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Royal Pavilion

The Royal Pavilion, and surrounding gardens, also known as the Brighton Pavilion, is a Grade I listed former royal residence located in Brighton, England. Beginning in 1787, it was built in three stages as a seaside retreat for George, Prince of Wales, who became the Prince Regent in 1811, and King George IV in 1820. It is built in the Indo-Saracenic style prevalent in India for most of the 19th century. The current appearance of the Pavilion, with its domes and minarets, is the work of architect John Nash, who extended the building starting in 1815. George IV's successors William IV and Victoria also used the Pavilion, but Queen Victoria decided that Osborne House should be the royal seaside retreat, and the Pavilion was sold to the city of Brighton in 1850.

History
The Prince of Wales, who later became George IV, first visited Brighton in 1783, at the age of 21. The seaside town had become fashionable as a result of the residence of George's uncle, Prince Henry, Duke of Cumberland, whose tastes for fine cuisine, gambling, the theatre, and general fast living the young prince shared, and with whom he lodged in Brighton at Grove House. In addition, the Prince of Wales was advised by his physician that the seawater and fresh air would be beneficial for his gout. In 1786, under a financial cloud with investigations by Parliament for the extravagances incurred in building Carlton House, London, the prince rented a modest, erstwhile farmhouse facing the Old Steine, a grassy area of Brighton used as a promenade by visitors. Remote from the royal court in London, the pavilion was a discreet location for the prince to enjoy private liaisons with his long-time companion, Maria Fitzherbert. The prince had wished to marry her, and did so in secrecy as her Roman Catholic religion prohibited his marrying her under the Royal Marriages Act 1772.

In 1787, the prince commissioned the designer of Carlton House, Henry Holland, to enlarge the existing building. It became one wing of the Marine Pavilion, flanking a central rotunda, which contained three main rooms: a breakfast room, dining room, and library, fitted out in Holland's French-influenced neoclassical style, with decorative paintings by Biagio Rebecca. In 1801–02, the pavilion was enlarged with a new dining room and conservatory, to designs of Peter Frederick Robinson, who worked in Holland's office. The Prince also purchased land surrounding the property, on which a grand riding school and stables were built in an Indian style in 1803–08, to designs by William Porden, along with a famous onion garden to feed the Prince's well-known addiction. These provided stabling for 60 horses and dwarfed the Marine Pavilion.

Between 1815 and 1822, the designer John Nash redesigned and greatly extended the pavilion, and it is his work that is still visible today. The palace is striking in the middle of Brighton, for its unique Indo-Islamic exterior. The fanciful interior design, primarily by Frederick Crace and the little-known decorative painter Robert Jones, was heavily influenced by both Chinese and Indian fashion (with Mughal and Islamic architectural elements). It is a prime example of the exoticism that was an alternative to more classicising mainstream taste in the Regency style.

Purchase by Brighton

After the death of George IV in 1830, his successor William IV also stayed in the pavilion on his frequent visits to Brighton. Queen Victoria, however, disliked Brighton and the lack of privacy at the pavilion. Brighton became accessible to Londoners by rail in 1841, increasing its popularity with the masses. In addition, the pavilion was cramped for her growing family. Famously, Queen Victoria disliked the constant attention she attracted in Brighton, saying "the people here are very indiscreet and troublesome".

She purchased an estate and land that was redeveloped for Osborne House in the Isle of Wight, which became the summer home of the royal family. After her last visit to Brighton in 1845, the government planned to sell the building and grounds. The Brighton Improvement Commissioners and the Brighton Vestry successfully petitioned the government to sell the Pavilion to the town for £53,000 in 1850 under the Brighton Improvement (Purchase of the Royal Pavilion and Grounds) Act 1850 (13 & 14 Vict. c. v). The sale helped fund furnishing of Osborne House.

In 1860, the adjacent royal stables were converted to a concert hall, now known as the Brighton Dome. The town used the building as assembly rooms. Many of the Pavilion's original fixtures and fittings were removed on the order of the royal household at the time of the sale, most ending up either in Buckingham Palace or Windsor Castle. In the late 1860s, Queen Victoria returned to Brighton large quantities of unused fittings. George V and Queen Mary returned more furnishings after the First World War.

Since the end of the Second World War, the municipality of Brighton has worked to restore the Pavilion to its state at the time of King George IV. The city was encouraged in the 1950s by the permanent loan of over 100 items of furniture from Queen Elizabeth II. It has undertaken an extensive programme of restoring the rooms, reinstating stud walls, and creating replicas of some original fittings and occasionally pieces of furniture.

In 2020, management and operation of the Royal Pavilion & Museums' buildings and collections were transferred from Brighton & Hove City Council to a new charity: the Royal Pavilion & Museums Trust.

First World War
During the First World War, the Pavilion, along with other sites in Brighton, was transformed into a military hospital. From December 1914 to January 1916, sick and wounded soldiers from the Indian Army were treated in the former palace. Many Indian recipients of the Victoria Cross were treated here such as Khudadad Khan, Shahamad Khan and Mir Dast. The Pavilion hospital also incorporated the adjacent Dome and Corn Exchange; these buildings had formerly been part of the large stable complex associated with the residence.

The Pavilion hospital was set up with two operating theatres and over 720 beds. Over 2,300 men from the Indian Army were treated at the hospital. Elaborate arrangements were made to cater for the patients' variety of religious and cultural needs. Nine different kitchens were set up in the grounds of the hospital, so that food could be cooked by the soldiers' fellow caste members and co-religionists. Muslim soldiers were given space on the eastern lawns to pray facing towards Mecca, while Sikh soldiers were provided with a tented gurdwara in the grounds.

The imperial government highlighted the Pavilion as showing that wounded countrymen of British India were being well treated. With the official sanction of the state, a series of photographs were made to show the resplendent rooms converted into hospital wards. The soldiers were visited by Lord Kitchener in July 1915, and King George V in August of the same year, who presented several soldiers such as Mir Dast with military honours.

The military hospital for Indian soldiers closed at the end of January 1916 after most of the British Indian Army had been withdrawn from the Western Front in France and redeployed to the Middle East.

The Pavilion reopened as a hospital in April 1916. It became a hospital for 'limbless men,' treating British soldiers who had lost arms and legs, usually from amputation. In addition to treating the men's physical needs, a great emphasis was placed on rehabilitating the men by training them in skills and trades. The Pavilion hospital operated until the summer of 1920, when the building was returned to Brighton Corporation.

A new gateway in Indian style was unveiled in 1921 by the Maharaja of Patiala to commemorate the Pavilion's role in treating injured Indian soldiers during the war.

Tourism
The purchase of the Royal Pavilion from Queen Victoria, by Brighton, marked the beginnings of the site's attraction as a tourist destination. The Royal Pavilion has been changed from a private residence to a public attraction under civic ownership. Today, around 400,000 people visit the Royal Pavilion annually. General filming and photography are permitted inside the Royal Pavilion. Many of the items in the palace are on loan, in particular from HM The King.

Marriage venue
The Royal Pavilion is licensed as a venue for weddings. On 29 March 2014, the Royal Pavilion was host to one of a number of the first legal same-sex marriages to take place in the United Kingdom following the passage of the 2013 Same Sex Couples Act.

Royal Pavilion Garden
The Royal Pavilion Garden, in the Pavilion's grounds, has a wide variety of plants, having been restored to Nash's original Regency vision. It is said to be the only fully restored Regency garden in the UK. The garden is maintained using only organic methods by the Trust's garden team led by a Head gardener and including volunteers.

The garden is often used by street entertainers, especially in summer. There is also a café in the garden.

The garden is Grade II listed in the Register of Historic Parks and Gardens. Historic England deemed the garden 'at risk' in October 2017 due to its original character being blighted and overshadowed by unsightly fencing, litter bins, signage and lighting etc. Brighton and Hove City Council opened a public consultation on the future of the gardens after they were put on Historic England's "At Risk" register. A list of over 20,000 crimes and anti-social behaviour incidents (including indecent sexual behaviour and drug abuse) that had taken place at the gardens had been reported to the city council in 2017, raising the possibility of fencing off the gardens and closing them at night.

title: Royal Pavilion


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Talk:Regions of England/Archive 1

Aren't these the former Government Office Regions?

As I seem to recall, they were based on the military command structure.

Some of the external links are out of date and I am changing them - to the right places, I hope! Nevilley 10:23 Dec 22, 2002 (UTC)

Why is Greater London a "special case", please? -- Heron

 * It has an elected mayor and the London Assembly.

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

title: Talk:Regions of England/Archive 1


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Camel (band)

Camel are an English progressive rock band formed in Guildford, Surrey, in 1971. Led by guitarist Andrew Latimer, they have released fourteen studio albums and fourteen singles, plus numerous live albums and DVDs. Without achieving mass popularity, the band gained a cult following in the 1970s with albums such as Mirage (1974) and The Snow Goose (1975). They moved into a jazzier, more commercial direction in the early 1980s, but then went on an extended hiatus. Since 1991 the band has been independent, releasing albums on their own label.

Despite no new studio releases since 2002, the band performed on tour as recently as 2018. Their music has influenced artists including Marillion, Opeth and Steven Wilson. Music journalist Mark Blake described Camel as "the great unsung heroes of 70s prog rock".

1970s
The band was formed in Guildford, Surrey, in 1971 by guitarist Andrew Latimer, drummer Andy Ward, bassist Doug Ferguson and keyboardist Peter Bardens. Latimer, Ward, and Ferguson had performed in the Guildford area as a trio named Brew, and in 1971 they auditioned to be the backing band for singer-songwriter Phillip Goodhand-Tait. The three went on to appear on latter's album I Think I'll Write a Song, released in September 1971. After splitting with Goodhand-Tait, the trio decided that a keyboardist would expand their sound and advertised for one in the Melody Maker. Bardens responded and successfully auditioned with a Hammond organ that belonged to a mutual friend of the group. The four travelled to Ireland to fulfil outstanding contractual obligations Bardens had with his previous outfit On, after which they renamed themselves Camel. Their live debut with the name followed at Waltham Forest Technical College in London in December 1971, supporting Wishbone Ash.

