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Sasha (DJ)

Alexander Paul Coe (born 4 September 1969), known professionally as Sasha, is a Welsh DJ and record producer. He is best known for his live events and electronic music as a solo artist, as well as his collaborations with British DJ John Digweed as Sasha & John Digweed. He was voted as World No. 1 DJ in 2000 in a poll conducted by DJ Magazine. He is a four-time International Dance Music Awards winner, four-time DJ Awards winner and Grammy Award nominee.

Sasha began his career playing acid house music in the late 1980s. He partnered with John Digweed in 1993, touring internationally and producing a series of mix albums (compilations of other artists' work played in a continuous fashion).

Sasha has remixed tracks for artists such as D-Ream, Madonna, Moby, the Chemical Brothers and Hot Chip. Sasha's remixing and production often combine electronic music genres, making it difficult for critics to pinpoint his musical style. As well as remixes and compilation albums, Sasha has produced three albums of original works: The Qat Collection in 1994, Airdrawndagger in 2002, and Scene Delete in 2016.

After achieving success as a producer and DJ, Sasha worked with younger DJs and producers such as BT and James Zabiela. His use of live audio engineering equipment helped popularise technological innovations among DJs who formerly relied on records and turntables. In 2007, he formed a record label with Renaissance Records called emFire, which is the exclusive outlet for his new music.

Early years
Sasha was born in Bangor, Wales, on 4 September 1969. His early musical taste was primarily Top 40 pop music like The The and The Police. After what he described as an "idyllic childhood", Sasha passed the entrance exam for Hatfield College at age 17. However, he did not like Epsom and left before completing his A-Level examinations. Instead of continuing his schooling, Sasha moved to Bangor to live with his father and stepmother. Sasha's stepmother forced him to take piano lessons which, although he disliked them at the time, he ultimately found to be beneficial to his music career.

Sasha became aware of electronic dance music in 1988 at The Haçienda, a Manchester dance venue. Drawn to the rough sound of acid house music and the rebellious attitude he associated with it, he visited Manchester weekly and soon moved to nearby Disley. Sasha purchased records and began to teach himself how to mix. A local DJ at a club Sasha frequented announced that he was looking for other DJs to travel with him on a regional tour; Sasha volunteered and made his first live appearance in nearby Stockport. He recalled of his debut, "I'd never even touched a Technics: I thought the pitch control was the volume, I didn't even know where to plug my headphones in! I'm sure I was absolutely horrendous."

Sasha soon found himself in debt due to low-paying performances and the many records he bought. To finance his record collection, he performed at illegal warehouse raves in the Blackburn and Blackpool areas. With the assistance of another local DJ, Jon DaSilva, Sasha secured work at The Haçienda, where he learned key mixing (matching melodic keys) from DaSilva and refined his ability to beatmatch (to synchronize the beats of two simultaneously playing records). Though he enjoyed playing at The Haçienda, in 1990 Sasha left for a club called Shelley's Laserdrome in Stoke-on-Trent. There, he established part of his signature sound by mixing euphoric acid house music with Italian piano house and emotional a cappellas. Because of his increased popularity and visibility at Shelley's, Mixmag featured Sasha on its first cover, under the headline "SASHA MANIA – THE FIRST DJ PINUP?". While continuing to DJ, Sasha began to produce several of his own dance tracks. This, he later noted, was contrary to the career paths of many successful DJs, for whom it was more common to start out as producers. Upon signing a recording contract, he also set up an entire recording studio at the same time, which led to a "painful learning curve" at the outset. He released his first single, "Appolonia", under the name BM:Ex (the name is short for The Barry Manilow Experience, a joke in reference to Sasha's love of the piano), with producer Tom Frederikse on Union City Recordings. After DJing at Shelley's for several years, Sasha left his position because of increasing gang violence in and around the club. As a result of his growing reputation, Sasha was offered work in several London and Australian clubs. He accepted, instead, a spot in the DJ rotation at Renaissance, a club night started by Geoff Oakes at Venue 44 in Mansfield, England.

Later in 1993, Sasha, collaborating with Danny Campbell for Pete Tong's FFRR, produced "Together", his first single under the name Sasha. "Together" peaked on the UK Singles Chart at #57. With this success, Sasha began a series of records for Deconstruction Records with the singles "Higher Ground" and "Magic" (for which Digweed produced a remix) and The Qat Collection with Frederikse and vocalist Sam Mollison.

