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Bainite

Bainite is a plate-like microstructure that forms in steels at temperatures of 125–550 °C (depending on alloy content). First described by E. S. Davenport and Edgar Bain, it is one of the products that may form when austenite (the face-centered cubic crystal structure of iron) is cooled past a temperature where it is no longer thermodynamically stable with respect to ferrite, cementite, or ferrite and cementite. Davenport and Bain originally described the microstructure as being similar in appearance to tempered martensite.

A fine non-lamellar structure, bainite commonly consists of cementite and dislocation-rich ferrite. The large density of dislocations in the ferrite present in bainite, and the fine size of the bainite platelets, makes this ferrite harder than it normally would be.

The temperature range for transformation of austenite to bainite (125–550 °C) is between those for pearlite and martensite. In fact, there is no fundamental lower limit to the bainite-start temperature. When formed during continuous cooling, the cooling rate to form bainite is more rapid than that required to form pearlite, but less rapid than is required to form martensite (in steels of the same composition). Most alloying elements will retard the formation of bainite, though carbon is the most effective in doing so. Aluminium or cobalt are exceptions in that they can accelerate the decomposition of austenite and raise the transformation temperature.

The microstructures of martensite and bainite at first seem quite similar, consisting of thin plates which in low-alloy steels cluster together. This is a consequence of the two microstructures sharing many aspects of their transformation mechanisms. However, morphological differences do exist that require a transmission electron microscope to see. Under a light microscope, the microstructure of bainite appears darker than untempered martensite because the bainite has more substructure.

The hardness of bainite can be between that of pearlite and untempered martensite in the same steel hardness. The fact that it can be produced during both isothermal or continuous cooling is a big advantage, because this facilitates the production of large components without excessive additions of alloying elements. Unlike martensitic steels, alloys based on bainite often do not need further heat treatment after transformation in order to optimise strength and toughness.

History
In the 1920s Davenport and Bain discovered a new steel microstructure which they provisionally called martensite-troostite, due to it being intermediate between the already known low-temperature martensite phase and what was then known as troostite (now fine-pearlite). This microstructure was subsequently named bainite by Bain's colleagues at the United States Steel Corporation, although it took some time for the name to be taken up by the scientific community with books as late as 1947 failing to mention bainite by name.

Bain and Davenport also noted the existence of two distinct forms: 'upper-range' bainite which formed at higher temperatures and 'lower-range' bainite which formed near the martensite start temperature (these forms are now known as upper- and lower-bainite respectively). The early terminology was further confused by the overlap, in some alloys, of the lower-range of the pearlite reaction and the upper-range of the bainite with the additional possibility of proeutectoid ferrite.

Formation

Above approximately 900 °C a typical low-carbon steel is composed entirely of austenite, a high-temperature phase of iron that has a cubic close-packed crystal structure. On cooling, it tends to transform into a mixture of phases, ferrite and cementite, depending on the exact chemical composition. A steel of eutectoid composition will under equilibrium conditions transform into pearlite – an interleaved mixture of ferrite and cementite (Fe3C). In addition to the thermodynamic considerations indicated by the phase diagram, the phase transformations in steel are heavily influenced by the chemical kinetics. This is because the diffusion of iron atoms becomes difficult below about 600 °C under typical processing conditions. As a consequence, a complex array of microstructures occurs when the atomic mobility is limited. This leads to the complexity of steel microstructures which are strongly influenced by the cooling rate. This can be illustrated by a continuous cooling transformation (CCT) diagram which plots the time required to form a phase when a sample is cooled at a specific rate thus showing regions in time-temperature space from which the expected phase fractions can be deduced for a given thermal cycle.

If the steel is cooled slowly or isothermally transformed at elevated temperatures, the microstructure obtained will be closer to equilibrium, containing for example of allotriomorphic ferrite, cementite and pearlite. However, the transformation from austenite to pearlite is a time-dependent reconstructive reaction which requires the large scale movement of the iron and carbon atoms. While the interstitial carbon diffuses readily even at moderate temperatures the self-diffusion of iron becomes extremely slow at temperatures below 600 °C until, for all practical purposes, it stops. As a consequence, a rapidly cooled steel may reach a temperature where pearlite can no longer form despite the reaction being incomplete and the remaining austenite being thermodynamically unstable.

Austenite that is cooled sufficiently rapidly to avoid higher temperature transformations, can form martensite, without any diffusion of either iron or carbon, by the deformation of the austenite's face-centred crystal structure into a distorted body-centred tetragonal or body-centred cubic structure. This non-equilibrium phase can only form at low temperatures, where the driving force for the reaction is sufficient to overcome the considerable lattice strain imposed by the transformation. The transformation is essentially time-independent with the phase fraction depending only the degree of cooling below the critical martensite start temperature. Further, it occurs without the diffusion of either substitutional or interstitial atoms and so martensite inherits the composition of the parent austenite.

Bainite occupies a region between these two process in a temperature range where iron self-diffusion is limited but there is insufficient driving force to form martensite. The bainite, like martensite, grows without diffusion but some of the carbon then partitions into any residual austenite, or precipitates as cementite. A further distinction is often made between so-called lower-bainite, which forms at temperatures closer to the martensite start temperature, and upper-bainite which forms at higher temperatures. This distinction arises from the diffusion rates of carbon at the temperature at which the bainite is forming. If the temperature is high then the carbon will diffuse rapidly away from the newly formed ferrite and form carbides in the carbon-enriched residual austenite between the ferritic plates leaving them carbide-free. At low temperatures the carbon will diffuse more sluggishly and may precipitate before it can leave the bainitic ferrite. There is some controversy over the specifics of bainite's transformation mechanism; both theories are represented below.

Displacive theory
One of the theories on the specific formation mechanism for bainite is that it occurs by a shear transformation, as in martensite. The crystal structure change is achieved by a deformation rather than by diffusion. The shape change associated with bainite is an invariant—plane strain with a large shear component. This kind of deformation implies a disciplined motion of atoms (rather than a chaotic transfer associated with diffusion), and is typical of all displacive transformations in steels, for example, martensite, bainite and Widmanstaetten ferrite. There is a strain energy associated with such relief, that leads to the plate shape of the transformation product Any diffusion is subsequent to the diffusionless transformation of austenite, for example the partitioning of carbon from supersaturated bainitic ferrite, or the precipitation of carbides; this is analogous to the tempering of martensite.

There are many features of bainite that are correctly predicted by this theory, including:
 * the plate shape, which is a consequence of the minimisation of strain energy due to the shape deformation accompanying transformation.
 * The fact that excess carbon is retained inside the even defect-free regions of bainitic ferrite.
 * The fact that the unit cell of bainitic ferrite can be tetragonal rather than cubic.
 * The fact that the bainite transformation can be dramatically retarded when the austenite is first plastically deformed, a phenomenon known as mechanical stabilisation, which is unique to displacive transformations.
 * The obvious fact that displacements occur when bainite grows. The transformation is a combination of deformation and crystal structure change, just like martensite.

Diffusive theory
The diffusive theory of bainite's transformation process is based on the assumption that a bainitic ferrite plate grows with a similar mechanism as Widmanstätten ferrite at higher temperatures. Its growth rate thus depends on how rapidly carbon can diffuse from the growing ferrite into the austenite. A common misconception is that this mechanism excludes the possibility of coherent interfaces and a surface relief. In fact it is accepted by some that formation of Widmanstätten ferrite is controlled by carbon diffusion and do show a similar surface relief.

Morphology
Typically bainite manifests as aggregates, termed sheaves, of ferrite plates (sub-units) separated by retained austenite, martensite or cementite. While the sub-units appear separate when viewed on a 2-dimensional section they are in fact interconnected in 3-dimensions and usually take on a lenticular plate or lath morphology. The sheaves themselves are wedge-shaped with the thicker end associated with the nucleation site.

The thickness of the ferritic plates is found to increase with the transformation temperature. Neural network models have indicated that this is not a direct effect of the temperature per se but rather a result of the temperature dependence of the driving force for the reaction and the strength of the austenite surrounding the plates. At higher temperatures, and hence lower undercooling, the reduced thermodynamic driving force causes a decrease in the nucleation rate which allows individual plates to grow larger before they physically impinge on each other. Further, the growth of the plates must be accommodated by plastic flow in the surrounding austenite which is difficult if the austenite is strong and resists the plate's growth.