The group began regular touring in January 1972, establishing themselves as a proficient live act. They soon signed with Geoff Jukes of the Buffalo Agency as their manager. By August 1972, Camel signed with MCA Records and their eponymous debut album Camel was released in early 1973. The record was not a success and the band moved to the Deram Records division of Decca Records (UK). In 1974 they released their second album, the critically acclaimed Mirage, on which Latimer showed he was also adept on flute. Although failing to chart at home, it gained success in the United States, prompting a three-month tour there.

Released in 1975, the instrumental concept album The Snow Goose, inspired by the Paul Gallico short story of the same name, was the breakthrough album that brought Camel wider attention and success. However, the album attracted a lawsuit from Gallico. It is often reported that Gallico brought the suit because he "loathed smoking" and thought the band were related to the cigarette brand. In reality Gallico described himself as "an addict of the vice in all its blackest forms" and his objection was simply on the grounds of copyright infringement. Camel accordingly added the prefix Music inspired by... to the album's front cover and removed the story notes from the back cover. The album's success led to a prestigious appearance at Royal Albert Hall with the London Symphony Orchestra in October 1975.

The band's fourth album, Moonmadness (1976), was the last to feature the original lineup. Mel Collins was added to the band on saxophone and flute for the subsequent tour. Drummer Ward was pushing for a move into jazz, which caused bassist Ferguson to quit the band in early 1977. Ferguson formed the band Headwaiter and later became a property developer.

Richard Sinclair (formerly of Caravan) replaced Ferguson, and Mel Collins joined the band in an official capacity. This lineup released Rain Dances (1977) and Breathless (1978). The latter was the last album to feature Bardens, who announced his departure before the supporting tour. He was replaced by two keyboard players both recruited from Caravan: Dave Sinclair (cousin of Richard) and Jan Schelhaas. The Sinclair cousins both left the band after the tour, replaced by keyboardist Kit Watkins and bassist Colin Bass. This lineup recorded the more commercial I Can See Your House from Here (1979); the album's cover, photographed and designed by Gered Mankowitz, is a manipulated photographic image of a crucified astronaut looking at Earth.

1980s
The 1981 release Nude was a concept album based on a true story of Japanese soldier Hiroo Onoda. Duncan Mackay provided most of the keyboards in lieu of Watkins and Schelhaas, who were involved in other projects but returned for the tour. This was the first album to feature lyrics by Latimer's future wife Susan Hoover. In mid-1981, Ward stopped playing drums due to alcohol and drug abuse and Camel quietly disbanded.

Without a band, but with a contract to fulfill and pressure from Decca for a hit song, Latimer was joined by an array of guest and session musicians at Abbey Road Studios in early 1982. The album The Single Factor was released later that year, reaching no. 57 in the UK. Another lineup featuring keyboardist Ton Scherpenzeel (of Dutch prog-rock band Kayak) and drummer Paul Burgess (ex-10cc) released the album Stationary Traveller in 1984. Camel's contract with Decca expired in late 1984, while Latimer prevailed in a legal dispute with a former manager. Latimer moved to the United States and disbanded the group again.

1990s
After a seven-year hiatus, Latimer revived the Camel name in 1991 and released the album, Dust and Dreams under his own independent label Camel Productions. The album featured several players who had appeared on the group's two previous albums in the early 1980s. Keyboardist Mickey Simmonds, who had previously backed Mike Oldfield and Fish, joined in 1992.

In the meantime, Latimer and Hoover wrote Harbour of Tears (a nickname for Cobh Harbour in Ireland from which many sailed to the United States during the Great Famine) under the Camel name, which was released in 1996. In 1999 Latimer, drummer Dave Stewart, bassist Colin Bass, and keyboardist Ton Scherpenzeel recorded Rajaz, a record inspired by an ancient Arabic poetic metre of the same name that reflects the rhythm of camel footsteps in the desert.

2000s-2010s
In 2001, Latimer assembled another new lineup with Bass, drummer Denis Clement, and keyboardist Guy LeBlanc. The band released the album A Nod and a Wink in 2002. The album was dedicated to former member Peter Bardens, who had died early that year, The group was inactive for much of the following decade as Latimer received treatment for myelofibrosis.

After Latimer's recovery, Camel returned to touring in 2013, including full performances of The Snow Goose. A new and extended version of that album was released in November 2013. LeBlanc withdrew from touring in 2014 due to illness and died in 2015; he was replaced by a returning Ton Scherpenzeel.

Latimer was presented with a Lifetime Achievement award at Orange Amplification's 2014 Progressive Music Awards, and the 2013–14 Snow Goose tour was nominated in the category of Live Event. The band continued to tour throughout the decade, and a live DVD recorded at Royal Albert Hall was released in early 2020. Latimer continues to write new music, though the band has not released a studio album since 2002.

Musical style
Camel have been described as a "symphonic prog rock band". Predominantly instrumental, Camel's music combines elements from rock, pop, jazz, blues, folk, classical and electronica. Though they are not from Canterbury, they have long been associated with the Canterbury scene due to their many historical connections with Caravan and other Canterbury progressive rock musicians.

Legacy
Camel have been acknowledged as one of the principal influences on the neo-prog subgenre which emerged in the 1980s and produced Marillion as its most successful band. Former Marillion lead singer Fish said of his first impression of the band: "I thought they were a lot like Camel."
 * The album Fuera de Tiempo by Argentinean band Rockaphonia contains three Camel tribute covers.
 * A tribute band, The Humps, in Israel, routinely performs some of the band's material.
 * Another tribute band named Fritha (after the song on The Snow Goose album) is performing in Japan
 * In Sweden there is a tribute band named Lady Fantasy (after the song on the Mirage album).
 * A band named Raha in Iran is doing covers of Camel songs.
 * In Egypt, Andromida is also doing covers of Camel amongst their set.
 * In 2010, the French progressive rock band Mirage, named after the title of Camel's second album, included Camel songs among a set of Yes, Jethro Tull and King Crimson pieces.
 * In Lebanon, a band called Babel (as in 'Babylon') improvised over Camel's song "Storm Clouds" on 28 October 2011.
 * Mikael Åkerfeldt of Swedish progressive death metal band Opeth has cited Camel to be an influence for the song "Hessian Peel" and previously joked on the Lamentations (Live at Shepherd's Bush Empire 2003) DVD that material from their Damnation (2003) album was a "rip-off" of Camel.
 * Steven Wilson of Porcupine Tree has cited Camel as an influence. In a 2013 interview he expressed his interest to remix the classic Camel albums. Latimer later in 2013 replied positively to Wilson's interest.
 * Rick Astley, in an interview with Billboard in 2016, referred to Camel touring The Snow Goose as his first ever concert, stating "it blew my mind".
 * Andy Tillison of The Tangent recorded a track called Music Inspired by Music Inspired by The Snow Goose as a tribute to Camel, released on his 2016 solo album (Machte Es) Durch.

Members
Current members
 * Andrew Latimer – guitar, flute, recorder, keyboards, percussion, vocals (1971–present)
 * Colin Bass – bass, acoustic guitar, keyboards, vocals (1979–1981, 1984–present)
 * Denis Clement – drums, percussion, keyboards, fretless bass, recorder (2000–present)
 * Peter Jones – keyboards, synthesisers, saxophones, vocals (2016–present)

Discography

 * Camel (1973)
 * Mirage (1974)
 * The Snow Goose (1975)
 * Moonmadness (1976)
 * Rain Dances (1977)
 * Breathless (1978)
 * I Can See Your House from Here (1979)
 * Nude (1981)
 * The Single Factor (1982)
 * Stationary Traveller (1984)
 * Dust and Dreams (1991)
 * Harbour of Tears (1996)
 * Rajaz (1999)
 * A Nod and a Wink (2002)

title: Camel (band)


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Paregoric

Paregoric, or camphorated tincture of opium, also known as tinctura opii camphorata, is a traditional patent medicine known for its antidiarrheal, antitussive, and analgesic properties.

According to Goodman and Gilman's 1965 edition, "Paregoric is a 4% opium tincture in which there is also benzoic acid, camphor, and anise oil. ... Paregoric by tradition is used especially for children."

The term "paregoric" has also been used for boiled sweets which contained the substance, in particular the Army & Navy brand.

Properties
In 1944, two clinicians who evaluated the expectorant action of paregoric, concluded:

"The survival of paregoric through the centuries, and particularly through recent critical decades, is probably due to keen clinical observation and stubborn adherence to the clinical deduction that paregoric is useful in certain types of cough."

History
In the very early 18th century, Jakob Le Mort (1650–1718), a professor of chemistry at Leiden University, prepared an elixir for asthma and called it "paregoric". The word "paregoric" comes from the Greek word "paregoricon" which was originally applied to oratory – to speak, but, more accurately, talk over, soothe, and finally came to have the same meaning as "anodyne".

Le Mort's elixir, consisting of "honey, licorice, flowers of Benjamin, and opium, camphor, oil of aniseed, salt of tartar and spirit of wine," was listed as "Elixir Asthmaticum" in the London Pharmacopoeia of 1721. Its ingredients were assembled according to the humoral theory of the time. Paregoric was used in various formulations for hundreds of years.

Paregoric was a household remedy in the 18th and 19th centuries when it was widely used to control diarrhea in adults and children, as an expectorant and cough medicine, to calm fretful children, and to rub on the gums to counteract the pain from teething.

A formula for paregoric from Dr. Chase's Recipes (1865): "Best opium 1/2 dr., dissolve it in about 2 tablespoons of boiling water; then add benzoic acid 1/2 dr.; oil of anise 1/2 a fluid dr.; clarified honey 1 oz.; camphor gum 1 scruple; alcohol, 76 percent, 11 fluid ozs.; distilled water 4-1/2 fluid ozs.; macerate, (keep warm,) for two weeks. Dose – For children, 5 to 20 drops, adults, 1 to 2 tea-spoons."