Digweed era

In early 1993, Sasha partnered with fellow Renaissance DJ John Digweed. Sasha and Digweed honed their DJing skills, often performing in tandem and focusing on track selection and technical mixing abilities. Renaissance was pleased with their performances, and had the duo compile the triple-CD mix album Renaissance: The Mix Collection, releasing it on the club's own Renaissance Records label. The album featured tracks from such artists as Leftfield, Fluke, and 2 Bad Mice, and original productions and remixes from Sasha and Digweed. The Mix Collection was released soon after Sasha's departure from Renaissance in April 1994. Following his success at Renaissance, Sasha was again featured on Mixmag with the tagline "SON OF GOD?", though he resented the accolade. After touring together for two years, the duo became "true superstars" with the release of their double CD Northern Exposure on mega-label Ministry of Sound. Around this time, Sasha began a recurring mentorship and partnership with fellow producer BT with the album Ima. As well as providing guidance for BT, Sasha produced a "euphoric" and "introspective" 42-minute rendition of the album which formed the centrepiece of the UK release and appeared as a "bonus" second disc on the US release. He continued to advance his own production work by pairing with vocalist Maria Nayler to produce the single "Be as One", which reached #17 on the UK singles chart.

In 1997, Ministry of Sound released Northern Exposure 2, Sasha and Digweed's next double-CD entry in their Northern Exposure series. To support the album, the duo toured internationally, and in the process helped to define the sound of trance music in the late 1990s. After extensive touring, Digweed and Sasha took up residency at New York City's famous Twilo nightclub, where they would DJ for the entire night. In 1998, the two released separate mix albums on the Boxed label, as part of the Global Underground series: Digweed's Global Underground 006: Sydney, and Sasha's Global Underground 009: San Francisco, which drew from his experience touring on the West Coast of the United States. Both DJs formed their own record labels that year: Sasha created Excession Records and Digweed started Bedrock Records. Excession released fewer than ten records, the last in 1998; the experience, however, led Sasha to found the management agency Excession: The Agency LTD. Excession remains a booking agency for many DJs, including Hybrid, Nick Warren, and Steve Lawler.

Sasha reached a more mainstream audience with his remixes of Madonna's "Ray of Light" and GusGus's "Purple" for those artists' single releases. His success in pop music led him to score the music for the PlayStation video game Wipeout 3. In 1999, Sasha and Digweed reunited in the studio to record their third edition in the Northern Exposure series, Northern Exposure: Expeditions. In addition to mixing and DJing, Sasha joined Charlie May of Spooky to produce the Xpander EP, the title track of which many clubbers still view as "one of the greatest trance tracks of all time". He used the title track as a centerpiece for Global Underground 013: Ibiza, his second Global Underground release. Sasha continued his collaborations with BT on the track "Ride", which was released as a single on Yoshitoshi Records and on BT's Movement in Still Life. Soon after, he worked with Underworld's Darren Emerson on the single "Scorchio", Sasha's first charting single in four years. In between touring and producing original material, Sasha and Digweed released the mix album Communicate in 2000, prompting them to temporarily leave their Twilo residency for a promotional tour of the United States. Communicate had mixed reviews: Spin stated that despite a "few stellar moments, [Communicate] is ultimately a let-down". LAUNCHcast, too, described Communicate as "boring and lackluster...stalled in a monochrome world of dead beats".

During the late 1990s, the increased popularity and visibility of "superstar DJs" led to the creation of superclubs such as Liverpool's Cream and Sheffield's Gatecrasher. By 2003, however, electronic dance music clubs languished. The Guardian's pop critic, Alexis Petridis, attributed the "terminal decline" of dance music to its over-commercialisation by big-name DJs, such as Sasha, and to their demands for increased fees for performances. Though dance music had been declared "dead" by many in the dance industry, Sasha continued to tour—despite the closing of many superclubs, including his resident club Twilo in May 2001.

After the closing of Twilo, Sasha and Digweed embarked on their ambitious Delta Heavy Tour of the United States in 2002. Featuring veteran tour producer Kevin Lyman and opening act Jimmy Van M, the tour covered 31 cities and played to 85,000 people. The appearances, complete with laser shows and video production, were more akin to rock concerts than to typical DJ events. This development was new to the DJing scene, and compelled other DJs to host similar concerts. A DVD of performance highlights, interviews, and behind-the-scenes footage was released as Sasha & John Digweed present Delta Heavy by System Recordings. Ben Turner, creator of the DanceStar awards, retrospectively described the Delta Heavy tour as "a landmark moment for electronic music". Though the duo of Sasha and Digweed never explicitly split up, demanding schedules and frequent independent touring prevented any substantial collaboration for a long period after Delta Heavy.