Upper bainite
"Upper bainite" forms around 400–550 °C in sheaves. These sheaves contain several laths of ferrite that are approximately parallel to each other and which exhibit a Kurdjumov-Sachs relationship with the surrounding austenite, though this relationship degrades as the transformation temperature is lowered. The ferrite in these sheaves has a carbon concentration below 0.03%, resulting in carbon-rich austenite around the laths.

The amount of cementite that forms between the laths is based on the carbon content of the steel. For a low carbon steel, typically discontinuous "stringers" or small particles of cementite will be present between laths. For steel with a higher carbon content, the stringers become continuous along the length of the adjacent laths.

Lower bainite
Lower bainite forms between 250 and 400 °C and takes a more plate-like form than upper bainite. There are not nearly as many low angle boundaries between laths in lower bainite. In lower bainite, the habit plane in ferrite will also shift from  towards as transformation temperature decreases. In lower bainite, cementite nucleates on the interface between ferrite and austenite.

Incomplete transformation
In the present context, "incomplete transformation" refers to the fact that in the absence of carbide precipitation, the bainite reaction stops well before the austenite reaches its equilibrium or paraequilibrium chemical composition. It stops at the point where the free energies of austenite and ferrite of identical composition become the same, i.e. transformation without a change in chemical composition of the participating phases becomes thermodynamically impossible.

Early research on bainite found that at a given temperature only a certain volume fraction of the austenite would transform to bainite with the remainder decomposing to pearlite after an extended delay. This was the case despite the fact that a complete austenite to pearlite transformation could be achieved at higher temperatures where the austenite was more stable. The fraction of bainite that could form increased as the temperature decreased. This was ultimately explained by accounting for the fact that when the bainitic ferrite formed the supersaturated carbon would be expelled to the surrounding austenite thus thermodynamically stabilising it against further transformation.

Difference between martensite and bainite
Bainite can essentially be regarded as martensite that tempers during the course of transformation. It forms at a higher temperature than martensite, and even the latter can autotemper. Because the transformation temperature is higher, the austenite itself is mechanically weak so that the shape deformation due to bainite is relaxed by the plastic deformation of the adjacent austenite. As a consequence, the growing plate of bainite is confronted by a forest of dislocations that eventually terminates its growth even before the plate has hit an austenite grain boundary. Plates of bainite can therefore be smaller than those of martensite in the same steel. The transformation then proceeds by a sub-unit mechanism involving the successive nucleation of new plates.

Applications
With increasing bainite content in steel, the hardness, yield and tensile strength remain almost constant for bainite content up to 50%, and then increase by ca. 30%. Hence meter-size shafts and plates of high-bainite steels have been commercially mass-produced by Rolls-Royce Holdings and Tata Steel.

In the railway industry, bainite steel is commonly alloyed with vanadium to produce rails of very high strength, with good wear and rolling contact fatigue resistance. Bainite rails fabricated by Corus were installed in the Channel Tunnel in 2006, and after 3 years showed no evidence of the cracks found in standard rails of the same age.

title: Bainite


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IMovie

iMovie is a free video editing application made by Apple for the Mac, the iPhone, and the iPad. It includes a range of video effects and tools like color correction and image stabilization, but is designed to be accessible to users with little or no video editing experience. iMovie's professional equivalent is Apple's Final Cut Pro X.

iMovie was originally released in 1999 for Mac OS 8, and bundled with the iMac DV. With version 3, iMovie became part of Apple's now-defunct iLife suite, alongside other multimedia apps. iMovie '08 was a complete rewrite, and lacked many of the features of previous versions, which returned in iMovie '09 and iMovie '11. The iOS version of iMovie came out in 2010.

iMovie is pre-installed on all new Macs, iPhones, and iPads, and is available for free on the App Store.

iMovie (1999)
The first version of iMovie was released in 1999 as a Mac OS 8 application bundled with the first FireWire-enabled consumer Mac model, the iMac DV. Both iMovie and the iMac DV were announced at Apple's special event on October 5, 1999 at the Flint Center.

iMovie 2 (2001)
iMovie 2 added the ability to interleave video and audio tracks on the timeline.

iMovie 3 (2003)
iMovie 3 was plagued by performance issues and bugs.

iMovie 4 (2004)
iMovie 4 introduced nondestructive video editing. In prior versions of iMovie, trimming a clip removed the trimmed portion permanently. Beginning in version 4, iMovie introduced Direct Trimming, implementing editing functionality closer to professional-grade editing software.

iMovie HD 5 (2005)
Beginning with version 5, iMovie was renamed to iMovie HD, to highlight its new support for HDV (720p and 1080i) camcorders. It gained features to integrate it with the rest of the iLife suite, with toolbox buttons allowing the importing of images from iPhoto, music from iTunes and the setting of chapter markers ready for exporting to iDVD. iMovie HD 5 imported MJPEG files as DV by default, which introduces noise; MJPEG files are cryptically lumped with "iSight" files in this version.

It gained the "Magic iMovie" feature, which attempted to automate the whole process of video editing, by allowing a common transition to be added between scenes, a music track to be synchronised with the video and a DVD to be created with the accompanying iDVD software.

Later versions added support for footage from AVCHD camcorders, and H.264-compressed video from MPEG-4 or QuickTime File Format files (.mov), as generated by a number of digital photo cameras with HD video recording feature. To facilitate this, iMovie includes the Apple Intermediate Codec on the system as a QuickTime component. iMovie transcodes HD video upon import using this codec and stores it in the QuickTime file format.

iMovie HD 6 (2006)
iMovie 6 was released in January 2006 as part of the iLife '06 suite, and was also originally optionally included with iLife '08 as a substitution for iMovie '08 (due to the new version's incompatibility with older Power PC Macintosh computers). However, this option was removed after iLife '09 was released. It was integrated with iPhoto, iTunes, iDVD, GarageBand and iWeb. iMovie HD 6 was designed for ease of use, and included new themes. Themes allow the user to drop movie clips or photos into professionally designed backdrops. Each theme included full-motion graphic bumpers and transitions. iMovie HD 6 also added real-time effects, which took advantage of the computer's graphics processing unit to perform some effects without rendering. It also introduced real-time titling, enhanced audio tools and effects, the ability to have multiple projects open at once, video podcasts and blogs (using integration with iWeb), and a refined look based on iTunes 5 and 6.

iMovie '08 (2007)
iMovie '08 (version 7.0) was released in August 2007 as a part of the iLife '08 suite. iMovie '08 was a complete redesign and rewrite of iMovie. It had much better HD output, and more formats to convert to. This was limited, however, by an undocumented restriction on supported codecs. iPhoto uses the QuickTime library and can create thumbnails for all QuickTime supported formats, but most of these cannot be used by iMovie '08. Some of the formats that iMovie '08 was able to import will not be recognized when they are added to an iPhoto library. Motion JPEG-encoded AVI files were recognized, and were the most common format used by digital cameras. A new feature called "skimming" for quickly previewing video in the library at a user controlled speed was added, and so was a feature that allows the user to highlight parts of video clips just like highlighting text. iMovie 08 also had the ability to add more than two layers of background sound, including multiple music, narration and sounds; previous versions could play multiple tracks but could display only two extra audio tracks. It included more exportation formats, including iPhone-sized video. It also supported non-tape-based HD video, such as AVCHD and footage from DVD and HDD camcorders. iMovie '08 also had the ability to export movies to the YouTube video sharing website.

iMovie 08 was criticized due to its drastic abandonment of some iMovie HD 6 features. Former New York Times reviewer David Pogue said "iMovie '08 is an utter bafflement... incapable of the more sophisticated editing that the old iMovie made so enjoyable...All visual effects are gone — even basic options like slow motion, reverse motion, fast motion, and black-and-white. And you can't have more than one project open at a time." Features removed included the classic timeline, the ability to create DVD chapter markers, support for plugins, and in-timeline audio adjustment and control. iMovie '08 imported a much more limited set of video codecs and metadata formats than previous versions of iMovie or the then-current version QuickTime Player. For example, QuickTime Player could be extended to support the FLIP Video 3ivx MPEG-4 codec, but iMovie '08 could not. iMovie '08 also removed the ability to import DV footage. As a result, all resulting videos had lossy compression applied and there was no facility for managing full format video. The peculiar lack of QuickTime support means QuickTime Pro could edit a larger range of video than iMovie '08.