The Medical Companion, Or Family Physician, a book from 1827, gave the following recipe: "Paregoric Elixir – Take of purified opium, flowers of Benzoin, camphor, and essential oil of annis-seed, each, two drachms; brandy, two pints. Digest for eight or ten days, frequently shaking the bottle, and then strain the elixir."

Use during the twentieth century
During the twentieth century its use declined as governments regulated its ingredients (opium is a controlled substance in many countries).

Beginning in late 2011, there was a period in which paregoric was not being manufactured in the United States. , however, the manufacture of paregoric had resumed.

Regulation
The early twentieth century brought increased regulation of all manner of narcotics, including paregoric, as the addictive properties of opium became more widely understood, and "patent medicines came under fire largely because of their mysterious compositions". In the United States, the Pure Food and Drug Act of 1906 required that certain specified drugs, including alcohol, cocaine, heroin, morphine, and cannabis, be accurately labeled with contents and dosage. Previously many drugs had been sold as patent medicines with secret ingredients or misleading labels. Cocaine, heroin, cannabis, and other such drugs continued to be legally available without prescription as long as they were labeled. It is estimated that sale of patent medicines containing opiates decreased by 33% after labeling was mandated. In 1906 in Britain and in 1908 in Canada "laws requiring disclosure of ingredients and limitation of narcotic content were instituted".

The Harrison Narcotics Act of 1914 restricted the manufacture and distribution of opiates, including laudanum, and coca derivatives in the United States; this was followed by France's Loi des stupefiants in 1916, and Britain's Dangerous Drugs Act in 1920.

In the United States, the Harrison Narcotics Act of 1914 regulated "opium or coca leaves, or any compound, manufacture, salt, derivative or preparation thereof", but not some medical products containing relatively low concentrations of these substances. Paregoric was classified as an "Exempt Narcotic", as were other medical products containing small amounts of opium or their derivatives.

Regulation and use since 1970
Until 1970, paregoric could be purchased in the United States at a pharmacy without a medical prescription, in accordance with federal law. Federal law dictated that no more than two ounces of paregoric be dispensed by any pharmacy to the same purchaser within a 48-hour period. Purchasers were also required to sign a register or logbook, and pharmacies were technically required to request identification from any purchaser not personally known to the pharmacist. Some states further limited the sale of paregoric, or banned over-the-counter sales entirely. For example, Michigan law allowed over-the-counter (non-prescription) sale of paregoric until April 1964, but still allowed OTC sales of certain exempt cough medication preparations that contain 60 mg of codeine per fluid ounce." Even where legally permissible by law, OTC sale of paregoric was subject to the discretion of individual pharmacists.

In 1970, paregoric was classified as a Schedule III drug under the Controlled Substances Act (DEA #9809); however, drugs that contained a mixture of kaolin, pectin, and paregoric (e.g., Donnagel-PG, Parepectolin, and their generic equivalents) were classified as Schedule V drugs. They were available over-the-counter without a prescription in many states until the early 1990s, at which time the FDA banned the sale of anti-diarrheal drugs containing kaolin and pectin; also, Donnagel-PG contained tincture of belladonna, which became prescription-only on January 1, 1993. Paregoric is currently listed in the United States Pharmacopeia. Manufacture of the drug was discontinued for several months beginning in late 2011; however, production and distribution resumed in 2012, so the drug is still available in the United States by prescription. Thus, it is unclear as to whether the lapse in manufacture actually resulted in a shortage of the drug at any time, since prescription drugs are often still available for many months after manufacture has been discontinued. In France, paregoric was available without prescription until 1986; nowadays, it is used to wean infants born to opiate-addicted women.

Paregoric, U.S.P. formula
The principal active ingredient in paregoric is powdered opium. In the United States the formula for Paregoric U.S.P. is a tincture of opium 40 ml, anise oil 4 ml, benzoic acid 4 g, camphor 4 g, glycerin 40 ml, alcohol 450 ml, purified water 450 ml, diluted with alcohol to 1000 ml, and contains the equivalent of 0.4 mg/ml of anhydrous morphine; one ounce of paregoric contains 129.6 mg (2 grains) of powdered opium, or the equivalent of 13 mg of anhydrous morphine. The average adult dose is 4 ml by mouth which corresponds to 16 mg of opium, or 1.6 mg of anhydrous morphine."

It is unclear when the current formula for Paregoric, U.S.P. was developed in the United States, and more research is needed. For example, one formula for "Camphorated Tincture of Opium (Paregoric Elixir)" attributed to the United States Pharmacoepia of 1863 is: "Macerate 1 drachm each powdered opium and benzoic acid, 1 fluid drachm of anise, 2 ounces clarified honey, and 2 scruples camphor, in 2 pints diluted alcohol for 7 days, and filter through paper." A slightly different formula is given in the 1926 pharmacoepia.

The current formula for Paregoric, U.S.P. should not be assumed to be universal. For example, in the United Kingdom the formula for Paregoric, B.P. is tincture of opium 5 ml, benzoic acid 500 mg, camphor 300 mg, anise oil 0.3 ml, alcohol (60%) to 100 ml, and contains about 1/30th grain of anhydrous morphine in 60 minims, which is 25% stronger than Paregoric, U.S.P.

Dosage
Paregoric is sometimes confused with Laudanum, because their chemical names are similar: Camphorated Tincture of Opium (Paregoric) vs. Tincture of Opium (Laudanum). However, Laudanum contains 10 milligrams of morphine per milliliter, 25 times more than Paregoric. Confusion between the two drugs has led to overdose and death in patients. Thus the term "Paregoric" should be used instead of "Camphorated Opium Tincture", since the latter may be confused with Laudanum.

The differences between Tincture of Opium (Laudanum) and Camphorated Tincture of Opium (Paregoric) are important and should be kept in mind when administering either of these drugs. Care and caution should always be taken in administering doses of Tincture of Opium, such as the use of a dosage syringe or other suitable measurement device, and by pharmacists in preparing Paregoric from Laudanum, and to note that the dosages noted here refer to Apothecaries weight and fluid measure. In particular, "the difference between a minim and a drop should be borne in mind when figuring doses. A minim is always a sixtieth part of a fluid drachm regardless of the character of the substance, while a drop varies from a forty-fifth to a two-hundred-and-fiftieth part, according to the surface tension of the fluid." Tincture of Opium (Laudanum) and Camphorated Tincture of Opium (Paregoric) each have 50.9 drops per gram; 50.0 drops per cc; 185.0 drops per fluid drachm; and 3.10 drops per minim." The importance of these distinctions is evident in view of the dangers of erroneously relying upon more general descriptions of Apothecaries' fluid measures, which typically list 60 minims per fluid dram, and 8 fluid drams per fluid ounce (480 minims).

Indications
The main effects of paregoric are to increase the muscular tone of the intestine, to inhibit normal peristalsis, and as an expectorant; a peer-reviewed clinical study in 1944 reported "that all of [its] ingredients have been found to contribute toward the expectorant action of paregoric, and, further, that an advantage is contained in the combination over the sum of the effects of the individual constituents," that Paregoric "is expectorant by virtue of a reflex from the stomach," and "preparations of paregoric which have aged for two or three years are superior as an expectorant to preparations aged for less time.". Its main medical use is to control fulminant diarrhea, and as an antitussive (cough suppressant). Problems with its use include opiate dependency and analgesia which can mask symptoms of diseases that need treatment.

However, Paregoric was characterized as "a needlessly complex pharmacopeial mixture... of a former day" by a 1966 study. In the 21st century its two main uses have been largely supplanted by minimally psychoactive cough-suppressant drugs (such as dextromethorphan) and non-psychoactive antidiarrheal drugs (such as loperamide).

title: Paregoric


text:
Incident on 57th Street

"Incident on 57th Street" is a song written by Bruce Springsteen that was first released on his 1973 album The Wild, the Innocent & the E Street Shuffle. It has been described by critics as a key development in Springsteen's songwriting career and regarded by fans as one of his greatest songs.

Writing and recording
"Incident on 57th Street" was the last song Springsteen recorded for The Wild, the Innocent & the E Street Shuffle. As with the rest of the album, it was recorded at 914 Sound Studios in Blauvelt, New York. Springsteen had been working on it under the working title "Puerto Rican Jane." It was one of the first songs on which Springsteen felt like an "observer," writing whatever came out of him rather than self-consciously trying to write something specific. On the album, the piano solo at the end of the song segues directly into the guitar opening of the following song, "Rosalita (Come Out Tonight)."

Lyrics and music
According to Springsteen, the theme of "Incident on 57th Street" is "redemption," a theme he would return to again many times. The story is set in New York City and tells the story of "Spanish Johnny" and "Puerto Rican Jane." It has parallels to Leonard Bernstein's West Side Story in telling a Romeo and Juliet-like story with Latin American characters set in New York. Johnny is explicitly referred to as "a cool Romeo" and Jane as "a late Juliet.

Johnny comes to midtown Manhattan after getting beat up while trying to work as a male escort. Although rejected by everyone else, he finds redemption when Jane sympathizes with him, saying "Johnny don't cry." They sleep together, but when his old companions call to him asking him to join them in making "some easy money," he leaves Jane to join them. Jane tells him that "you can leave me tonight but just don't leave me alone." Johnny agrees to return to her tomorrow, although he doesn't actually know if he will be able to, telling her that "We may find it out on the street tonight, baby/Or we may walk until the daylight maybe." Springsteen leaves the ending ambiguous, leaving to the listener's imagination whether Johnny's adventure that night meets with a tragic end, or whether the lovers actually do get away.