Post-Digweed
During the latter half of 2002, Sasha collaborated with big beat artist Junkie XL on the single "Breezer". Junkie XL, along with Charlie May, also assisted Sasha on his second album of original material, Airdrawndagger. Airdrawndagger took several years to produce due to Sasha's desire for the album to be "as near to perfection as possible." That March, Sasha suffered a perforated eardrum in a traffic accident, further delaying the album's production. Though the accident temporarily impaired his hearing, he drew inspiration for the album from his ordeal. Airdrawndagger was finally released, in August 2002, to much fanfare. However, the album was "received with a lot of head scratching", according to Sasha, which he attributed to its unexpected mix of genres. The album did not feature the heavier "club sound" of Sasha's previous mix albums, bearing a closer resemblance to ambient music. Airdrawndagger generally received favorable reviews, though critics noted that it was not as consistent and well produced as his DJ mixes. Sasha himself described it as "a selfish, slightly self-indulgent record", though he maintains that he is "happy with it to this day". Some critics, however, called it "sleepy"; E!Online described it as being "more in league with Yanni than Moby". To encourage listeners' interest, Sasha held an amateur remix contest for the album's single, "Wavy Gravy". Due to the contest's success, Sasha released all the tracks from Airdrawndagger on his website, so that fans could download and create their own versions.

After the release of Airdrawndagger, Sasha took the young DJ James Zabiela "under his wing". He introduced Zabiela to the CDJ1000 turntable, and signed Zabiela to the Excession talent agency. The two toured the United States together, which extended Sasha's influence to already-popular American DJs such as Kimball Collins.

In 2004, Sasha signed with Global Underground to produce another mix album. However, he found the process of creating a standard mix album unrewarding, and decided to apply his production and DJing skills to a mix compilation that resembled a "real" album—that is, one featuring original material. Sasha's next studio album, Involver, was "a fusion of mix album and production record", consisting entirely of Sasha's reworkings of tracks by other artists. "I tried to take all the separate sounds to all the tracks [and recombine them]", he later explained, "and it allowed me to mix the tracks together on a much deeper level." He accomplished this by sequencing the album using Ableton Live and Logic Pro. Ableton Live is a music loop-based software package that Sasha uses to engineer tracks in real-time, whereas he used Logic Pro primarily for premeditated edits to audio tracks.

In 2005, Sasha produced his next mix album, Fundacion NYC, based on his nights DJing in New York at the Crobar club. Fundacion NYC received positive reviews for its originality, though JIVE Magazine found it "too complicated for the ear". Sasha is pleased with the album, and plans to make a series of Fundacion albums. The next year, Sasha released 10,000 copies of a June 2006 DJ set for sale using Instant Live, making him the first DJ to use Instant Live's licensing and publishing services. In August 2007, Sasha announced the formation of his record label, Emfire, which will be the exclusive outlet for his new material in both vinyl and digital formats. Its first release was "COMA", a collaborative track by a group of the same name, which features Sasha, Barry Jamieson, Charlie May, and Duncan Forbes. While continuing to regularly DJ, Sasha began work on another Involver mix and the next Fundacion mix. Sasha's Invol2ver was released in September 2008, and Invol<3r was released in March 2013.

Reuniting with Digweed
Though frequent performing kept them apart for several years, Sasha and Digweed announced that they would reunite for a few Australian performances. In November 2006, the duo performed at several venues, including Sydney, Brisbane, and Melbourne as well as numerous tour dates throughout 2007. In 2008, Sasha and Digweed kicked off an American tour with a performance at the Winter Music Conference. The duo played at mainly larger venues on the weekends and smaller (750–1000 people) shows on weekdays. Sasha described their music as "driving and dark" with "a little throwback of Twilo sounds".

