All representatives and senators mentioned represented New Jersey. Acting governors are included only when they filled a vacancy in the office of governor, not when they acted for a time when the governor was out of state or unable to serve.

text:
Governor
Gubernatorial term
U.S. Congress
Other offices held
Source

U.S. House
U.S. Senate

Livingston, WilliamWilliam Livingston
1776–1790
—
—
Continental Delegate (1774–1776)
[47]

Paterson, WilliamWilliam Paterson
1790–1793
—
S†
Continental Delegate, Associate Justice of the U.S. Supreme Court*
[48]

Henderson, ThomasThomas Henderson
1793
H
—
Elected as a Continental Delegate but declined
[49]

Bloomfield, JosephJoseph Bloomfield
1801–1802
1803–1812
H
—

[50]

Lambert, JohnJohn Lambert
1802–1803
—
S

[51]

Ogden, AaronAaron Ogden
1812–1813
—
S

[52]

Dickerson, MahlonMahlon Dickerson
1815–1817
—
S*
U.S. Secretary of the Navy (1834–1838)
[53][54]

Vroom, Peter DumontPeter Dumont Vroom
1829–1832
1833–1836
H
—
Minister to Prussia
[55]

Southard, Samuel L.Samuel L. Southard
1832–1833
—
S*
President pro tempore of the U.S. Senate, U.S. Secretary of the Navy
[56]

Dickerson, PhilemonPhilemon Dickerson
1836–1837
H†
—

[57]

Pennington, WilliamWilliam Pennington
1837–1843
H
—
Speaker of the U.S. House of Representatives (Feb. 1, 1860 – Mar. 3, 1861)
[58]

Stratton, Charles C.Charles C. Stratton
1845–1848
H
—

[59]

Price, Rodman M.Rodman M. Price
1854–1857
H
—

[60]

Newell, William A.William A. Newell
1857–1860
H
—
Governor of the Territory of Washington (1880–1884)
[61]

Ward, Marcus LawrenceMarcus Lawrence Ward
1866–1869
H
—

[62]

Randolph, Theodore FitzTheodore Fitz Randolph
1869–1872
—
S

[63]

Green, Robert StocktonRobert Stockton Green
1887–1890
H†
—

[64]

Griggs, John W.John W. Griggs
1896–1898
—
—
U.S. Attorney General*
[65]

Wilson, WoodrowWoodrow Wilson
1911–1913
—
—
President of the United States*
[66]

Edge, Walter EvansWalter Evans Edge
1917–1919
1944–1947
—
S*
Ambassador to France (1929–1933)
[67]

Edwards, Edward I.Edward I. Edwards
1920–1923
—
S

[68]

Moore, A. HarryA. Harry Moore
1926–1929
1932–1935
1938–1941
—
S†*

[69][70]

Hoffman, Harold G.Harold G. Hoffman
1935–1938
H
—

[71]

Edison, CharlesCharles Edison
1941–1944
—
—
U.S. Secretary of the Navy
[72]

Cahill, William T.William T. Cahill
1970–1973
H†
—

[73]

Florio, JamesJames Florio
1990–1994
H†
—

[74]

Whitman, Christine ToddChristine Todd Whitman
1994–2001
—
—
Administrator of the Environmental Protection Agency*
[75]

Corzine, JonJon Corzine
2006–2010
—
S†

[76]

text:
Note: Garret D. Wall, who was elected to be governor in 1829 but declined, served as a U.S. Senator (1835–1841).[77]
Note: Gov. William Pennington (1837–1843) was appointed Governor of the Territory of Minnesota by President Millard Fillmore (1850–1853), but declined.

text: Living former U.S. governors of New Jersey[edit]

text: As of January 2017[update], there are eight former U.S. governors of New Jersey and two former acting U.S. governors of New Jersey who are currently living at this time, the oldest U.S. governor of New Jersey being Brendan Byrne (served 1974–1982, born 1924). The most recent U.S. governor of New Jersey to die and the most recently serving U.S. governor of New Jersey to have died was William T. Cahill (served 1970–1974, born 1912), on July 1, 1996.

text:
Governor
Gubernatorial term
Date of birth (and age)