The music starts quietly, with David Sancious on piano with some support from Springsteen on guitar. The song proceeds at a moderate tempo, supported by what music writer Jim Beviglia describes as "hiccuping" from Vini Lopez' drumming. But upon Jane's line of "Johnny don't cry," the music becomes more lively, with Danny Federici's organ taking prominence. After Johnny wakes up from their night of lovemaking, the music dies down again to a solo bass guitar part by Garry Tallent. There are three statements of the line "We may find it out on the street tonight, baby/Or we may walk until the daylight maybe" at the end of the song. Beviglia describes the first as "a whisper," the second as being "more assertive" and the last as "a maelstrom of sound" as Springsteen sings "with majestic desperation as the band crashes all around him." Finally, the song ends with Sancious again on solo piano, which Beviglia interprets as depicting Jane waiting for Johnny to return. The song's harmonies are based primarily on tonic, dominant and subdominant, and the subdominant is often played with a major seventh chord.

As with many of Springsteen's early songs, "Incident on 57th Street" has a complex, extended structure. There are three verses, each in three parts, although the second verse skips the second part. The refrain appears after the first verse, but is skipped at the end of the second verse. At the point at which the second refrain is expected, the music slows down to the solo bass part leading directly to the third verse. After the third verse, a suspended chord on Federici's organ generates a return of the refrain, which is then repeated three additional times as the intensity builds. On the album, after slowing and quieting down to Sancious' ending solo piano part, the music segues into the driving guitars of "Rosalita (Come Out Tonight)."

Reception
Music writer Patrick Humphries describes "Incident on 57th Street" as "the moment when Springsteen the writer came into his own." Music critic Clinton Heylin called it "an early masterpiece, it is the kinda epic song [Springsteen] has spent his youth imagining and the [previous] 18 months working towards. Rolling Stone critic Dave Marsh calls it one of the "few precious moments in rock when you can hear a musician overcoming both his own limits and the restrictions of the form."  Beviglia calls it "the bridge from the 1973 Bruce to the one who has been near or atop the rock-and-roll world for about 40 years now. He goes on to say that "Incident" was a critical step towards Springsteen's being able to create Born to Run, calling it a "dry run that came out perfect."

In 2014, Beviglia rated "Incident on 57th Street as Springsteen's 3rd greatest song. In 2013, a Rolling Stone panel rated it Springsteen's 17th greatest song.

Humphries sees an influence from "Incident on 57th Street" on the structure of Dire Straits' 1980 song "Romeo and Juliet." Rolling Stone viewed it as a precursor to the "expansive urban storytelling" of Springsteen's 1975 classic song "Jungleland." According to Springsteen's saxophone player Clarence Clemons, the introduction to "Jungleland" evolved from the piano and violin introduction to the version of "Incident on 57th Street" that Springsteen had been playing live. Springsteen himself has suggested that the lyrics of "Jungleland" may tell what happened after "Incident on 57th Street," with Johnny becoming "Jungleland"'s Magic Rat.

Other appearances
The first live performance of "Incident on 57th Street" occurred on January 23, 1974, at Muther's Music Emporium in Nashville, Tennessee. In live performances Springsteen rarely performed it directly before "Rosalita" as it is sequenced on the album. "Incident" was one of several songs for which Springsteen hired violinist Suki Lahav to join the E Street Band for live performances in 1974 and 1975. By the late 1970s and early 1980s, "Incident on 57th Street" had fallen to only occasional inclusion in live set lists.

A 10-minute live version of "Incident on 57th Street," recorded at the Nassau Coliseum on December 28, 1980, was released on the 2004 EP Live Collection. The live performance was also released as the B-side of Springsteen's release of the 12" single "War" in Europe in 1986; despite its exceptional length, it also appeared as the B-side of the US release of the "Fire" 7" single. Another live performance was included on the 2003 video Live in Barcelona, with Springsteen on solo piano.

title: Incident on 57th Street


text:
Rosalita (Come Out Tonight)

"Rosalita (Come Out Tonight)" is a 1973 song by Bruce Springsteen, from his The Wild, the Innocent & the E Street Shuffle album, and is especially famed as a concert number for Springsteen and The E Street Band. The song, which clocks in at just over seven minutes, is a story of forbidden love between the singer and the titular Rosalita, whose parents disapprove of his life in a rock and roll band. It is included on the compilation albums The Essential Bruce Springsteen and Bruce Springsteen & The E Street Band Greatest Hits. In 2021, Rolling Stone ranked it the 446th greatest song of all time on their updated 500 Greatest Songs of All Time list.

Reception
Never released as a single in U.S. and generally unknown upon its initial album release, "Rosalita" began to get FM radio airplay when an advance version of "Born to Run" was distributed to rock radio stations. As Springsteen gained commercial success, "Rosalita" became one of his most popular airplay tracks, and is still heard on classic rock radio. The song, despite never receiving an official US single release, has been lauded hugely by music critics in the years since its release in 1973. On its release Ken Emerson of Rolling Stone dubbed it "a raucous celebration of desire." In Rock Albums of the Seventies (1981), Robert Christgau described it as "more lyrical and ironic than you could have dreamed". George P Pelecanos of Uncut magazine has called it "One of the great rock'n roll performances, and as close to a perfect song as anyone's ever recorded," while Chris T-T in the same publication declared "Never mind The Beatles or The Rolling Stones, this is the best rock'n roll track of all time." The song is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Its music video occupies the number 71 spot on Rolling Stone's 1993 list of the top 100 videos.

Though it was not released as a single in the US (or anywhere at the time of the album's release), "Rosalita (Come Out Tonight)" was released as a single in the Netherlands and some other European countries in 1979.

Music video
In 1984, many years after the song's initial release, MTV began showing a music video for the song. The video was a straight concert performance (from a Darkness Tour performance on July 8, 1978 at the Arizona Veterans Memorial Coliseum in Phoenix, Arizona) that included band introductions and female fans rushing the stage.

In 1979, a live concert performance was shown on the BBC2 television show The Old Grey Whistle Test. This performance was later released on a compilation DVD of performances from the show.

Live performances
For many years, dating back virtually to when the song was written, "Rosalita" always closed the regular set in Springsteen concerts, often elongated to incorporate extended band introductions. It was the one "sure thing" in a Springsteen set list and celebrated as such. Steven Van Zandt used this time to shine on backing vocals, as his voice changed on performances of the song from the Born to Run tours to The River Tour and during the River Tour on November 2, 1980, Springsteen changed the lyrics to "Rosie, relax and let's have a little fun cause Rosie, my record just went to number one" celebrating the fact that Springsteen just had his first Billboard number-one album.

On October 19, 1984 in the Tacoma Dome in Tacoma, Washington, during the Born in the U.S.A. Tour, "Rosalita" was dropped from the show, not to reappear. Springsteen biographer Dave Marsh said this was done to "disrupt the ritual expectations of the fanatic fans [...] establishing through a burst of creativity just who was boss [...] he'd liberated the show from an albatross, a song that was too long and had long since stopped breathing."

For many years, "Rosalita" made only rare or sporadic appearances, leading to fans campaigning for the song to be played by holding banners or placards saying "Let Rosie Come Out Tonight!" during shows. Springsteen occasionally granted the wish, though, such as during the last show of the above-mentioned tour in 1985 at the Los Angeles Memorial Coliseum, or on most of the quick American leg of the 1988 Tunnel of Love Express (it was dropped before the end, and did not appear on the European leg), or on the last night of a 15-show stand at the Continental Airlines Arena in New Jersey on the Reunion Tour in 1999. Finally, during the U.S. outdoor stadium portion of The Rising Tour in Summer 2003, "Rosalita" was inserted into the encores and was played in all 33 of those shows.

During the 2007–2008 Magic Tour, the song made sporadic appearances, sometimes in reaction to audience signs requesting it. On the July 4 show in Gothenburg, Van Zandt brought back the famous "double-mike" ditty he and Springsteen used to do in the 1970s with the song's chorus. "Rosalita" continued to make sporadic appearances as the final encore during the 2009 Working on a Dream Tour. Beginning with the Wrecking Ball tour, the song became a regular part of encores.

title: Rosalita (Come Out Tonight)


text:
Gaeltacht

A Gaeltacht (, , pl. Gaeltachtaí) is a district of Ireland, either individually or collectively, where the Irish government recognises that the Irish language is the predominant vernacular, or language of the home. The Gaeltacht districts were first officially recognised during the 1920s in the early years of the Irish Free State, following the Gaelic revival, as part of a government policy aimed at restoring the Irish language.

The Gaeltacht is threatened by serious language decline. Research published in 2015 showed that Irish is spoken on a daily basis by two-thirds or more of the population in only 21 of the 155 electoral divisions in the Gaeltacht. Daily language use by two-thirds or more of the population is regarded by some academics as a tipping point for language survival.

History

In 1926, the official Gaeltacht was designated as a result of the report of the first Gaeltacht Commission Coimisiún na Gaeltachta. The exact boundaries were not defined. At the time, an area was classified as Gaeltacht if 80% or more of the population was Irish-speaking; however, partial-Gaeltacht status was also accorded to many areas that did not meet the threshold, so long as they were at least 25% Irish-speaking. The Irish Free State recognised that there were predominantly Irish-speaking or semi-Irish-speaking districts in 7 of its 26 counties, covering 22 districts.

In the 1950s, another Gaeltacht Commission concluded that the Gaeltacht boundaries were ill-defined. It recommended that Gaeltacht status be based solely on the strength of language use in an area.

In 1956, under the Ministers and Secretaries (Amendment) Act 1956, the position of Minister for the Gaeltacht (now the Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media) was created. The same legislation allowed the government to designate areas as being Gaeltacht districts. They were initially defined precisely and excluded many areas in which the number of Irish speakers had declined. Gaeltacht areas were recognised in seven of the state's 26 counties (nominally Donegal, Galway, Mayo, Kerry, and Waterford).