Sasha runs a music studio and lives in New York City, and maintains a house in London. He brings his wife with him on his frequent tours. Sasha finds the constant touring to be physically tiring, though he also feels that he thrives on it. While fans may regard Sasha to be a DJ "hero", he is uneasy with fame; Sasha considers himself "shy at heart" and is typically uncomfortable discussing his personal life. He has mentioned on numerous occasions that he is so busy with DJing and production that he rarely has any free time. However, he enjoys watching football, cooking, and sampling the cuisine of the countries he visits. The movie "New Emissions of Light & Sound" won the Best Original Score at the X-Dance Film Festival. The score was made up of new and previously unreleased tracks.

Sasha and Digweed have re-united again in recent years. The iconic duo Sasha & John Digweed performed a Back to Back set at the Ministry of Sound in London on 24 March 2016. Shortly thereafter, the duo announced a list of tour dates for September 2016 to re-launch themselves in a series of gigs and performing Back to Back.

Musical genres
Influenced by the early sound of The Haçienda, Sasha began his career playing records of the rough, danceable genre of acid house. By the early 1990s, he had moved towards a more dark European house music style, though by the time of his Shelley's residency he had begun to experiment more with American house. His tastes further developed as he moved to Renaissance, and he began to incorporate the pop-based sounds of Moby, Spooky, and Leftfield. Sasha's second Digweed collaboration, 1997's Northern Exposure, was described as "epic house", and subsequent releases featured the spacey and atmospheric trance house sound of artists such as Sven Väth, Matt Darey, Tilt, and Armin Van Buuren. A rhythmic and bassy progressive house influence distinguished his Xpander EP and the mix albums of the late 1990s. At the time, Sasha's music rotation included records by artists such as Space Manoeuvres, BT, and Breeder, and Sander Kleinenberg's single "My Lexicon".

With the 2000 album Communicate, the duo's work moved towards a deeper and darker house music sound. The album featured tracks by Morel, Mainline, and Jimmy Van M. The focus shifted from the melodic themes of previous releases in favour of a stronger emphasis on the bassline. The Delta Heavy Tour and Airdrawndagger marked a dramatic shift in style, and reflected the influences of relaxed ambient and breakbeat music on Sasha's work. These influences inspired the album's strong melodies, occasional breakbeat loops, and limited use of percussion. Involver was primarily a fusion of the musical style of house and ambient breakbeat music characterised by UNKLE and Lostep. With 2005's Fundacion, Sasha's style was mostly progressive house and electro house music, with work by James Holden, Tiefschwarz, and Swayzak. With his success in progressive house, Sasha has commented that he feels people try to "pigeon-hole" him into playing that genre. Rather than calling it progressive house, Sasha considers his most recent material to be between house, trance, and breaks, though he has stated that he prefers not to associate himself with a specific genre of music.

Techniques and technology
Sasha attributes his success to his technical skill and ability to "connect with his dancers". During performances, he balances new and experimental material, while ensuring that "the party is still rockin'". His spontaneity carries over to studio work; he typically has only a vague idea of the track listing when beginning work on a new mix album. Because of this, his albums never turn out quite as he expects. Sasha is known for applying new music technologies to both his studio and live work. Both Sasha and Digweed used Pro Tools on Mac computers when mixing their compilation albums, and used turntables and records during live performances. For their remixes, however, they used an Atari ST—an obsolete personal computer from the early 1990s—with Notator, a music sequencer used for arranging audio tracks. For more recent albums such as Fundacion NYC, Sasha used Ableton Live for sequencing, partially because of Pro Tools' higher price. In live performances up to the late 1990s, Sasha performed exclusively using records. Before he started using the CDJ1000, a "turntable" used for CDs, he had his digital music specially cut to acetate records before each tour. Once he integrated CDs into his live act, Sasha operated CDJ1000s with Allen & Heath mixers and FireworX.

Sasha began DJing with Ableton Live in his live act as well, using it in tandem with turntables. Having explored its functionality, Sasha found that he could perform entirely through Ableton Live. He then co-developed the Maven controller, which he uses as a physical interface to the Live software. (DJing with a mouse alone, he has said, is "not going to look right or feel right".) Fundacion NYC was the first album on which he regularly used the Maven controller. During DJ sets, clubbers often believe Sasha is playing new, unheard remixes; in fact, he is often playing modifications of tracks created in Ableton. Sasha most often uses the built-in Ableton plugins, preferring their superior stability and performance over third party plugins. For the first public performance of Involver material, he used a PowerBook running Ableton, but has since shifted to a setup that includes an iMac G5 and Ableton Live.