Brendan Byrne
1974–1982
(1924-04-01) April 1, 1924 (age 93)

Thomas Kean
1982–1990
(1935-04-21) April 21, 1935 (age 82)

James Florio
1990–1994
(1937-08-29) August 29, 1937 (age 80)

Christine Todd Whitman
1994–2001
(1946-09-26) September 26, 1946 (age 70)

Donald DiFrancesco
2001–2002
(1944-11-20) November 20, 1944 (age 72)

John Farmer, Jr.
2002 (acting)
(1957-06-24) June 24, 1957 (age 60)

John O. Bennett
2002 (acting)
(1948-08-06) August 6, 1948 (age 69)

Richard Codey
2002 (acting)
2004–2006
(1946-11-27) November 27, 1946 (age 70)

Jim McGreevey
2002–2004
(1957-08-06) August 6, 1957 (age 60)

Jon Corzine
2006–2010
(1947-01-01) January 1, 1947 (age 70)

text: Notes[edit]

text:
Jump up ^ Only acting governors who filled a vacant office are included in the list. People who acted as governor for a period when the governor was out of state or unable to serve for a period are noted with their governor. It is possible other people acted as governor for short periods but were not recorded.
Jump up ^ Repeat governors are officially numbered only once; subsequent terms are marked with their original number italicized.
Jump up ^ The fractional terms of some governors are not to be understood absolutely literally; rather, they are meant to show how many times a governor was elected, and to show single terms during which multiple governors served, due to resignations, deaths and the like.
Jump up ^ Died in office
^ Jump up to: a b c As vice-president of the Legislative Council, acted as governor for unexpired term
Jump up ^ Resigned to be an Associate Justice of the Supreme Court of the United States
Jump up ^ The National Governors Association states Paterson took office on October 30; however, older books specify that he took office on October 29.[14]
Jump up ^ Howell was in Pennsylvania in command of the New Jersey militia during the Whiskey Rebellion; during his absence, Thomas Henderson, as vice-president of the Legislative Council, acted as governor from September 20 to December 25, 1794.[15]
Jump up ^ The 1802 election was deadlocked, with the legislature unable to pick a candidate, giving up on November 25, 1802. Lambert, as vice-president of the Legislative Council, acted as governor until the next election.[16]
Jump up ^ Bloomfield was in New York in command of Military District 3 during the War of 1812; during his absence, Charles Clark, as vice-president of the Legislative Council, acted as governor from June 1 to October 29, 1812, when Bloomfield's term ended.[17]
Jump up ^ Resigned to be a federal judge in the District of New Jersey.[18]
Jump up ^ All official listings omit Kennedy, who acted as governor for four months.[19]
^ Jump up to: a b c d Resigned to take an elected seat in the U.S. Senate.
Jump up ^ Elected by the legislature to be governor upon Mahlon Dickerson's resignation.[20] Between Dickerson's resignation and Williamson's election, it is unknown who was acting governor.
Jump up ^ No source mentions anyone acting as governor between Dickerson's resignation and Williamson's election; the vice-president of the Legislative Council at the time was Jesse Upson, so he likely acted as governor.[21]
Jump up ^ Williamson was known to be a Federalist; though the Federalist Party ceased existing around 1820, no sources say Williamson changed his party affiliation, perhaps choosing to remain loyal to the Federalist ideals.[22] One source describes him as an "ex-Federalist" before he was even elected.[23] A contemporary source says he remained in office until the "Jackson party" controlled the legislature; as this is a reference to the Democratic-Republican Party, it can be assumed Williamson did not switch to that party.[24]
Jump up ^ Wall was elected on October 30, 1829; however, he declined the post, effective November 6, 1829.[25]
Jump up ^ Seeley was vice-president of the Legislative Council at the time of Southard's resignation; however, Seeley was elected governor rather than simply acting in the post for the rest of Southard's term.[26]
Jump up ^ The 1844 constitution took effect during Haines' first term, setting the end of his term at the third Tuesday in January.[6]
Jump up ^ First governor elected under the terms of the 1844 constitution, which increased term lengths from one to three years, and which also made him the first popularly elected governor.[6]
Jump up ^ Resigned to be U.S. Attorney General.