Since then, the Gaeltacht boundaries have been maintained with minor changes: the inclusion of An Clochán (Cloghane) and Cé Bhréanainn (Brandon) in County Kerry in 1974; the inclusion of a part of West Muskerry in County Cork (although the Irish-speaking population had decreased markedly from what it had been before the 1950s); and the inclusion of Baile Ghib (Gibstown) and Ráth Chairn (Rathcarran) in Meath in 1967.

21st century
A study in 2005 by the Educational Council for Gaeltacht and Irish-Medium Schools, said that Gaeltacht schools were facing a crisis. It forecast that, without support, few of them would be teaching in Irish in 20 years' time. This would threaten the future of the Gaeltacht. Parents felt that the educational system did not support their efforts to pass on Irish as a living language to their children. The study added that a significant number of Gaeltacht schools had switched to teaching in English, and others were wavering.

In 2002 the third Coimisiún na Gaeltachta stated in its report that the erosion of the use of Irish in the Gaeltacht was now such that it was only a matter of time before the Gaeltacht disappeared. In some areas, Irish had already ceased to be a community language. Even in the strongest Gaeltacht areas, current patterns of bilingualism were leading to the dominance of English. Policies implemented by the State and voluntary groups were having no effect.

The report recommended that a new language reinforcement strategy was required, one that had the confidence of the community itself. The Commission recommended, among many other things, that the boundaries of the official Gaeltacht should be redrawn. It also recommended a comprehensive linguistic study to assess the vitality of the Irish language in the remaining Gaeltacht districts.

The study was undertaken by Acadamh na hOllscolaíochta Gaeilge (part of the National University of Ireland, Galway). On 1 November 2007 Staidéar Cuimsitheach Teangeolaíoch ar Úsáid na Gaeilge sa Ghaeltacht ("A Comprehensive Linguistic Study of the Usage of Irish in the Gaeltacht") was published.

Concerning Gaeltacht boundaries, it suggested creating three linguistic zones within the Gaeltacht region:
 * A – more than 67% daily Irish speaking – Irish dominant as the community language
 * B – 44%–66% daily Irish speaking – English dominant, with large Irish-speaking minority
 * C – less than 44% daily Irish speaking – English dominant, but with Irish-speaking minority much higher than the national average of Irish speaking

The report suggested that Category A districts should be the State's priority in providing services through Irish and development schemes. It also said that Category C areas that showed a further decline in the use of Irish should lose their Gaeltacht status.

The 2006 Census data shows that of the 95,000 people living within the official Gaeltacht, approximately 17,000 belonged to Category A areas, 10,000 to Category B, and 17,000 to Category C, leaving about 50,000 in Gaeltacht areas that did not meet the minimum criteria. In response to this situation, the government introduced the Gaeltacht Bill 2012. Its stated aim was to provide for a new definition of boundaries based on language criteria, but it was criticised for doing the opposite of this.

Critics drew attention to Section 7 of the Bill, which stated that all areas "currently within the Gaeltacht" would maintain their current Gaeltacht status, regardless of whether Irish was used. This status could only be revoked if the area failed to prepare a language plan (with no necessary relationship to the documented number of speakers). The Bill was also criticised for placing all responsibility for the maintenance of Irish on voluntary organisations, with no increase in government resources.

The annual report in 2012 by the Language Commissioner for Irish reinforced these criticisms by emphasising the failure of the State to provide Irish-language services to Irish speakers in the Gaeltacht and elsewhere. The report said that Irish in the Gaeltacht was now at its most fragile and that the State could not expect that Irish would survive as a community language if the State kept forcing the use of English on Gaeltacht communities.

A report published in 2015, Nuashonrú ar an Staidéar Cuimsitheach Teangeolaíoch ar Úsáid na Gaeilge sa Ghaeltacht: 2006–2011, said that on present indicators, Irish will cease to be used as a community language in the Gaeltacht within ten years.

Administration
The Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media, under the leadership of the Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media, is responsible for the overall Irish Government policy with respect to the Gaeltacht, and supervises the work of the Údarás na Gaeltachta and other bodies. RTÉ Raidió na Gaeltachta is the Raidió Teilifís Éireann (RTÉ) radio station serving the Gaeltacht and Irish speakers generally. TG4 is the television station which is focused on promoting the Irish language and is based in the County Galway Gaeltacht.

In March 2005, Minister for Community, Rural and Gaeltacht Affairs Éamon Ó Cuív announced that the government of Ireland would begin listing only the Irish language versions of place names in the Gaeltachtaí as the official names, stripping the official Ordnance Survey of their English equivalents, to bring them up to date with road signs in the Gaeltacht, which have been in Irish only since 1970. This was done under a Placenames Order made under the Official Languages Act.

Demographics

The 2022 census of the Republic of Ireland showed that the population of the Gaeltacht was 102,973, 2% of the total population; this figure represented an increase of 2% from 2016. 65,156 (66%) of the Gaeltacht population were Irish speakers.

The Gaeltacht districts have historically suffered from mass emigration. Being at the edge of the island they always had fewer railways and roads, and poorer land to farm. Other influences have been the arrival of non-Irish speaking families, the marginal role of the Irish language in the education system and general pressure from the English-speaking community. There is no evidence that periods of relative prosperity have materially improved the situation of the language.

Donegal Gaeltacht
The Donegal (or Tyrconnell) Gaeltacht ( or Gaeltacht Thír Chonaill) has a population of 23,346 (Census 2016) and represents 23.4% of the total Gaeltacht population. The Donegal Gaeltacht encompasses a geographical area of 1502 km². This represents 26% of total Gaeltacht land area. The three parishes of the Rosses, Gweedore and Cloughaneely constitute the main centre of population of the Donegal Gaeltacht. There are over 17,132 Irish speakers, 14,500 in areas where it is spoken by 30–100% of the population and 2,500 in areas where it is spoken by less than 30%. In 2006 there were 2,436 people employed in a full-time capacity in Údarás na Gaeltachta client companies in the Donegal Gaeltacht. This region is particularly popular with students of the Ulster dialect; each year thousands of students visit the area from Northern Ireland. Donegal is unique in the Gaeltacht regions, as its accent and dialect is unmistakably northern in character. The language has many similarities with Scottish Gaelic, which are not evident in other Irish dialects. Gweedore in County Donegal is the largest Gaeltacht parish in Ireland, which is home to regional studios of RTÉ Raidió na Gaeltachta. It has produced well-known traditional musicians, including the bands Altan and Clannad, as well as the artist Enya. All three have recorded music in Irish.

Galway Gaeltacht
The Galway County and Galway City  Gaeltachtaí have a combined population of 50,570 (2016) and represent 50.8% of total Gaeltacht population. The Galway Gaeltacht encompasses a geographical area of 1225 km². This represents 26% of total Gaeltacht land area.

There is also a third-level constituent college of National University of Ireland Galway (NUIG) called Acadamh na hOllscolaíochta Gaeilge in An Cheathrú Rua and Carna. The national Irish-language radio station Raidió na Gaeltachta is located in Casla, the Tuairisc online newspaper is in Barna, and the national television station TG4 is in Baile na hAbhann. Galway city is home to the Irish language theatre Taibhdhearc na Gaillimhe.

Kerry Gaeltacht
The Kerry Gaeltacht consists of two areas – the western half of Gaeltacht Corca Dhuibhne (Dingle Peninsula) and central and western parts of Iveragh Peninsula (Uíbh Ráthach). The largest settlement in Corca Dhuibhne is Dingle and the largest in Iveragh Peninsula is Ballinskelligs. The Kerry Gaeltacht has a population of 8,729 (6,185 Irish speakers) and represents 9% of total Gaeltacht population. The Kerry Gaeltacht encompasses a geographical area of 642 km².

Mayo Gaeltacht
The Mayo Gaeltacht as of 2011 has a total population of 10,886 and represents 11.5% of the total Gaeltacht population. The Mayo Gaeltacht encompasses a geographical area of 905 km². This represents 19% of the total Gaeltacht land area and comprises three distinct areas – Erris, Achill Island and Toormakeady. There are 6,667 Irish speakers, with 4,000 living in areas where the language is spoken by 30–100% of the population and 2,500 living in areas where it is spoken by less than 30%.

Cork Gaeltacht
The Cork Gaeltacht consists of two areas – Muskerry and Cape Clear Island. The Muskerry Gaeltacht has a population of 3,895 people (2,951 Irish speakers) and represents 4% of the total Gaeltacht population. The Cork Gaeltacht encompasses a geographical area of 262 km². This represents 6% of the total Gaeltacht area. The largest Muskerry settlements are the villages of Baile Mhic Íre (Ballymakeera), Baile Bhuirne (Ballyvourney), Cill na Martra (Kilnamartyra), and Béal Átha an Ghaorthaidh (Ballingeary).

Waterford Gaeltacht
The Waterford Gaeltacht (Gaeltacht na nDéise, )  is ten kilometres (six miles) west of Dungarvan. It embraces the parishes of Rinn Ua gCuanach (Ring) and An Sean Phobal (Old Parish). The Waterford Gaeltacht has a population of 1,784 people (1,271 Irish speakers) and represents 2% of total Gaeltacht population.

All education in Gaeltacht na nDéise is carried out through the medium of Irish. There are two Pre-schools, two Primary level national schools, one Secondary School, Meánscoil San Nioclás and Coláiste na Rinne, a private boarding school and summer college.

Meath Gaeltacht
The Meath Gaeltacht is the smallest Gaeltacht area and consists of the two villages of Ráth Cairn and Baile Ghib. Navan, 8 km from Baile Ghib, is the main urban centre within the region, with a population of more than 20,000. The Meath Gaeltacht has a population of 1,771 and represents 2% of the total Gaeltacht population. The Meath Gaeltacht encompasses a geographical area of 44 km². This represents 1% of the total Gaeltacht land area.