Apple released iMovie HD 6 as a free download to those who had purchased iMovie '08. However, in response to the release of the subsequent newer version of iMovie '09, Apple removed the download in late January 2009 while also reducing the $299 price tag for Final Cut Express to $199. Several of the features removed from iMovie '08 that were previously included with iMovie HD 6 have been restored into iMovie '09 and, more recently, iMovie '11.

iMovie '09 (2009)
iMovie '09 (version 8.0) was released January 2009 as part of the iLife '09 package. It introduced some new features and restored some features from previous versions of iMovie, including basic video effects (such as fast/slow motion and aged film) and image stabilization as well as travel map functions for marking locations where a video was shot. iMovie '09 also introduced simple implementations of more advanced features such as picture-in-picture and Chroma keying. It also improved editing with a precision cut editor and a clip trimmer, improved support for hard drive-based cameras such as the Flip Mino, added some new titles and transitions, and added full iDVD support (which was unavailable in iMovie '08). In addition, it introduced a Full-Screen Library Browser with which the user can find and examine all of his or her video in one place.

iMovie '11 (2010)
iMovie '11 (version 9.0) was released on October 20, 2010, as part of the iLife '11 package. It has the ability to make trailers for home movies, more control over audio, instant replay and flash and hold effects, facial recognition, news themes, and the ability to watch the video on a Mac, iPad, iPhone/iPod touch, or Apple TV, as well as sharing on Facebook and YouTube. It now supports the AVCHD Lite format.

Apple worked with Abbey Road Studios in London, England, to bring original music/film scores to iMovie '11. The music is most notably used in the "trailers" feature provided by the software.

On January 6, 2011, Apple made iMovie '11 (along with Aperture, the iWork suite, and the rest of the iLife suite) available on the newly-released Mac App Store.

Prior versions of iMovie had the ability to split an event so that the unwanted portion of a long event could be deleted in order to save memory. This feature was removed in iMovie '11 and is no longer available in iMovie or Final Cut Pro X (FCPX). But in FCPX, as a workaround, you can cut out all but the desired part of a project, export that project in ProRes 422 format, and then import that export. This can be used as a smaller source clip instead of the original larger one.

iMovie 10.x (2013–present)
iMovie 10.0 was released on October 22, 2013, by Apple Inc. This version of iMovie was a complete redesign with more options to share a movie, more movie and trailer theme options from iMovie for iOS, easier to make picture-in-pictures, cutaways, side-by-sides etc., more realistic green-screen effects and easier refinements. Because it was not compatible with projects created with iMovie 9, upgrading to iMovie 10 did not replace the earlier version, but instead moved it to a folder where it could still be used.

iMovie 10.1 was released on October 13, 2015. It added support for 4K video editing and included a major user interface overhaul, as well as the removal of some peripheral features. Later updates to iMovie 10.1 fixed bugs and made incremental changes. Versions 10.1.12 and 10.1.16 work on OS X Catalina 10.15.7.

iMovie 10.2, released on November 12, 2020, became natively compatible with Apple silicon Macs, and added new backgrounds. Versions 10.2.3 and 10.2.5 work on OS X Catalina 10.15.7.

iMovie 10.3 and later updates added support for Cinematic Mode, Magic Movie and Storyboard, and made performance improvements. Versions 10.3 and above require macOS 11 Big Sur.

Features and capabilities
iMovie includes options to modify and enhance video color settings, crop and rotate of a video clip, stabilize shaky videos, add video transitions (such as fade, doorway, slide, swap, mosaic, cube, and page curls), and changing the speed (speed up or slow down) of clips. There are multi-clip video effects, such as creating a cutaway, using a green/blue screen to cut out a subject and replace the background with a different clip, creating a split-screen, and picture-in-picture effect.

iMovie contains a large number of built-in sound effects, and also has the ability to record a voiceover or add a music soundtrack. It also has the ability to manipulate and enhance the audio of a project by reducing background noise and boosting audio levels of quiet clips.

iMovie projects can export finished movies or clips to QuickTime file format (.mp4), or export single frames as JPEGs.

With iMovie having versions on Apple's mobile and desktop operating systems Apple introduced a feature which allowed users to import iMovie projects from iOS to macOS. Similarly, if a project ends up requiring more advanced editing than iMovie can provide, iMovie projects can be imported in Final Cut Pro X.

Trailers
iMovie allows for the creation of movie trailers through included templates. The trailers feature in iMovie allows for clips to be easily dropped into the timeline which consists of storyboard panes which have a label that lists which type of clip should be placed in each pane. The template also includes an outline for adding titles and credits to the trailer.

App previews
iMovie can be used to create app previews for use in Apple's App Store. App previews allow developers to give users a brief overview of an app through video rather than images.

Supported media formats
macOS Mojave is the last version of macOS to offer built-in compatibility with many older media codecs, including RealVideo, DivX, Sorenson 3, and FlashPix. Support for these codecs had been implemented in 32-bit macOS components, which Apple did not update to 64-bit, and removed entirely in macOS Catalina. In March 2019, seven months before Catalina's release, Apple released an iMovie update that notified users about the change, and automatically converted these older formats to newer codecs.

iOS and iPadOS version
At WWDC 2010, Steve Jobs announced that iMovie would be released on iOS later that month, with the basic features of the Mac version. The first iPhone version was released on June 23, 2010 and was only compatible with the simultaneously-released iPhone 4, the first iPhone that could record HD video. It was released for the iPad on March 11, 2011, to coincide with the release of the iPad 2.

iMovie gained support for 4K resolution in version 2.2, switched to using the Metal graphics API in version 2.2.5, external displays in version 2.2.6, and green screen effects in version 2.2.7.

iMovie 3, released in April 2022, gained pre-made templates, called Storyboards, to simplify the movie creation process, and the Magic Movie feature, which automatically adds transitions to clips and combines them into a finished video.

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

title: IMovie


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Talk:MetaPost

I noticed that MetaPost is sometimes not written in CamelCase (i.e. Metapost). Is this a mistake? - fagan

Hobby uses MetaPost in the User's Guide. He also says it is okay to use all caps METAPOST (in the logo tex font). I think the original wiki link I started editing was from the Metafont page, and it was first-caps only like the Metafont entry, so that kind of stuck in my writing of this page. Ideally, this should be fixed by relocating/renaming the page (and this talk:), and then Metapost should point to MetaPost AndrewKepert 06:45, 5 Aug 2003 (UTC)

Did 1,$s/Metapost/MetaPost/ AndrewKepert 02:21, 7 Aug 2003 (UTC)

Re: MetaPost vs metapost for the article name -- I have skimmed Wikipedia policies on CamelCase and Naming conventions and figured out that this could be handled via Redirects and Move page all of which impressed me no end (cool wiki implementation or what?) but have not been able to figure out whether this page should be Metapost or MetaPost. I am moving the page, so that MetaPost is the article and Metapost is the redirect. This is consistent with the current set-up for TeX, for which Tex is a redirect. AndrewKepert 03:13, 7 Aug 2003 (UTC)

makes sense to me - fagan

Compiler to MetaPost
I dunno if this is worth mentioning, but there is apparently a compiler of sorts from Haskell to MetaPost:. --Gwern (contribs) 01:21 10 September 2007 (GMT)

External links modified
Hello fellow Wikipedians,

I have just modified 4 external links on MetaPost. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070929092912/http://foundry.supelec.fr/projects/metapost/ to http://foundry.supelec.fr/projects/metapost/
 * Added archive https://web.archive.org/web/20070929092912/http://foundry.supelec.fr/projects/metapost/ to http://foundry.supelec.fr/projects/metapost/
 * Added archive https://web.archive.org/web/20081212090123/http://ect.bell-labs.com/who/hobby/MetaPost.shtml to http://ect.bell-labs.com/who/hobby/MetaPost.shtml
 * Added archive https://web.archive.org/web/20051217231314/http://cm.bell-labs.com/cm/cs/doc/92/2-21.ps.gz to http://cm.bell-labs.com/cm/cs/doc/92/2-21.ps.gz

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Cheers.— InternetArchiveBot  (Report bug) 13:20, 9 December 2017 (UTC)

title: Talk:MetaPost


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Bromochlorodifluoromethane

Bromochlorodifluoromethane (BCF), also referred to by the code numbers Halon 1211 and Freon 12B1, is a haloalkane with the chemical formula CF2ClBr. It is used for fire suppression, especially for expensive equipment or items that could be damaged by the residue from other types of extinguishers. It is stored as a liquid under pressure and vaporizes when discharged to suppress fires. The use of halons, including Halon 1211, has decreased over time due to their adverse impact on the ozone layer. Alternatives have been developed to mitigate environmental concerns while still providing effective fire suppression capabilities.