The Internet has affected how Sasha obtains and uses tracks for performance. While he once hunted through record shops for new records on a regular basis, Sasha now regularly receives new tracks from producers and labels via the Internet. These tracks, which number in the hundreds each week, are edited by Sasha and others for use in his live DJ sets. He still buys hundreds of records on vinyl, which are then recorded and converted into music files prior to being edited in Ableton by his team of engineers.

In February 2013, Sasha spoke to Resident Advisor about his decision to change from using Live and the Maven controller to a combination of Native Instruments' Traktor and CDs in his DJ sets. He felt that whilst Ableton Live had developed significantly as production software, it had become less successful as a DJing tool.

Awards and nominations
In 2005, the Grammy committee debated whether his mix compilation album, Involver, was eligible for nomination as Best Electronic/Dance Album. The Recording Academy decided that the album was eligible, but Involver did not receive a nomination. Sasha did receive a Grammy nomination for his remix of Felix da Housecat's "Watching Cars Go By", which was featured on Involver.

Discography
Studio albums
 * The Qat Collection (1994)
 * Airdrawndagger (2002)
 * Scene Delete (2016)

title: Sasha (DJ)


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Benjamin Stoddert

Benjamin Stoddert (1751 – 18 December 1813) was the first United States Secretary of the Navy from 1 May 1798 to 31 March 1801.

Early life and education
Stoddert was born in Charles County, Maryland in 1751, the son of Captain Thomas Stoddert. He was educated at the University of Pennsylvania and then worked as a merchant. He served as a captain in the Pennsylvania cavalry and later as secretary to the Continental Board of War during the American Revolutionary War. He was severely injured in the Battle of Brandywine and was subsequently released from active military service. In 1781, he married Rebecca Lowndes, daughter of Christopher Lowndes, a Maryland merchant, and they had eight children. They resided at the home of his father-in-law, Bostwick, located at Bladensburg, Maryland.

Career
In 1783, Stoddert established a tobacco export business in Georgetown, with business partners Uriah Forrest and John Murdock.

After George Washington was elected President, he asked Stoddert to purchase key parcels of land in the area that would become the nation's capital before the formal decision to establish the federal city on the banks of the Potomac drove up prices there. Stoddert then transferred the parcels to the government. During the 1790s, he also helped found the Bank of Columbia to handle purchases of land in the District of Columbia for the federal government.

Secretary of the Navy
In May 1798, President John Adams appointed Stoddert, a loyal Federalist, to oversee the newly established Department of the Navy. As the first Secretary of the Navy, Stoddert soon found himself dealing with an undeclared naval war with France, which would come to be known as the Quasi-War. Stoddert realized that the infant U.S. Navy possessed too few warships to protect a far-flung merchant marine by using convoys or patrolling the North American coast. Instead, he concluded that the best way to defeat the French campaign against American shipping was by offensive operations in the Caribbean, where most of the French cruisers were based. Thus at the very outset of the conflict, the Department of the Navy adopted a policy of going to the source of the enemy's strength. American successes during the conflict resulted from a combination of Stoddert's administrative skill in deploying his limited forces and the initiative of his seagoing officers. Under Stoddert's leadership, the reestablished United States Navy acquitted itself well and achieved its goal of stopping the depredations of French ships against American commerce.

Stoddert concerned himself with the Navy's daily administration and operations and the service's future strength. He established the first six navy yards and advocated building twelve 74 gun ships of the line. Congress initially approved construction of these ships in 1799. A design was prepared by Joshua Humphrey, who had prepared the initial designs for the 44 gun frigates of 1797 and lumber collected at the new Navy Yard.

Following the peace accord with France, the U.S. Navy's personnel strength and the number of active vessels were reduced. The Jefferson Administration reduced active naval strength to three frigates (twelve were built between 1797 and 1800) and sold off or used the collected supplies in the Navy Yards for gunboat construction. This policy left the United States unprepared to respond to the later threats of the Barbary pirates and failed to prevent war with England in 1812.

Stoddert established the Navy Department Library due to instructions received from President Adams in a letter dated 31 March 1800.

Post-Navy life
He left office in March 1801 to return to commercial life. Following his term as Secretary of the Navy, Stoddert's final years witnessed a decline in his fortunes: as Stoddert lost heavily in land speculation, Georgetown declined as a commercial center, and the Embargo and the War of 1812 brought American overseas trade to a halt. During this period, he lived at Halcyon House, on the corner at 3400 Prospect Street NW.