The Meath Gaeltacht has a history quite different from that of the country's other Irish speaking regions. The Ráth Cairn Gaeltacht was founded in 1935 when 41 families from Connemara in West Galway were resettled on land previously acquired by the Irish Land Commission. Each was given 9 ha to farm. Baile Ghib (formerly Gibbstown) was settled in the same way in 1937, along with Baile Ailin (formerly Allenstown). In the early years, a large percentage of the population returned to Galway or emigrated, but enough Irish speakers remained to ensure that Ráth Cairn and Baile Ghib were awarded Gaeltacht status in 1967. The original aim of spreading the Irish language into the local community met with no success, and the colonists had to become bilingual.

Revival and innovation
There are areas of Ireland, north and south, where an attempt is being made to re-establish Irish-speaking communities, with varying levels of success. Such areas are both urban and rural. Most daily speakers of Irish now live outside the existing Gaeltacht areas, and are particularly numerous in Dublin. In 2018 Foras na Gaeilge announced that Carn Tóchair in County Londonderry was going to be one of the first five Líonraí Gaeilge (areas with Irish-speaking networks) on the island of Ireland, along with Belfast, Loughrea in County Galway, Ennis in County Clare, and Clondalkin in Dublin.

Dublin
Dublin and its suburbs are reported to be the site of the largest number of daily Irish speakers, with 14,229 persons speaking Irish daily, representing 18 per cent of all daily speakers. In a survey of a small sample of adults who had grown up in Dublin and had completed full-time education, 54% of respondents reported some fluency in Irish, ranging from being able to make small talk to complete fluency. Only 19% of speakers spoke Irish three or more times per week, with a plurality (43%) speaking Irish less than once a fortnight.

There is an Irish-language centre Áras Chrónáin in Clondalkin and an Irish language GAA club Na Gaeil Óga CLG based in Lucan and the Phoenix Park.

County Dublin has over 50 Gaelscoileanna including 10 Gaelcholáistí.

Northern Ireland
In 2001, the British government ratified the European Charter for Regional or Minority Languages. Irish (in Northern Ireland) was specified under Part III of the Charter, giving it a status comparable to that of the Welsh language or Scottish Gaelic. This included undertakings in relation to education, translation of statutes, interaction with public authorities, the use of placenames, media access, support for cultural activities and other matters. Compliance with the state's obligations is assessed periodically by a Committee of Experts of the Council of Europe.

A language revival has also taken place in southern County Londonderry, centred on Slaghtneill (Sleacht Néill) and Carntogher (Carn Tóchair), both outside Maghera.

In 2022 the British Parliament passed the Identity and Language (Northern Ireland) Act 2022, which made Irish alongside English as the two official languages of Northern Ireland, it also repealed the 1737 ban of Irish in Northern Irish courts. In January of 2024 Irish was spoken for the first time in a Belfast court since the repeal of the act. This is the first time in nearly 300 years.

West Clare
Parts of County Clare were recognised as Gaeltacht areas following recommendations made by Coimisiún na Gaeltachta 1925. In 1956, however, it was decided that there were too few traditional speakers to justify the inclusion of Clare in the Official Gaeltacht. Since then there have been attempts to re-establish the language in the community, and it was claimed in 2012 that there were up to 170 people in County Clare who were daily speakers of Irish. The main activist group is Coiste Forbartha Gaeltachta Chontae an Chláir (The Gaeltacht Development Committee for County Clare), whose aim is to achieve Gaeltacht status for County Clare or for part of it.

North America
The Permanent North American Gaeltacht is an area in Tamworth, Ontario in Canada. It has no permanent residents but serves as a resource centre for Irish speakers throughout North America. It was officially opened in 2007.

Irish colleges
Irish colleges are residential Irish language summer courses that give students the opportunity to be totally immersed in the language, usually for periods of three weeks over the summer months. During these courses, students attend classes and participate in a variety of different activities games, music, art and sport. There are a number of different Irish colleges for students to choose from throughout the country. Many of the colleges while providing a number of activities and events for young people through the Irish language will be known for or specialise in a specific category. For example, Coláiste Lurgan is commonly known for its promotion of the Irish language through music, Coláiste Aodáin for water sports and team games, and others for GAA sports.

As with the conventional schools, the Department of Education sets out requirements for class sizes and qualifications required by teachers. Some courses are college-based and others provide for residence with host families in Gaeltacht areas, such as Ros Muc in Galway, Ráth Cairn in County Meath, and Teileann and Rann na Feirste in County Donegal, with instruction given by a bean an tí, or Irish-speaking landlady. Popular Irish colleges/Gaeltachts include: Spleodar, Colaiste Sheosaimh and Uisce. Most Irish language summer colleges for teenagers in the Gaeltacht are supported and represented by CONCOS, who are based in Leitir Móir.

title: Gaeltacht


text:
Munda, Solomon Islands

Munda is the largest settlement on the island of New Georgia in the Western Province of Solomon Islands, and consists of a number of villages. It is located at the southwestern tip (called Munda Point) of the western end of New Georgia, and the large Roviana Lagoon is just offshore.

Munda Point was originally the site of a coconut plantation established by Englishman Norman Wheatley, and then owned by Australian Lesley Gill.

History
The Colonial Office had appointed Charles Morris Woodford as the Resident Commissioner in the Solomon Islands on 17 February 1897. He was directed to control the labour trade operating in the Solomon Island waters and to stop the illegal trade in firearms. Arthur Mahaffy was appointed as the Deputy Commissioner to Woodford in January 1898. In January 1900, Mahaffy established a government station at Gizo, as Woodford considered Mahaffy’s military training as making him suitable for the role of suppressing headhunting in New Georgia and neighbouring islands. Mahaffy had a force of twenty-five police armed with rifles. The first target of this force was chief Ingava of the Roviana Lagoon who had been raiding Choiseul and Isabel and killing or enslaves hundreds  of people.

Mahaffy and the police officers under his command carried out a violent and ruthless suppression of headhunting, with his actions having the support of Woodford and the Western Pacific High Commission, who wanted to eradicate headhunting and complete a  “pacification” of the western Solomon Islands. Mahaffy seized and destroyed large war canoes (tomokos). One of which was used to transport the police officers.

The Methodist Mission in the Western Province was established by Rev. John Frances Goldie in 1902. He dominated the mission and gained the loyalty of Solomon Islander members of his church. The relationship with the colonial administrators of the British Solomon Island Protectorate were also fraught with difficulty, at this time due to Goldie's effective control over the Western Solomon Islands. From 1927 to 1934 Dr Edward Sayers worked at the Methodist mission where he established a hospital at Munda and also at Gizo and Vella Lavella, and carried out fieldwork in the treatment of malaria.

In November 1942, during World War II, the town became strategically important after Japanese forces built an airstrip (on the site of today's Munda Airport) to support Japanese forces fighting the Battle of Guadalcanal. A Japanese convoy put into Munda Point on 24 November 1942, and started construction under careful concealment from the air by means of rows of coconut palms suspended by cable. The airstrip was discovered by American planes on 3 December, and the first airstrikes were delivered by B-17 Flying Fortress bombers on 9 December. However, the Japanese were able to use Munda despite regular bombardment from both air and sea, and the Allies launched Operation Cartwheel in order to drive the Japanese out of the Solomons and ultimately eliminate the large Japanese base at Rabaul. The New Georgia Campaign was launched in late June, 1943 when mainly American but also Pacific Islander troops conducted the Landings on Rendova and several other amphibious operations throughout the New Georgia Group. The Allied forces spent July 1943 conducting the Drive on Munda Point, shelling and bombing Japanese forces in and around Munda Airfield, fighting off a large Japanese counterattack, and eventually closing in on Munda overland, capturing it on 4–5 August during the Battle of Munda Point. The heavy fighting left thousands dead on both sides and many more wounded.

Transport
Boats are the main method of coastal and inter-island transport. The airstrip from World War II was later converted into Munda Airport and is used commercially for daily flights land from Honiara, Setghe and Gizo, including services on Solomon Airlines.

Geography
Lambete, the largest village in Munda, today consists of a number of shops, a branch of the Bank of South Pacific (BSP), a post office, a telecommunications centre, a bakery, accommodations, the airstrip and a small port.

title: Munda, Solomon Islands


text:
Chanda and Munda

In Hinduism, in the Devi Mahatmya, Chanda and Munda are asuras (demons) in the service of demons Shumbha and Nishumbha. One day, they set their eyes upon Parvati and were overwhelmed by her beauty. They carried reports of this goddess to Shumbha. Shumbha desired to marry her. After the death of his lieutenant Dhumralochana at the hands of Devi, Shumbha sent Chanda and Munda to fight her, with orders to bring her to him by force. After Chanda and Munda approached the Devi, she turned black and Kali sprung from her forehead and killed them. Then, since she had slain Chanda and Munda, the Devi gave the name "Chamunda" to Kali. Afterwards, the demon Raktabīja was sent by the demons, but was also slain by Goddess Kali.

According to Skanda Purana Purana, Chanda and Munda also worshipped Surya.

title: Chanda and Munda


text:
Norðurmýri

Norðurmýri is a neighborhood of central Reykjavík, Iceland.

Norðurmýri has been the home of a number of artists and scholars. The Reykjavík Art Museum (Kjarvalsstaðir) is located nearby.

title: Norðurmýri


text:
Pieter van den Hoogenband

Pieter Cornelis Martijn van den Hoogenband (born 14 March 1978) is a Dutch retired swimmer. He is a triple Olympic champion and former world record holder.

Early life
Born in Maastricht, Limburg, he is the son of Cees-Rein van den Hoogenband and Astrid Verver, a former Dutch 800 m freestyle silver medalist at the European Junior Championships. He has a younger brother.

He grew up in Geldrop, where he swam for PSV Eindhoven. His father is a team doctor with the professional football team of the same club.

Russian swimmer and four-time Olympic gold medalist Alexander Popov was his role model.