Use as a fire extinguishing agent
Brominated haloalkanes were first used during World War II in fire extinguishers for aircraft and tanks. BCF was introduced as an effective gaseous fire suppression agent in the mid-1960s for use around highly valuable materials in places such as museums, mainframe rooms, and telecommunication switching centers. BCFs were also widely used in the maritime industries in the engine rooms of ships and also in the transport industry in vehicles. Its efficiency as a fire extinguishing agent has also led it to be the predominant choice of fire extinguishing agent on commercial aircraft and is typically found in cylindrical hand-held canisters. Its advantages as a fire extinguishing agent are that it has lower toxicity than chemicals such as carbon tetrachloride and that since it is a covalently bonded compound, it does not form conductive ions, therefore being usable on electrical equipment.

BCF is an excellent fire extinguishing agent, as it is a streaming agent with low toxicity, a low pressure, liquefied gas, and effective on all common types of fires, A, B, and C. It is mainly used in portable and wheeled extinguishers, and small spot protection units for aviation and marine engine applications, and was never widely used in fixed systems like Halon 1301 was.

BCF has fairly low toxicity. The lethal concentration for 15 minute exposure is about 32%.

Synthesis
BCF is commercially synthesized in a two-step process from chloroform. Chloroform is fluorinated with hydrogen fluoride. The resulting chlorodifluoromethane is then reacted with elemental bromine at 400-600 °C, with reaction time limited to about 3 seconds. The overall yield is over 90%.

Regulation
The production of BCF and similar chlorofluorocarbons has been banned in most countries since January 1, 1994 as part of the Montreal Protocol on ozone depleting substances. Halon 1211 is also a potent greenhouse gas with a 100-year global warming potential 2,070 times that of carbon dioxide and an atmospheric lifetime of 16.0 years.

Recycling of Halon 1211 allows it to remain in use, although parts availability is limited to a few manufacturers and can be an issue. Halon 1211 is still widely used in the United States, despite its high cost, with the US military being the biggest user. Europe and Australia have banned its use for all but "critical applications" such as aviation, military, and police use. The manufacture of UL Listed halon 1211 extinguishers was supposed to cease on October, 2009. The future listing is still in discussion. Halotron I, the replacement extinguishing agent, requires a larger volume to get the same ratings as 1211.

title: Bromochlorodifluoromethane


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Close and open harmony

A chord is in close harmony (also called close position or close structure ) if its notes are arranged within a narrow range, usually with no more than an octave between the top and bottom notes. In contrast, a chord is in open harmony (also called open position or open structure ) if there is more than an octave between the top and bottom notes. The more general term spacing describes how far apart the notes in a chord are voiced. A triad in close harmony has compact spacing, while one in open harmony has wider spacing.

Close harmony or voicing can refer to both instrumental and vocal arrangements. It can follow the standard voice-leading rules of classical harmony, as in string quartets or Bach chorales, or proceed in parallel motion with the melody in thirds or sixths.

Vocal music
Origins of this style of singing are found in harmonies of the 1800s in America.

Early radio quartets continued this tradition. Female harmonists, like The Boswell Sisters ("Mood Indigo", 1933) and The Hamilton Sisters and Fordyce ("Who? You That's Who!", 1927), who then became Three X Sisters, performed and recorded this style in the 1920s, and continued it on commercial radio of the 1930s. Close harmony singing was especially popular in the 1940s with pop and R&B groups using the technique quite frequently. The Andrews Sisters also capitalized on a similar style with swing music.

Many gospel and soul groups in the 1950s and 60s also used this technique, usually 3- or 4-part SSAA or TTBB harmony with one person (either bass or lead) doing a call-and-response type lead. Examples of this are The Blind Boys of Alabama, a group that is still recording today. Artists like The Beatles and Simon & Garfunkel used close harmony, echoing their chosen role-models, The Everly Brothers. The Louvin Brothers were a duo that used close harmony in the genre of country music.

Barbershop harmony has a unique harmonic structure: the melody is in the 2nd tenor or "lead" voice, while the 1st tenor takes the next part up, usually in 3rds, with the baritone and bass voices supporting. The bass line tends to be more rhythmic and covers the root notes of the harmonic progression, providing more "support" and independence than in classical vocal music, since Barbershop is usually sung a cappella. Barbershop can be sung by people of any gender. Public domain pieces, such as "Sweet Adeline", and newer pieces are abundant. National organizations promote the music with local chapters in many communities.

Soul and gospel groups flourished in America in the years after World War II, building on the foundation of blues, 1930s gospel songs and big band music. Originally called "race music" by white mainstream radio and its target market, it was the precursor to rock and roll and rhythm and blues of the 1950s, 1960s and 1970s, influencing many English and American artists of that era. They often used the more traditional TTBB or SSAA 4-part structure, but with heavy use of solos and call-and-response, which is rooted in the African American church. These groups sometimes sang a cappella but also used instrumental backing, especially when recorded by the bigger labels. Pop music and doo-wop can be seen as a commercialization of this genre.

Instrumental music
Impressionist composers like Claude Debussy and Maurice Ravel often used close harmony in their works and other intervals, such as 7ths, 9ths, and 11ths may be used since the chords have four or more notes and the harmonies are more complex. In jazz, this influence flowered in the works of George Gershwin and Duke Ellington.

A well-known example of consistent instrumental close harmony is Glenn Miller's "Moonlight Serenade" which uses the full range of single-reed wind instruments (soprano clarinet, alto, tenor, and baritone saxophones) to make a distinctive sound by harmonizing the different sections all within a single octave. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed what became his signature theme, "Moonlight Serenade".

Block harmony
In organ performance, block harmony means that close position chords are added below the melody in the right hand, and the left hand doubles the melody an octave lower, while in open harmony the middle note of the chord is played an octave lower creating an "open" space in the chord.

title: Close and open harmony


text:
IDisk

iDisk is a file hosting service offered by Apple Inc. initially to all Mac OS 9.X users, and later to .Mac and MobileMe subscribers that enabled them to store their digital photos, films and personal files online so they could be accessed remotely. All Mac OS 9.X users received a free 20MB iDisk, with a 400MB paid subscription option added shortly after the iDisk launch. With a standard .Mac subscription, users received a 10GB iDisk. With MobileMe, the standard storage was increased to 20GB.

iDisk integrated with Mac OS X, appearing as a network drive. Mac OS X v10.3 through v10.6 could cache updates to an iDisk volume while off-line and synchronize updates later. Any WebDAV client could also access an iDisk volume.

Apple discontinued iDisk, along with many MobileMe (formerly .Mac and iTools) products in 2012. iDisk users could sign up for the iCloud beta or download their files.

Folders

 * The "Sites" folder of a MobileMe iDisk contained the files created by HomePage, the MobileMe online web authoring tool.
 * The "Web" folder of a MobileMe iDisk contained the files created by iWeb, part of the iLife suite.
 * The "Software" folder of a MobileMe iDisk contained MobileMe exclusive software, such as GarageBand Jam Packs.
 * The "Public" folder of a MobileMe iDisk was used to host downloads.

The "Public", "Sites" and "Web" folders were the only ones which could be accessed by people other than the iDisk owner, but the "Public" folder could be made password protected via the MobileMe Preference Pane in Mac OS X.

Backup application
Included with iDisk in the MobileMe bundle was Backup, a software utility that allowed users to back up local files to an iDisk. The software was also used to restore files from the iDisk, or any other drive/location selected in the backup app.

title: IDisk


text:
User:Vremya

Wiki details
Okay, so I've finally caved in on the Userbox issue.

Personal details
Name Vremya known to be a pseudonym: Russian for "time" (Время in the original Cyrillic).

Wikipedia now has an article of that name, though it's not really about me

Also partial acronym:

V is for Veronica, after both Saint Veronica and Veronica, the common speedwell (see also Scrophulariaceae).

R is for Roxanne, the unrequited love of Cyrano de Bergerac.

E is for Elizabeth, after my grandmother, not the Queen of England.

M is for (al) Maaz, the Arabic name of the star more commonly known by its Bayer designation Epsilon Aurigae.

(Ya) is one character я in Cyrillic, but its meaning here is secret.

Finally back after a long absence the reason for which may one day be revealed.

title: User:Vremya


text:
User talk:Vremya

Hey! You took my advice! :) Welcome :)

By the way, the following links might help: Dysprosia 04:22, 5 Aug 2003 (UTC)
 * Welcome, newcomers
 * Sign your name with 4 tildes ~
 * How to edit a page
 * Any other questions, you can ask on Village pump or ask me :)

Thanks :) and Hugs :)

I've been lurking for a while, but I finally registered when the urge to start editing became too strong ;) One thing I've already discovered is that it's extremely addictive, because anything I tweak leads to ten other things that need attention :p I'm going to starve to death in front of my computer!