Jump up ^ As president of the Senate, acted as governor until his own resignation. Voorhees was nominated for governor for the 1898 election, but the constitution prohibited governors from succeeding themselves. To get around this, he resigned his Senate seat (and thus ceased being acting governor), so that he could run for governor, winning the race.[27]
^ Jump up to: a b As speaker of the house of representatives, acted as governor for unexpired term.
Jump up ^ Voorhees was out of the country in Europe for several weeks in 1900; William M. Johnson, as president of the Senate, formally acted as governor from May 21 to June 19.[28][29][30]
Jump up ^ Murphy was out of the state twice in 1904; Edmund W. Wakelee, as president of the Senate, formally acted as governor twice, and according to page 284 the 1905 Manual of the Legislature, served from April 25 to June 5, when Murphy was in Europe, and from June 14 to June 27, when Murphy was visiting Chicago and St. Louis.[31] However, page 16 of the same book states that he served from April 25 to June 5, and June 15 to June 27.[28] He actually took the oaths of office on April 26 and June 14.[30]
Jump up ^ Fort was out of the state for some time in 1909; Joseph Sherman Frelinghuysen, Sr., as president of the Senate, acted as governor for an unknown period.[32]
Jump up ^ Resigned to be President of the United States.
Jump up ^ Wilson was out of the state for multiple periods during his administration.[29] Documented episodes include from May 3 to June 3, 1911, during which time Ernest R. Ackerman, as president of the Senate, acted as governor,[33][34] though another source states he took the oath on May 4.[35] Ackerman also acted as governor from October 25, 1911, for about a week, and again for about a week in mid-November, 1911.[36] John Dyneley Prince became president of the Senate in 1912, and is known to have acted as governor on at least 11 different occasions.[36]
Jump up ^ As president of the Senate, acted as governor until his own resignation. As with Voorhees, he had been nominated for governor for the 1913 election, but under the constitution could not succeed himself, so he resigned from the Senate to run, winning the election.[37]
Jump up ^ Fielder was out of the state for a time in June 1914; John W. Slocum, as president of the Senate, acted as governor for an unknown period.[38] Walter Evans Edge later became president of the Senate, and acted as governor for five weeks in 1915.[39] Later again, George W. F. Gaunt became president of the Senate and acted as governor, though only two days are specifically known: September 19, 1916 and October 9, 1916.[40]
^ Jump up to: a b One source states that George W. F. Gaunt, as president of the Senate, acted as governor in 1917, but it is unknown if he was acting in place of James Fairman Fielder or Walter Evans Edge.[29]
Jump up ^ Edge was out of the state for a time in 1918; Thomas F. McCran, as president of the Senate, is known to have acted as governor, but for an unknown period.[29]
^ Jump up to: a b c As president of the Senate, acted as governor until his Senate term ended.
^ Jump up to: a b c As president of the Senate, acted as governor for unexpired term.
Jump up ^ Driscoll's second term was the first elected under the terms of the 1947 constitution, which increased term lengths to four years.[7]
Jump up ^ Resigned to be Administrator of the Environmental Protection Agency.
^ Jump up to: a b Acted as governor for longer than 180 days after January 1, 2001, so is considered a full governor pursuant to a 2006 law[3]
Jump up ^ As attorney general, acted as governor for 90 minutes between Senate sessions[41]
^ Jump up to: a b In early 2002, the state Senate was evenly split between Republicans and Democrats.[42] The compromise to pick a senate president – and therefore, an acting governor – was to have John Bennett, a Republican, act as governor from 1:30 p.m. January 8 to 12:01 a.m. January 12, and Democrat Richard Codey would then act from 12:01 a.m. January 12 to noon on January 15, at which point the elected governor Jim McGreevey took office.[43]
Jump up ^ Resigned due to a sex scandal involving an aide.
Jump up ^ Corzine was severely injured in a car accident on April 12, 2007; Richard Codey, as president of the Senate, acted as governor until May 7, 2007.[44] Corzine also left the country in 2010 for a vacation to Switzerland; Stephen M. Sweeney, as president of the Senate, acted as governor from January 14 to around January 17.[45]
Jump up ^ Governor Christie's second term expires January 16, 2018; he is term limited.

tag: ol