Early career
In 1993, Van den Hoogenband achieved his first success, performing well on the European Youth Olympic Days. Before the Atlanta Games, Astrid van den Hoogenband, who was coaching the Dutch team, became frustrated with the swimmers representing the Netherlands, feeling they had much potential but would not be able to live up to it due to lack of adequate support. She pleaded with Cees to take action, as he carried much weight from his professional connections. After Astrid threatened to remove Pieter from the sport, Cees created a small foundation and signed up 20 initial sponsors who each paid $2,500 to fund a team trainer. The Dutch swimming team eventually signed contracts with Philips, Nike, and Speedo. Enough funds were raised to open a swim school in Eindhoven, Van den Hoogenband's place of residence. The team eventually grew to ten. Pieter remained the Netherlands' brightest star, and along with fellow Dutch Inge de Bruijn brought the Netherlands many victories in the sport.

Van den Hoogenband is the only swimmer in history who has managed to win both the 100–200 metre freestyle double at the Olympics and also repeat as 100 freestyle champion at the Olympics. His three Olympic gold are the only three won by a Dutch male pool swimmer.

1996 Olympics
Van den Hoogenband's international breakthrough came at the 1996 Summer Olympics in Atlanta. Only 18 years old, he exceeded the expectations of many by finishing 4th in both the 100 m and 200 m freestyle. He won the 50 m freestyle B final, and finished 5th in the 4×100 m freestyle relay, 7th in the 4×200 m freestyle relay, and 10th in the 4×100 m medley relay.

1998 World championships
At the 1998 World Aquatics Championships in Perth, Australia, Van den Hoogenband won bronze medal in the 200 metre freestyle and silver in the 4×200 m freestyle relay.

2000 Olympics
After winning 6 gold medals at the 1999 European Championships, Van den Hoogenband was one of the favourites at the 2000 Summer Olympics, but his adversaries were formidable. In the 200 m freestyle he faced the world record holder, Australian youngster Ian Thorpe, favourite of the home crowd in Sydney. In the semi-finals, Van den Hoogenband set a new world record, but Thorpe countered with a time only 0.02 s slower. In an exciting final, Van den Hoogenband equalled his time from the semi-finals to win the gold medal. In the 100 m freestyle, Van den Hoogenband again set a world record in the semi-finals and won his second gold medal, defeating the 1992 and 1996 champion, Alexander Popov. His 100 m world record stood until 21 March 2008 and was broken by France's Alain Bernard (47.60). Van den Hoogenband won two more medals, both bronze, in the 50 m freestyle and the 4×200 m freestyle relay, in which he was the final swimmer.

Van den Hoogenband was named Dutch sportsman of the year in 1999, 2000 and 2004, World Swimmer of the Year in 2000, and European Swimmer of the Year in 1999, 2000, 2002 and 2004.

2001 World championships
At the 2001 World Championships in Fukuoka, Japan, Van den Hoogenband won four silver medals in the 50 m, 100 m, 200 m freestyle events and 4×100 m freestyle relay.

2003 World Championships
At the 2003 World Championships in Barcelona he split a 46.70 in the medley relay which stood as the fastest 100 m freestyle split until it was topped in 2008 by the French relay veteran Frédérick Bousquet, at 46.63 seconds. Van den Hoogenbands' 46.70, however, remained as the fastest textile relay split until it was topped in 2015 by Cameron McEvoy of Australia. He had disappointing performances in both the 100 and 200 freestyle events though, finishing runner up to Alexander Popov and Ian Thorpe respectively, with considerably slow times. His times from previous meets in the past year, and earlier rounds of the championships, would have won both events. His winning time in the 200 freestyle at the 2002 European Championships was faster than Ian Thorpe's winning time at these Championships, but Pieter went about 2 whole seconds slower this time around. His time in the semis of the 100 freestyle at these Championships would have won the final of that event as well (won by Alexander Popov), and his 100 free relay split (with nearly a second gain from a rolling start) was 2 whole seconds faster.

2004 Olympics
At the 2004 Summer Olympics in Athens, he won a gold medal in the 100 m freestyle and two silvers in the 200 m freestyle and the 4 × 100 m freestyle relay, swimming the anchor leg in 46.79 which was the 2nd fastest split in history. By finishing ahead of Michael Phelps in both the 200 m freestyle and the 4×100 m freestyle relay, he is the only swimmer to ever beat Phelps twice in Olympic competition. While technically the second was a relay, his split was faster by a large margin, and the margin of beating the U.S. team by a far smaller one.

2007 World Championships
At the 2007 World Championships in Melbourne, Australia, Van den Hoogenband won a silver medal in the 200 m freestyle behind Michael Phelps.

He holds by a large margin the all-time record for most runner up finishes at the World Championships without winning.

2008 Olympics
Van den Hoogenband returned to the Olympic Games in 2008 in Beijing and finished fifth in the 100 m freestyle. He retired after the race. In the semifinals he broke his own national record that stood from 2000 Summer Olympics bringing it to 47.68 s.

In making the 100 m freestyle final, Van den Hoogenband became the first swimmer to make the finals in the same event four times.

In December of the same year, he announced his retirement.

Post-swimming career
Van den Hoogenband continues to swim recreationally and he remains active in the sports industry. He has served as a commentator for many swimming events, including the 2012 Summer Olympics. The swimming arena in the sporting centre of Eindhoven was named the "Pieter van den Hoogenband Zwemstadion".

Personal life
Van den Hoogenband was married to his longtime girlfriend Minouche Smit who is also a former swimmer. They have a daughter Daphne (born 23 June 2007) and a son Sander (born 13 September 2009). In September 2012 the couple announced their divorce. Then Van den Hoogenband dated Ranomi Kromowidjojo, also a multiple Olympic gold medalist. Their relationship ended in 2014. On 16 September 2016 Van den Hoogenband married Marie-José Crooijmans.

Despite a fierce rivalry, Van den Hoogenband is a good friend of Australian Ian Thorpe.

title: Pieter van den Hoogenband


text:
Camunda

Camunda provides a workflow and decision automation platform offering process orchestration capabilities to organizations of any size. Camunda Platform comes from years of research and development including open source initiatives.

Camunda Platform ships with tools for creating workflow and decision models, operating deployed models in production, and allowing users to execute workflow tasks assigned to them. It is developed in Java and released as source-available software; the Desktop Modeler is licensed under the MIT License, other components under proprietary licenses. Camunda is present in North and South America, Asia, and Europe.

It provides a Business Process Model and Notation (BPMN) standard compliant workflow engine and a Decision Model and Notation (DMN) standard compliant decision engine, which can be embedded in Java applications and with other languages via REST.

History
Camunda was founded by Jakob Freund and Bernd Rücker in 2008 as a business process management (BPM) consulting company. Over the next four years, Camunda built a consulting customer base of more than 250 customers.

On 18 March 2013, Camunda forked the Activiti project to launch Camunda BPM as an open-source project.

In 2017 and 2018, Camunda was named in Deloitte Technology Fast 500 EMEA. and in 2019 and 2020 was listed in Deloitte's Technology Fast 50 Germany.

In December 2018, Camunda raised €25 million in series A funding from Highland Europe.

In March 2021, Camunda raised €82 million in a series B funding round led by Insight Partners, along with series A investors Highland Europe.

In April 2022, Camunda released Camunda Platform 8, which incorporates Zeebe, a cloud-native workflow and decision engine.

Architecture
Camunda Platform is a lightweight, Java-based framework. It can be used as a standalone process engine server or embedded inside custom Java applications. It offers non-Java developers a REST API and dedicated client libraries to build applications connecting to a remote workflow engine.

Features
The Camunda Modeler desktop application allows developers to create and edit BPMN process diagrams and DMN decision tables. Created files are deployed in the Camunda Engines, which use a BPMN parser to transform BPMN 2.0 XML files, and DMN XML files, into Java Objects, and implements BPMN 2.0 constructs with a set of BPMN Behavior implementations.

Typical use cases for the Camunda BPMN Workflow Engine can be microservices orchestration and human task management.

The Camunda DMN Decision Engine executes business-driven decision tables. It is pre-integrated with the Workflow Engine but can be used as a stand-alone application via REST or inside Java applications.

Camunda’s additional web applications provide the following tools for developers and business users:

 * Operate: A tool for technical process operations enabling users to monitor workflows and decisions in production, to analyze and solve technical problems.

 * Tasklist: Allows end users to work on assigned tasks and provides additional visibility when using the Camunda Workflow Engine for human task management.

 * Optimize: An analytics and reporting tool to identify errors and bottlenecks in workflow processes.

 * Modeler: A collaborative modeling tool allowing multiple users to create, edit and specify BPMN process diagrams.

 * Console: Allows users to manage Camunda web applications or REST API users. Existing user management can be integrated via LDAP.

Clients
Camunda has been deployed in companies such as True Engineering 24 Hour Fitness, Royal Bank of Scotland, Lufthansa Technik, Zalando, NASA, Universal Music, AXA Insurance, Intuit, T-Mobile, Kühne + Nagel, Sparebank1 and Generali.

title: Camunda


text:
Chamunda

Chamunda (चामुण्डा, ), also known as Chamundeshwari, Chamundi or Charchika, is a fearsome form of Chandi, the Hindu mother goddess, Adi Parashakti and is one of the seven Matrikas.

She is also one of the chief Yoginis, a group of sixty-four or eighty-one Tantric goddesses, who are attendants of the warrior goddess Parvati. The name is a combination of Chanda and Munda, two demons whom Chamunda killed. She is closely associated with Kali, another fierce aspect of Parvati. She is identified with goddesses Parvati, Kali or Durga.

The goddess is often portrayed as residing in cremation grounds or near holy fig trees. The goddess is worshipped by ritual animal sacrifices along with offerings of wine. The practice of animal sacrifices has become less common with Vaishnavite influences.

Origins
Ramakrishna Gopal Bhandarkar says that Chamunda was originally a tribal goddess, worshipped by the tribals of the Vindhya mountains in central India. These tribes were known to offer goddesses animal as well as human sacrifices along with liquor. These methods of worship were retained in Tantric worship of Chamunda, after its assimilation into mainstream Hinduism. He proposes the fierce nature of this goddess is due to her association with Rudra (Shiva), identified with the fire god Agni at times. Wangu also backs the theory of the tribal origins of the goddess.