Vremya 08:38, 5 Aug 2003 (UTC)

Hi Время! :) - Hephaestos 08:45, 5 Aug 2003 (UTC)

Hehe you're going to become a Wikipediholic like the rest of us ;) Told you you'd like this site... Dysprosia 08:47, 5 Aug 2003 (UTC)

Hey, Hephaestos, thanks for the Cyrillic :) Hugs and (if it's not a liberty) kisses :)

Vremya 09:09, 5 Aug 2003 (UTC)

-- Hi there. welcome to the site. Nice work on the Paris Metro and Bienvenüe! We should probably do care packages for newbies in the early throes of wikipediholism -- essential supplies so they don't starve! ;) -- Tarquin 12:11, 6 Aug 2003 (UTC)

 * I've added some detail to Ligne de Sceaux -- Tarquin 10:45, 8 Aug 2003 (UTC)

 * Thanks :) Vremya 05:38, 9 Aug 2003 (UTC)

Hey there -- sorry I deleted some of your changes to Lamarckism by accident as I was editing the page. Please have a look at the changes I made and see how you'd like to fit your own comments back in to the article. Again, my apologies.

Coricus 08:59, 30 January 2006 (UTC)

Collateral damage
Sorry for the late reply, but I was not near my computer at the time you sent your message. I do agree that collateral damage is becoming much more of a problem nowadays than it was in the past. As you well know, America Online assigns a random proxy IP address to every user using their service, and sometimes it varies from page view to page view. While AOL's proxy servers work in a way to enhance their customers' privacy, it also serves as an anonymizing proxy, which allows malicious users to quickly avoid our preventive anti-vandalism measures.

We've had a few problems with AOL users exploiting several features of MediaWiki to cause denial of service attacks on other users. Vandals create extremely inappropriate usernames (e.g. this one), vandalize in a particularly vicious manner, which prompts several administrators to block him promply. However, the vandal would then try to edit from as many IP addresses as AOL would allow him, triggering our autoblocker, causing many innocent users to get automatically blocked. However, the problem is that as an administrator, we're not notified that we have autoblocked a user, nor we know that a user is editing from a shared IP (since that information is restricted by our Privacy policy). The only way that we could know that a denial of service is happening is by looking at the IP block list, which is not an easy thing to do when there are vandalism attacks like the one I mentioned.

This has been extensively discussed (one of the more recent discussions can be found here), so I recommend that you bring up this topic again at the Administrators' noticeboard or the Village pump, which have much higher visilbility than my talk page. Thanks, Tito xd (?!? - help us) 05:31, 25 February 2006 (UTC)

 * Sorry, I just assumed people would realize my harsher comments were directed at unregistered users on the more heavily used AOL servers, the kind that usually vandalize like crazy, then play dumb, not directed at registered users like yourself--172.145.206.190 04:53, 28 February 2006 (UTC)

Brussels Metro
Hi Vremya. Thanx for your words of praise. I have several questions/comments. First of all, it's a pleasure for me that you corrected my (bad) English; this helps me to further my job in a more correct way and I like to improve my knowledge of this language. Second of all, thanx for your edits about the three stations, very interesting. BTW, did you use some content from the (nice) website BSubWay? I was about to add content from this website but I was unsure whether it was reliable or not. But I've seen they used it in the nl.wikipedia... About St-Catherine, I was thinking of changing the name of the article to St. Catherine's metro station until you created it. Do you think it's a good idea to move the page to this location? Also, I saw you liked to have years linked (and I did too), but I quite recently read something in wikipedia like "it's better not to link years unless this is really relevant to the article". So I removed/will remove the links. I made some changes to the Crainhem/Kraainem metro station article, feel free to revert them if I was wrong. Finally, I just had a personal question: how did you get to know about the Brussels metro (i.e. did/do you live in Brussels or is your knowledge only 'virtual'). Kind regards, Julien Tuerlinckx 17:51, 28 February 2006 (UTC) PS: your French is not so bad :)

Hi again. Thanx for replying. For the renaming questions, you'll have noticed that Saint Catherine was an attempt to make the station name sound English (as you'd said, in French it would be Sainte-Catherine). I did that because I don't like to have slashes in the article names (and most wikipedians don't like it as well) and thus I thought that the article names should have been in English as long as it is possible. For a beginning of a discussion on that topic, you might want to have a look at Talk:Brussels-Capital Region.

For the 'metro' or not thing, I referred to a decision (I thought it was in the Talk:London Underground but it seems like I can't find this diuscussion anymore) taken by wikipedians and I tried to apply it to the Brussels metro. Thus for each metro and premetro station, the name of the article about it will only be station, as well as for metro and railway stations (and of course for premetro and railway stations or the three). As you would have understood, the name 'metro station' is only given to stations that only have the metro in the underground (though some railway stations are on street level!). So my opinion is that it should stay like this unless someone (you?) provides a good reason for changing. Keep up the good work, Julien Tuerlinckx 18:46, 1 March 2006 (UTC) PS: I think it's quite "funny" to read that you were the only non French people in your departement in NOH which is a Flemish municipality if I'm right. It wouldn't be the same nowadays, would it?

I think I have not been clear enough in my explanation. Actually the underground issue is separate with the metro station one (and less important). What I meant is that a station will have:
 * metro station if the metro only serves the station (like Stockel metro station)
 * premetro station if the premetro only serves it (like Georges Henri premetro station)
 * railway station when there is no metro or premetro station around (like Gare d'Etterbeek for instance)
 * station if at least two of the above vehicles have a station with the same name (like Merode has a train and a metro station, De Brouckère is a metro and premetro station, Gare du Nord has a train and a premetro station and Gare du Midi has the three kinds of stations)

Personally I think that having Brussels Metro in name of each article is quite "heavy" and as I think only few stations will have the same name as stations from other metro systems, we will not need this. For instance for Diamant I think we can leave it as it is now until the article about the Antwerp station is created. Besides, I feel comfortable with the idea of moving the names from the slash to the mdash. And if we come to the decision that both names should always be provided (when it exists), then we will not have to forget Saint Catherine, Parc (that I created like this cause I thought it was written the English way), South station, North station and Central station (note the (Brussels) added at the end of the title for those last three). Julien Tuerlinckx 16:46, 3 March 2006 (UTC)

Userboxes
I've made your UU box into. I thought there needed to be one for us folks. Glad to see another UU on here! Canaen 06:11, 31 May 2006 (UTC)

Craig Rice
"Humorous" is fine, it's pretty vague. "Hilarious" is definitely a POV word -- one woman's hilarity is the next man's total turn-off. Any of today's "gross-out" movies would be a perfect example. Hayford Peirce 19:05, 23 June 2006 (UTC)

Unreferenced BLPs
Hello Vremya! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to insure verifiability, all biographies should be based on reliable sources. if you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 21:06, 8 January 2010 (UTC)
 * 1) Jaco Van Dormael -

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:53, 23 November 2015 (UTC)

Nomination of Oromëan for deletion
A discussion is taking place as to whether the article Oromëan is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Oromëan until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Hog Farm (talk) 16:05, 24 January 2020 (UTC)

title: User talk:Vremya


text:
RSM

RSM may refer to:

Companies

 * RSM Global, worldwide accountancy & professional services network
 * RSM US, a tax, accounting and consulting firm based in Chicago
 * RSM UK
 * RSM Singapore
 * RSM Tenon, defunct professional services network in the UK
 * RSM Robson Rhodes, defunct professional services network in the UK
 * Reliable Source Music, an independent production music company
 * Renault Samsung Motors, a South Korean motor manufacturer

Institutions

 * Rotterdam School of Management (RSM Erasmus University), the business school of Erasmus University, Rotterdam
 * Royal School of Mines, an institute of higher education in London, England
 * Royal Society of Medicine, a British medical society
 * Rajalakshmi School of Management, a Business School based in Chennai, Tamil Nadu, India.
 * Russian School of Mathematics, an after-school mathematical education program based in Massachusetts

Other organizations

 * Radioamaterski Sojuz na Makedonija, an amateur radio organization in the Republic of Macedonia
 * Religious Order of the Sisters of Mercy, an order of Catholic women
 * Rete degli Studenti Medi, Italian High School and VET student union
 * Russian Socialist Movement, a socialist political party in Russia
 * Rassemblement Saint-Martinois, a political party in Saint Martin