Stoddert died on 13 December 1813 and is buried in the graveyard at Addison Chapel, Seat Pleasant, Maryland.

Things named for Benjamin Stoddert

 * Two Navy ships: USS Stoddert (DD-302), 1920–1935, and USS Benjamin Stoddert (DDG-22), 1964–1991
 * Fort Stoddert in the Mississippi Territory (today Alabama)
 * Benjamin Stoddert Middle School in Waldorf, Maryland
 * Benjamin Stoddert Middle School in Temple Hills (Marlow Heights), Maryland
 * Benjamin Stoddert Elementary School in Washington D.C.

In the Georgetown section of Washington, DC, there was a Stoddert Street named after Benjamin Stoddert. In the Georgetown street renaming of 1895 the name was changed to Q Street NW. An apartment building that today stands at 2900 Q Street NW is named The Stoddert.

In Landover, Maryland there is a residential street named after him.

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

title: Benjamin Stoddert


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Battle of the Nations (disambiguation)

Battle of the Nations is an alternative name for the Battle of Leipzig (1813).

Battle of the Nations may also refer to:

 * The Battle of Nations (wargame), a 1975 board wargame simulating the 1813 battle
 * Leipzig: The Battle of Nations, a 1969 board wargame simulating the 1813 battle
 * Battle of the Nations (Medieval Tournament), a modern International Medieval Tournament and festival held yearly in Europe, in which a number of nations field a team
 * "Battle of the Nations" (song), a World War I era song released in 1915

title: Battle of the Nations (disambiguation)


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Krona

Krona may refer to:

Monetary units

 * Faroese króna
 * Icelandic króna
 * Swedish krona

Other uses

 * Krona (comics), alien villain in DC Comics
 * Krona space object recognition station, Russian military satellite detection station in Zelenchukskaya
 * Krona-N the second Krona satellite detection station, in Nakhodka

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Scaphe

The scaphe (σκάφη; also known as a skaphe, scaphion (diminutive) or scaphium) was a sundial said to have been invented by Aristarchus of Samos (3rd century BC). There are no original works still in existence by Aristarchus, but the adjacent picture is an image of what it might have looked like; only his would have been made of stone. It consisted of a hemispherical bowl which had a vertical gnomon placed inside it, with the top of the gnomon level with the edge of the bowl. Twelve gradations inscribed perpendicular to the hemisphere indicated the hour of the day.

Inventor
Aristarchus of Samos (Ἀρίσταρχος, Aristarkhos; c. 310 – c. 230 BC) was an ancient Greek astronomer and mathematician who presented the first known model that placed the Sun at the center of the known universe with the Earth revolving around it (see Solar System). He was influenced by Philolaus of Croton, but he identified the "central fire" with the Sun, and put the other planets in their correct order of distance around the Sun. His astronomical ideas were often rejected in favor of the geocentric theories of Aristotle and Ptolemy.

History
Greeks and Romans used large stone sundials based on "a partial sphere or scaphe,” the shadow of the tip of the gnomon was the time-telling index. These dials could in theory tell time accurately if carved to a true sphere and correctly calibrated for a given site.

It took a skilled stone worker and a great deal of time and money to create a sundial. So only wealthy citizens could afford this elaborate contraption, and it was often for their villas or as donations for erection in the town forum. There was a need for cheaper dials that ordinary laborer could construct. But even if it were easier to make, the question of calibrating the scaphe still posed a problem.

The problem of projecting the three-dimensional scaphe dial upon a vertical or horizontal plane was addressed by a number of distinguished nineteenth-century mathematicians, each of whom presumably solved it to his own personal satisfaction. Unfortunately, their publications are so complex, long-winded, and obscure that they were virtually inaccessible to antiquaries and—it would appear from the replication of effort—even to their own (unacknowledged) colleagues. The spherical trigonometry required for the latter endeavor is really quite basic, and the calculations tedious rather than difficult. The availability of computer-generated graphics has, of course, completely altered the situation. A Fortran program was written for the VAX computer at the University of Leicester that enabled vertical or horizontal dials to be plotted for any latitude.

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Talk:Northern Dobruja

Untitled
I tried to make this page more neutral, but the map still only indicates the Romanian Dobruja, and the name of the page is not very neutral either. We can keep the map, but move the page to Northern Dobruja (or: Northern Dobrogea), or move the page to Dobruja and remove the map. Fransvannes 09:53 23 Jul 2003 (UTC)

 * Hmmm... I guess you're right. I'll make another map that includes the Bulgarian Dobruja.