Iconography
The black- or red-coloured Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). She is described as having four, eight, ten or twelve arms, holding a Damaru (drum), trishula (trident), sword, snake, skull-mace (khatvanga), thunderbolt, a severed head and panapatra (drinking vessel) or skull-cup (kapala), filled with blood. She stands or sits upon the corpse of a man (shava or preta), a defeated demon or corpse. She is adorned with bones, skulls, and serpents. She also wears a Yajnopavita (sacred thread) of skulls. She wears a jata mukuta, that is, a headdress formed of piled, matted hair tied together with snakes or skull ornaments. Sometimes, a crescent moon is seen on her head. Her eye sockets are described as burning the world with flames. She is accompanied by evil spirits. She is also shown to be surrounded by skeletons, ghosts and beasts like jackals, who are shown eating the flesh of the corpse the goddess sits or stands on. The jackals and her fearsome companions are sometimes depicted as drinking blood from her skull-cup or the severed head she is holding, implying that Chamunda drinks the blood of the defeated enemies. This quality of drinking blood is a characteristic of all Matrikas, and Chamunda in particular. At times, she is depicted seated on an owl, her vahana (mount or vehicle), or a buffalo or Dhole. Her banner figures an eagle.

These characteristics, a contrast to the typical depictions of Hindu goddesses with full breasts and beautiful faces, symbolise the inevitability of old age, death, decay and destruction. Chamunda is often seen as a form of Kali. She appears as a frightening old woman, projecting fear and horror.

Legends
In Hindu scripture Devi Mahatmya, Chamunda emerged as Chandika Jayasundara from an eyebrow of goddess Kaushiki, a goddess created from "sheath" of Durga and was assigned the task of eliminating the demons Chanda and Munda, generals of demon kings Shumbha-Nishumbha. She fought a fierce battle with the demons, ultimately killing them.

According to a later episode of the Devi Mahatmya, Durga created Matrikas from herself and with their help slaughtered the demon army of Shumbha-Nishumbha. In this version, Kali is described as a Matrika who sucked all the blood of the demon Raktabīja, from whose blood drop rose another demon. Kali is given the epithet Chamunda in the text. Thus, the Devi Mahatmya identifies Chamunda with Kali.

In the Varaha Purana, the story of Raktabija is retold, but here each of Matrikas appears from the body of another Matrika. Chamunda appears from the foot of the lion-headed goddess Narasimhi. Here, Chamunda is considered a representation of the vice of tale-telling (pasunya). The Varaha Purana text clearly mentions two separate goddesses Chamunda and Kali, unlike Devi Mahatmya.

According to another legend, Chamunda appeared from the frown of the benign goddess Parvati to kill demons Chanda and Munda. Here, Chamunda is viewed as a form of Parvati.

The Matsya Purana tells a different story of Chamunda's origins. She with other matrikas was created by Shiva to help him kill the demon Andhakasura, who has an ability - like Raktabīja - to generate from his dripping blood. Chamunda with the other matrikas drinks the blood of the demon ultimately helping Shiva kill him. Ratnakara, in his text Haravijaya, also describes this feat of Chamunda, but solely credits Chamunda, not the other matrikas of sipping the blood of Andhaka. Having drunk the blood, Chamunda's complexion changed to blood-red. The text further says that Chamunda does a dance of destruction, playing a musical instrument whose shaft is Mount Meru, the string is the cosmic snake Shesha and gourd is the crescent moon. She plays the instrument during the deluge that drowns the world.

Association with Matrikas
Chamunda is one of the saptamatrikas or Seven Mothers. The Matrikas are fearsome mother goddesses, abductors and eaters of children; that is, they were emblematic of childhood pestilence, fever, starvation, and disease. They were propitiated in order to avoid those ills, that carried off so many children before they reached adulthood. Chamunda is included in the Saptamatrika (seven Matrikas or mothers) lists in the Hindu texts like the Mahabharata (Chapter 'Vana-parva'), the Devi Purana and the Vishnudharmottara Purana. She is often depicted in the Saptamatrika group in sculptures, examples of which are Ellora and Elephanta caves. Though she is always portrayed last (rightmost) in the group, she is sometimes referred to as the leader of the group. While other Matrikas are considered as Shaktis (powers) of male divinities and resemble them in their appearance, Chamunda is the only Matrika who is a Shakti of the great Goddess Devi rather than a male god. She is also the only Matrika who enjoys independent worship of her own; all other Matrikas are always worshipped together.

The Devi Purana describe a pentad of Matrikas who help Ganesha to kill demons. Further, sage Mandavya is described as worshipping the Māṭrpaňcaka (the five mothers), Chamunda being one of them. The mothers are described as established by the creator god Brahma for saving king Harishchandra from calamities. Apart from usual meaning of Chamunda as slayer of demons Chanda and Munda, the Devi Purana gives a different explanation: Chanda means terrible while Munda stands for Brahma's head or lord or husband.

In the Vishnudharmottara Purana - where the Matrikas are compared to vices - Chamunda is considered as a manifestation of depravity. Every matrika is considered guardian of a direction. Chamunda is assigned the direction of south-west.

Chamunda, being a Matrika, is considered one of the chief Yoginis, who are considered to be daughters or manifestations of the Matrikas. In the context of a group of sixty-four yoginis, Chamunda is believed to have created seven other yoginis, together forming a group of eight. In the context of eighty-one yoginis, Chamunda heads a group of nine yoginis.

Worship
A South Indian inscription describes ritual sacrifices of sheep to Chamunda. In Bhavabhuti's eighth century Sanskrit play, Malatimadhva describes a devotee of the goddess trying to sacrifice the heroine to Chamunda's temple, near a cremation ground, where the goddess temple is. A stone inscription at Gangadhar, Rajasthan, deals with a construction to a shrine to Chamunda and the other Matrikas, "who are attended by Dakinis" (female demons) and rituals of daily Tantric worship (Tantrobhuta) like the ritual of Bali (offering of grain).

Temples

 * In the Kangra district of Himachal Pradesh, around 10 km west of Palampur, is the renowned Chamunda Devi Temple which depicts scenes from the Devi Mahatmya, the Ramayana and the Mahabharata. The goddess's image is flanked by the images of Hanuman and Bhairava. Another temple, Chamunda Nandikeshwar Dham, also found in Kangra, is dedicated to Shiva and Chamunda. According to a legend, Chamunda was enshrined as chief deity "Rudra Chamunda", in the battle between the demon Jalandhara and Shiva.
 * In Gujarat, two Chamunda shrines are on the hills of Chotila and Parnera.
 * There are multiple Chamunda temples in Odisha. The 8th-century Baitala Deula is the most prominent of them, also being one of the earliest temples in Bhubaneswar. The Mohini temple and Chitrakarini temple in Bhubaneswar are also dedicated to Chamunda. Kichakeshwari Temple, near Baripada; and Charchika Temple, near Banki, enshrine forms of Chamunda.
 * Another temple is Chamundeshwari Temple on Chamundi Hill, Mysore. Here, the goddess is identified with Durga, who killed the buffalo demon, Mahishasura. Chamundeshwari or Durga, the fierce form of Shakti, a tutelary deity held in reverence for centuries by the Maharaja of Mysore.
 * The Chamunda Mataji temple in Mehrangarh Fort, Jodhpur, was established in 1460 after the idol of the goddess Chamunda — the Kuladevi and iṣṭa-devatā (tutelary deity) of the Parihar rulers — was moved from the old capital of Mandore by the then-ruler Jodha of Mandore. The goddess is still worshiped by the royal family of Jodhpur and other citizens of the city. The temple witnesses festivities in Dussehra: the festival of the goddess.
 * Another temple, Sri Chamundeshwari Kshetram is near Jogipet, in Medak District in Telangana State.
 * Sree Shakthan Kulangara temple is one of Chamundeshwari temples. It is located in Koyilandy, Kozhikode District in Kerala.
 * One Chamunda Mata temple is situated in Dewas, Madhya Pradesh, It is situated on a hill top named Tekri above 300 feet. Chamunda Mata in Dewas is also called Choti Mata (the younger sister of Tulja mata, situated at the same hill top).

In Buddhism
In Vajrayana Buddhism, Chamunda is associated with Palden Lhamo. She is seen as a wrathful form of Kali and is a consort of Mahakala and protectress of the Dalai Lama and Panchen Lama of the Gelug school.

In Jainism
Early Jains were dismissive of Chamunda, the goddess who demands blood sacrifice - which is against the primary principle of Ahimsa of Jainism. Some Jain legends portray Chamunda as a goddess defeated by Jain monks like Jinadatta, Jinaprabhasuri. However, the most popular legend is of Ratnaprabhasuri.

Another Jain legend tells the story of conversion of Chamunda into a Jain goddess. According to this story, Chamunda sculpted the Mahavir image for the temple in Osian and was happy with the conversions of Hindu to Jainism and the subsequent renaming of their clan to Oswal. At the time of Navaratri, a festival that celebrates the Hindu Divine Mother, Chamunda expected animal sacrifices from Jains. The Jains, however, were unable to meet her demand. Jain monk Ratnaprabhasuri intervened and preached her, and as a result, Chamunda accepted vegetarian offerings, forgoing her demand for meat and liquor. Ratnaprabhasuri further named her Sacciya, one who had told the truth, as Chamunda had told him the truth that a rainy season stay in Osian was beneficial for him. She also became the protective goddess of the temple and remained the clan goddess of the Osvals. The Sachiya Mata Temple in Osian was built in her honour by Jains. Some Jain scriptures warn of dire consequences of worship of Chamunda by the Hindu rites and rituals. Many Kshatriyas and even the Jain community worship her as her Kuladevi and samyaktvi demi-goddess as per Jain rituals.

title: Chamunda