Military

 * Regimental sergeant major a warrant officer appointment in the British and most Commonwealth armies and the Royal Marines
 * Resolute Support Mission, a NATO mission in Afghanistan from the end of 2014
 * Radio Squadron, Mobile, signal intelligence squadrons of the United States Air Force Security Service

Places

 * Rancho Santa Margarita, California, a city in California
 * Republic of San Marino, a country in southern Europe
 * Vehicle registration plates of San Marino

Science and technology

 * Rating scale model, a model used in Item Response Theory
 * Reciprocal Space Map, a crystallographic method
 * Response surface methodology, sequential experimentation for improvement and for finding an optimal response
 * Reynolds stress model, a method in Computational fluid dynamics for modeling turbulence
 * Route Switch Module, a component of a powered device that provides network routing services
 * RNA-targeting small molecule drugs, a class of organic compounds with traditional drug properties

Other uses

 * R. Stevie Moore (born 1952), American singer-songwriter
 * Rolling Stones Mobile Studio, a mobile recording studio

title: RSM


text:
Novelty song

A novelty song is a type of song built upon some form of novel concept, such as a gimmick, a piece of humor, or a sample of popular culture. Novelty songs partially overlap with comedy songs, which are more explicitly based on humor, and with musical parody, especially when the novel gimmick is another popular song. Novelty songs achieved great popularity during the 1920s and 1930s. They had a resurgence of interest in the 1950s and 1960s. The term arose in Tin Pan Alley to describe one of the major divisions of popular music; the other two divisions were ballads and dance music. Humorous songs, or those containing humorous elements, are not necessarily novelty songs.

Novelty songs are often a parody or humor song, and may apply to a current event such as a holiday or a fad such as a dance or TV program. Many use unusual lyrics, subjects, sounds, or instrumentation, and may not even be musical. For example, the 1966 novelty song "They're Coming to Take Me Away, Ha-Haaa!", by Napoleon XIV, has little music and is set to a rhythm tapped out on a snare drum, a tambourine, and the bare sides of the musicians' legs.

A book on achieving an attention-grabbing novelty single is The Manual (How to Have a Number One the Easy Way), written by The KLF. It is based on their achievement of a UK number-one single with "Doctorin' the Tardis", a 1988 dance remix mashup of the Doctor Who theme music released under the name of 'The Timelords'. It argued that (at the time) achieving a number one single could be achieved less by musical talent than through market research, sampling and gimmicks matched to an underlying danceable groove.

Late 19th century – 1960s
Novelty songs were a major staple of Tin Pan Alley from its start in the late 19th century. They continued to proliferate in the early years of the 20th century, some rising to be among the biggest hits of the era. Varieties included songs with an unusual gimmick, such as the stuttering in "K-K-K-Katy" or the playful boop-boop-a-doops of "I Wanna Be Loved By You", which made a star out of Helen Kane and inspired the creation of Betty Boop; silly lyrics like "Yes! We Have No Bananas"; playful songs with a bit of double entendre, such as "Don't Put a Tax on All the Beautiful Girls"; and invocations of foreign lands with emphasis on general feel of exoticism rather than geographic or anthropological accuracy, such as "Oh By Jingo!", "The Sheik of Araby", and "The Yodeling Chinaman". These songs were perfect for the medium of Vaudeville, and performers such as Eddie Cantor and Sophie Tucker became well known for such songs.

Zez Confrey's 1920s instrumental compositions, which involved gimmicky approaches (such as "Kitten on the Keys") or maniacally rapid tempos ("Dizzy Fingers"), were popular enough to start a fad of novelty piano pieces that lasted through the decade. The fad was brought about by the increasing availability of audio recordings by way of the player piano and the phonograph; whereas much of Tin Pan Alley's repertoire was sold in the form of sheet music and thus had to be simple enough for an amateur pianist to play, novelty piano brought virtuoso-level performance to the home and to those who would not normally attend classical concerts.

At the outbreak of World War II in 1939, "Hitler Has Only Got One Ball" (set to the tune of British Army bandmaster F. J. Ricketts's popular World War I–era "Colonel Bogey March") was sung by British troops. A 1940s novelty song was Spike Jones' 1942 "Der Fuehrer's Face", which included raspberries in its chorus. Tex Williams's "Smoke! Smoke! Smoke! (That Cigarette)" topped the Billboard best-sellers chart for six weeks and the country music chart for 16 weeks in 1947 and 1948. Hank Williams Sr.'s "Move It On Over", his first hit song, has some humor and novelty elements (about a man having to share the doghouse when his lover kicks him out of the house), but contemporaries (among them Jerry Rivers) disputed this and noted that many men had been faced with eviction under similar circumstances. The 1953 #1 single "(How Much Is) That Doggie in the Window?" became notable both for its extensive airplay and the backlash from listeners who found it increasingly annoying. Satirists such as Stan Freberg, Allan Sherman, and Tom Lehrer used novelty songs to poke fun at contemporary pop culture in the 1950s and early 1960s.

In 1951, Frank Sinatra was paired in a CBS television special with TV personality Dagmar. Mitch Miller at Columbia Records became intrigued with the pairing and compelled songwriter Dick Manning to compose a song for the two of them. The result was "Mama Will Bark", a novelty song performed by Sinatra with interspersed spoken statements by Dagmar, saying things like "mama will bark", "mama will spank", and "papa will spank". The recording even includes the sound of a dog yowling. It is regarded by both music scholars and Sinatra enthusiasts to be perhaps the worst song he ever recorded. Sinatra would record few others before he left Columbia and joined Capitol Records in 1952.

Dickie Goodman faced a lawsuit for his 1956 novelty song "The Flying Saucer", which sampled snippets of contemporary hits without permission and arranged them to resemble interviews with an alien landing on Earth. Goodman released more hit singles in the same vein for the next two decades including his gold record RIAA certified hit "Mr. Jaws" in 1975, which charted #1 in Cash Box and Record World and was based on the movie Jaws.

Among the more far out songs of this genre were the two released in 1956 by Nervous Norvus, "Transfusion" and "Ape Call".

The Coasters had novelty songs such as "Charlie Brown" and "Yakety Yak". "Yakety Yak" became a #1 single on July 21, 1958, and is the only novelty song (#346) included in the Songs of the Century. "Lucky Ladybug" by Billy and Lillie was popular in December 1958. Lonnie Donegan's 1959 cover of the 1924 novelty song "Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight?)" was a transatlantic hit, reaching #5 on the Billboard charts two years after its release; it was one of the earliest top-5 hits to come from the United Kingdom in the rock era, preceding the British Invasion.

Three songs using a sped-up recording technique became #1 hits in the United States in 1958–59: David Seville's "Witch Doctor" and Ragtime Cowboy Joe, Sheb Wooley's "The Purple People Eater", and Seville's "The Chipmunk Song (Christmas Don't Be Late)", which used a speeded-up voice technique to simulate three chipmunks' voices. The technique (which Dickie Goodman had also used on "The Flying Saucer") would inspire a number of other knockoffs, including The Nutty Squirrels and Russ Regan's one-off group Dancer, Prancer and Nervous.

In 1960, 16-year-old Brian Hyland had a novelty hit with the song "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini", by Paul Vance and Lee Pockriss, which topped the Billboard single chart. The Trashmen reached the top 5 with "Surfin' Bird", a surf rock medley of two novelty songs originally recorded by The Rivingtons. In 1964, the Grammy for Best Country and Western Album was awarded to Roger Miller. Miller was known to sing novelty songs.

In 1965, "A Windmill in Old Amsterdam", a song written by Ted Dicks and Myles Rudge, became a UK hit for Ronnie Hilton. The song spent a total of 13 weeks on the UK Singles Chart peaking at No. 23 in the chart of 17 February 1965. The song's composers were granted an Ivor Novello Award in 1966 for the Year's Outstanding Novelty Composition.

1970s–2000s
Chuck Berry's "My Ding-a-Ling" reached #1 on the Billboard Hot 100 in 1972, and Ray Stevens, known for such novelty hits as "Ahab the Arab", "Gitarzan", and "Mississippi Squirrel Revival", had a #1 hit with "The Streak" in 1974. Comedy act Cheech & Chong recorded a number of musical bits that can be classified as novelty songs, including "Basketball Jones"(1973) and "Earache My Eye" (1974). Warren Zevon's lone chart hit was the novelty number "Werewolves of London". Other novelty songs in the '70s are Jimmy Castor Bunch "King Kong"(1975), Rick Dees' "Disco Duck" (1976) and The Fools' "Psycho Chicken" (1978). "Weird Al" Yankovic would emerge as one of the most prolific parody acts of all time in the 1980s, with a career that would span four decades; he would join Cliff Richard in being one of the few acts to have at least one top-40 hit in the U.S. in four consecutive decades (1950s through the 1980s for Richard, 1980s to 2010s for Yankovic).

Randy Brooks wrote a Christmas novelty song and it was originally recorded by the duo Elmo Shropshire and his then-wife Patsy in 1979, called "Grandma Got Run Over by a Reindeer". It tells the tragic-comic story of a family grandmother (loosely based on Brooks's uncle Foster Brooks) who meets her end on Christmas Eve. After having drunk too much eggnog and forgetting to take her medicine, she staggers out of her family's house late Christmas Eve, is run over by Santa Claus' entourage, and found trampled at the scene the next morning. It has become a staple of Christmas music playlists on American radio since its original release.

An underground novelty music scene began to emerge in the 1960s, beginning with the homosexually themed songs of Camp Records and the racist humor of Johnny Rebel, then in the 1970s and 1980s with X-rated albums by David Allan Coe and Clarence "Blowfly" Reid.

Novelty songs have been popular in the UK as well. In 1991, "The Stonk" novelty song raised over £100,000 for the Comic Relief charity. In 1993, "Mr Blobby" became the second novelty song to reach the coveted Christmas number one slot in the UK, following Benny Hill's 1971 chart-topper "Ernie (The Fastest Milkman in the West)". Many popular children's TV characters would try to claim the Christmas number one spot after this. In 1997, the Teletubbies who reached number one the previous week failed to gain it with their single "Say Eh-oh!". They came second in the charts to The Spice Girls second of three consecutive Christmas number ones, with "Too Much". Later on at the turn of the millennium, Bob the Builder was successful in achieving a Christmas number one in 2000, with "Can We Fix It?". However, Bob the Builder did have another number one single a year later with a cover of Lou Bega's "Mambo No.5", and also had another less successful single in 2008 with "Big Fish Little Fish".

Some novelty music draws its appeal from its unintentional novelty; so-called "outsider musicians" with little or no formal musical training often will produce comical results (see for instance, Florence Foster Jenkins, Mrs. Miller, the Portsmouth Sinfonia, The Shaggs, and William Hung).

After the fictitious composer P.D.Q. Bach repeatedly won the "Best Comedy Album" Grammy from 1990 to 1993, the category was changed to "Best Spoken Comedy Album". When "Best Comedy Album" was reinstated in 2004, "Weird Al" Yankovic won for Poodle Hat.

Novelty songs were popular on U.S. radio throughout the 1970s and 1980s, to the point where it was not uncommon for novelty songs to break into the top 40. Freeform and album-oriented rock stations made use of novelty songs; some of the best-known work from progressive rocker Frank Zappa, for instance, is his extensive body of mostly adult-oriented novelty music. Zappa's "Bobby Brown (Goes Down)" was a smash hit in Europe despite its sexually explicit storyline, and "Valley Girl" was a Top 40 hit in the US, while his "Don't Eat the Yellow Snow" and "Dancin' Fool" also reached the top 100 in his native United States. Beginning in 1970, Dr. Demento's nationally syndicated radio show gave novelty songs an outlet for much of the country; this lasted through the mid-2000s, when the show (mirroring trends in the genre) faded in popularity until its terrestrial cancellation in June 2010.

2010s to date
In the 21st century, novelty songs found a new audience online; the hit song "The Fox (What Does the Fox Say?)" by Norwegian comedy duo Ylvis was featured on the kids compilation album So Fresh Pop Party 13 in 2014. Likewise, rapper Big Shaq 's 2017 hit "Man's Not Hot", which depicts a man who refuses to take off his jacket, received widespread attention and inspired countless memes as a result of its success, with the man behind the song being British comedian Michael Dapaah. The children's novelty song "Baby Shark" received widespread attention when Korean education brand Pinkfong's cover version from an online viral video reached the top 40 in the U.S. and several other countries.

In the United Kingdom, the novelty hit has mainly become a feature of the "Christmas chart battle" (apart from a few viral hits found earlier in a year), with novelty act LadBaby reaching Number One five times in a row, with all five songs being parodies of other popular songs reworked to incorporate a running gag that revolves around sausage rolls. More often than not, the UK Christmas novelty records were recorded for charity, with LadBaby's Christmas chart rivals in 2020 also including The Dancing Binmen (Jack Johnson, Henry Wright and Adrian Breakwell) with their song "Boogie Round The Bins At Christmas Time", and "Merry Christmas, Baked Potato" from comedian Matt Lucas, with fellow chart contender "Raise The Woof!" being promoted as the first ever Christmas record for dogs.

title: Novelty song


text:
Mordant

A mordant or dye fixative is a substance used to set (i.e., bind) dyes on fabrics. It does this by forming a coordination complex with the dye, which then attaches to the fabric (or tissue). It may be used for dyeing fabrics or for intensifying stains in cell or tissue preparations. Although mordants are still used, especially by small batch dyers, they have been largely displaced in industry by directs.

The term mordant comes from the Latin mordere, "to bite". In the past, it was thought that a mordant helped the dye "bite" onto the fiber so that it would hold fast during washing. A mordant is often a polyvalent metal ion, and one example is chromium (III). The resulting coordination complex of dye and ion is colloidal and can be either acidic or alkaline.

Common dye mordants
Mordants include tannic acid, oxalic acid, alum, chrome alum, sodium chloride, and certain salts of aluminium, chromium, copper, iron, iodine, potassium, sodium, tungsten, and tin.

Iodine is often referred to as a mordant in Gram stains, but is in fact a trapping agent.

Dyeing methods
The three methods used for mordanting are:
 * Pre-mordanting (onchrome): The substrate is treated with the mordant and then the dye. The complex between the mordant and dye is formed on the fibre.
 * Meta-mordanting (metachrome): The mordant is added in the dye bath itself. The process is simpler than pre- or post-mordanting, but is applicable to only a few dyes.  Mordant red 19 shown above is applied in this manner
 * Post-mordanting (afterchrome): The dyed material is treated with a mordant. The complex between the mordant and dye is formed on the fibre.

The type of mordant used affects the shade obtained after dyeing and also affects the fastness property of the dye. The application of mordant, either pre-mordant, meta-mordant or post-mordant methods, is influenced by:

 * The action of the mordant on the substrate: if the mordant and dye methods are harsh (for example, an acidic mordant with an acidic dye), pre-mordanting or post-mordanting limits the potential for damage to the substrate.
 * The stability of the mordant or dye lake or both: the formation of a stable dye lake means that the mordant can be added in the dye without risk of losing the dye properties (meta-mordanting).

Dye results can also rely on the mordant chosen as the introduction of the mordant into the dye will have a marked effect on the final color. Each dye can have different reactions to each mordant. For example, cochineal scarlet, or Dutch scarlet as it came to be known, used cochineal along with a tin mordant to create a brilliant orange-hued red.

Residual iron mordant can damage or fade fabric, producing "dye rot".

Dye lake
The dye lake is an insoluble complex formed upon combining the dye and mordant, which then attaches to the substrate. Mordants increase the fastness of the dye since the higher molecular weight dye is now bonded to the fibre.

The type of mordant used can change the colour of both the dye-plus-mordant solution and influence the shade of the final product.

Wool
Unlike cotton, wool is highly receptive toward mordants. Due to its amphoteric nature wool can absorb acids and bases with equal efficiency. When wool is treated with a metallic salt it hydrolyses the salt into an acidic and basic component. The basic component is absorbed at –COOH group and the acidic component is removed during washing. Wool also has a tendency to absorb fine precipitates from solutions; these cling to the surface of fibres and dye particles attached to these contaminants result in poor rubbing fastness.

Silk
Like wool, silk is also amphoteric and can absorb both acids and bases. However, wool has thio groups (-SH) from the cystine amino acid, which act as reducing agent and can reduce hexavalent chromium of potassium dichromate to trivalent form. The trivalent chromium forms the complex with the fibre and dye. Therefore, potassium dichromate cannot be used effectively as mordant.

Animal and plant tissues
In histology, mordants are indispensable in fixing dyes to tissues for microscopic examination.

Methods for mordant application depend on the desired stain and tissues under study; pre-, meta- and post-mordanting techniques are used as required.

The most commonly used stain used in diagnostic histology of animal tissues is Harris' haematoxylin as part of a haematoxylin and eosin (H&E) stain.

title: Mordant


text:
Settlement

Settlement may refer to:
 * Human settlement, a community where people live
 * Settlement (structural), downward movement of a structure's foundation
 * Settlement (finance), where securities are delivered against payment of money
 * Settlement (litigation), a resolution between disputing parties about a legal case
 * Settlement (trust), a deed whereby property is given by a settlor into trust
 * Closing (real estate), the final step in executing a real estate transaction

title: Settlement


text:
Talk:Kelantan

Untitled
Excuse me, but why is there a link to the Ottoman Empire? Noel Ellis (talk) 03:08, 29 November 2008 (UTC) Kelantan is one of the states in Malaysia.

Kelantan is positioned in the north-east of the Malaysian Peninsular. It internationally borders Thailand. Internally, it borders Terengganu, Kedah, and Pahang; other states of Malaysia.

The east of Kelantan is the coastal side with South China Sea washing its beach.

Historically, it was once part of Siam.

Circa 1945, it became the first spot where the Japanese first landed to conquer Tanah Melayu (Malaysia's former name before independence). Amazingly, the Japanese used bicycles to move about alll the way down to Singapore and only took 3 days to do so.

 * Wait, are you trying to create an article called Kelantan? Don't get confused with User:Kelantan, which is your user name and the article called Kelantan - I copied it over for you :) Dysprosia 04:46, 5 Aug 2003 (UTC)

Malacca didn't conquer Kelantan. __earth 23:29, May 8, 2004 (UTC) Pardon me. I got my fact wrong. __earth 00:13, May 9, 2004 (UTC)

I don't know what this means:

"The peoples of Kelantan, peace loving and friendly by nature, are regarded as among the most Malayan or the Malaysians." Most Malayan? Most Malay, perhaps, but would that apply to the Thai and Chinese minorities, too? I've deleted this and substituted "The people of Kelantan are known for their hospitality," which I consider easier to understand and - I hope - uncontroversial.

Michael 06:41, July 4, 2005 (UTC)

I've also subtracted Wayang Kulit from the traditions that are preserved in Kelantan. Perhaps when I have more time, I'll write at greater length about restrictions imposed on non-orthodox traditions (Wayang Kulit, Mak Yong, Dikir Barat, Main Peteri).

Michael 06:44, July 4, 2005 (UTC)

The translation of the Kelantan State Anthem needs some work, but I'm too tired to do it now.

Kebesaran means greatness or glorification (etc.), so I think that the wish is that Allah will give all glory to the Sultan. Also, "bless" should probably be "blessing," for a noun form.

Michael 07:17, July 4, 2005 (UTC)

OK, I've inserted information about the restrictions on traditional performances of Wayang Kulit et al., under "Politics."

Michael 07:26, July 4, 2005 (UTC)

Someone (218.111.208.9) deleted my addition of "Orang Asli" to the "Demographics" section without comment, and I have reinserted it, in the interests of accuracy.

Michael 08:41, Sep 19, 2005 (UTC)

I gave a shot at editing the English translation of the state anthem, but I probably got some things wrong.

Michael 09:12, Sept 19, 2005 (UTC)

The article looks stylistically (both wikipedia and english) good enough now after Michael's edits, so I'm removing the cleanup tag - Grumpyhan 16:35, 19 September 2005 (UTC)

The user who uses computers with IP addresses starting with 218.111 has repeatedly removed the section on the Orang Asli in Kelantan. There is no room for passive-aggressive behavior or silent acts of prejudice in an encyclopedia. The Orang Asli have been living in Kelantan for longer than anyone else and continue to live there, so they surely merit a secondary subtitle and a single line of text in this entry.

What should be done with this vandal?

Michael 12:01, Oct 31, 2005 (UTC)

I edited the paragraph at the end of the subsection on Malays and then moved it to become the second paragraph under "Demographics." However, I'm not sure it belongs in that section at all. Perhaps it should be moved into the "Politics" section?

Michael 12:20, Oct 31, 2005 (UTC)

I see that there's been some editing for content of the section on the Chinese in Kelantan, somewhere along the line. I don't have an opinion about whether there are now more Chinese who behave "like Chinese" in the "frontstage" than was true a few decades ago, but it would be nice for there to be some discussion of this, so that we can know why the section was edited.

Michael 12:31, Oct 31, 2005 (UTC)

"single-sex queues in supermarkets; separate public benches for men and women" Now I am a Kelantanis and this can't be true. Not that I've observed from my yearly trip back to Kelantan anyways. While I dispute this based on my personal observation, I'd welcome a cited reference on this to correct me.

There's a contradiction in the article. In the second paragraph, Kelantan is translated to "land of lightning," but the first paragraph under "history" offers alternative theories. The inconsistency should be corrected in the most accurate way possible (and probably the most inclusive way, unless one theory can be clearly shown to be more authoritative). (For the record, I was taught in Sekolah Kebangsaan in Terengganu that Kelantan DID derive from "kilatan," and there was a story attached to that, which I unfortunately do not remember. I seem to remember hearing that derivation from Kelantanese people I knew, as well.)

Michael 07:18, Nov 25, 2006 (UTC)

Intro problem
The 2nd paragraph in the introduction reads like something out of a tourism brochure. Can someone clean it up please? -- Hongooi 16:00, 23 June 2007 (UTC)

Actually, the same could be said of some of the language in the Demographics section. -- Hongooi 16:09, 23 June 2007 (UTC)

 * I've tuned it down a peg. There's room for improvement, though.

Kelantan maju di bawah kepimpinan Ulamak —Preceding unsigned comment added by 202.186.30.226 (talk) 09:23, August 27, 2007 (UTC)

can you explain why kelantan is the most socially conservative ? do you have any expert or reference on this statement -kelate- —Preceding unsigned comment added by 192.85.47.2 (talk) 09:18, 17 September 2007 (UTC)

Dikir Barat Banned?
I am married to a Kelantanese and thus visit Kelantan often. I have not heard that Dikir Barat is being banned. It is played regularly on the radio and school children will perform them as well. Is the article correct in this making this claim? —Preceding unsigned comment added by 130.217.76.77 (talk) 01:00, 2 April 2008 (UTC)

Constitution of Kelantan
How many sections are there, two or three? Needless to say, "Till today,Kelantan was ruled by PAS parties" is not a section of the Constitution. Would someone who is familiar with Kelantan's Constitution please correct me if I am wrong that there are two parts? Thank you. Michael 07:54, 16 June 2008 (UTC)

Oil Royalties
"In 1975, an agreement was signed between the Kelantan Prime Minister of the time Datuk Mohammad Nasir, and the Chairman of Petronas, Tengku Razaleigh Hamzah. According to the terms of the agreement, Kelantan was to receive oil royalties of 5 percent a year biannially, for any oil found in Kelantan or her coastal areas. However, this agreement was never honoured and no royalties were paid to Kelantan." The previous author neutrality is disputed and lead to misconception of facts. He did not cite any relevant authority to support such contentions. —Preceding unsigned comment added by Azfarhan (talk • contribs) 22:19, 6 March 2010 (UTC)

Jajahan & Daerah
Dabong is not Jajahan, but it's Daerah. The new Jajahan in Kelantan is Jajahan Kecil Lojing Mr Ikan (talk) 16:01, 10 April 2011 (UTC)

History
http://www.sabrizain.org/malaya/library/kelantan.pdf http://www.scribd.com/doc/94797930/1868-Kelantan-a-State-of-the-Malay-Penisular http://www.archive.org/stream/cu31924023122736/cu31924023122736_djvu.txt

Peranakan Chinese in Northeast Kelantan with special reference to Chinese Religion Tan Chee-Beng Journal of the Malaysian Branch of the Royal Asiatic Society Vol. 55, No. 1 (242) (1982), pp. 26-52 Published by: Malaysian Branch of the Royal Asiatic Society Article Stable URL: http://www.jstor.org/stable/41492910

21:40, 7 June 2013 (UTC)

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Cham Beniyai
could use some information on the Cham beniyai ("true Cham" = Western Cham) refugees, mostly from Kompong Cham, who settled in and around Kota Bharu during the time of the Pol Pot regime in Cambodia. The Malaysian federal government was keen to assimilate these Muslims into the wider Malay community. Earlier, there was also cultural exchange between Kelantan and the people of the historical Cham polity in southern Indochina (across Cambodia and the southern hill country of Vietnam), with some Cham youths seeking education in Kelantan; see, e.g., Chams. yoyo (talk) 13:09, 21 July 2019 (UTC)

title: Talk:Kelantan