Thanks! I'll put your adapted map on the Dutch Dobrugea-article (to be written today) as well.Fransvannes 13:03 23 Jul 2003 (UTC)

Perhaps you (or anyone else) could also tell me what is meant by Cadrilater. Is it just Southern Dobruja? What is the origin of this name? (which seems to be in use exclusively in Romania). Was it already in use before 1878, when the Dobruja was split up? Fransvannes 14:39 24 Jul 2003 (UTC)

 * Yes, by Cadrilater is meant Southern Dobrogea and it is used only by Romanians. The name might have something to do with its (roughly) diamond shape.

The term 'Cadrilater' is used by Romanians and refers to the shape of Southern Dobruja/Dobrogea, which is roughly a trapezoid. In my opinion, it is of French origin, you should know that Romanian language has a vast quantity of words borrowed from French. The term 'Cadrilater' was never used in Bulgaria. The Cadrilater includes the Bulgarian districts of Dobric and Silistra, which were conquered by Romania in 1913 and ruled until the German-sponsored Craiova Treaty in 1940. It is worth mentioning that Romania was Bulgaria's only neighbour to admit and give back what was obviously a result of an unfair conquest. Romanians, or Vlachs, did not live in Southern Dobruja before 1913 (as they have for centuries in Bulgaria's Vidin region and Eastern Serbia's Timok Province).

For a comparison, a similar attempt in 1940-41 by the Bulgarian diplmacy to negotiate with the Yugoslav authorities the return of three small and economically insignificant municipalities, Caribrod, Bosilegrad and Strumica (ceded by Bulgaria to Yugoslavia under the Neuilly Treaty of 1919), was categorically rejected. Not to speak of the Vardar Region (which remained part of Yugoslavia and became, in 1945, 'the Republic of Macedonia', one of Europe's latest nations, along with the 'Bosnian' nation, again in Yugoslavia).

Another comparison, the Greek authorities so bitterly reject the fact that the Pomaks of the Thrakē region (lost by Bulgaria to Greece under the Neuilly Treaty in 1919) are ethnic Bulgarians of Muslim faith, that they prefered to recognise them as Turks. This is in spite of the clear ethnic allegiance of the Pomaks, who speak a southern Bulgarian (and not Turkish!) dialect and still preserve living memories of their forced conversion to Islam in the 17th century. With the deterioration of the Greco-Turkish relations after 1974, there was an attempt to create a 'Pomak nation', which has so far failed because of its obvious parallel with the way the 'Macedonian' nation was created in 1945. Only recently, at the turn of the 20th and 21st centuries, the Greek authorities allowed Bulgarian citizens (others than season workers) to go to the region.

Population exchanges
I think the several population exchanges (1913, 1936, 1940, ...) should be mentioned in the demographics section. — Preceding unsigned comment added by 82.46.239.160 (talk) 00:20, 16 November 2015 (UTC)

Byzantine history
There is no mention of byzantine control /influence in this area only the bulgarian empire is mentioned that didn't control the area in the time before the bulgar migrations and during the inexistance of the empire (1000~1200) DamiKarv (talk) 16:18, 13 February 2023 (UTC)

title: Talk:Northern Dobruja


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Certification mark

A certification mark on a commercial product or service is a registered mark that enables its owner ("certification body") to certify that the goods or services of a particular provider (who is not the owner of the certification mark) have particular properties, e.g., regional or other origin, material, quality, accuracy, mode of manufacture, being produced by union labor, etc. The standards to which the product is held are stipulated by the owner of the certification mark.

There are essentially three general types of certification marks:
 * 1) certifying that goods or services had originated in a particular geographic region (e.g., Roquefort cheese);
 * 2) certifying that goods or services meet particular standards for quality, materials, methods of manufacturing, for example, tests by the Underwriter Laboratories;
 * 3) certifying that the manufacturer has met certain standards or belong to a certain organization or union (e.g., "union made" in clothing).

The term "certification mark" is very recent, so while discussing historical certification marks, terms "guild sign", "quality mark", "hallmark", and "trade mark" are used by researchers.

A certification mark indicates a property standard or regulation and a claim that the manufacturer has verified compliance with those standards or regulations. The specific specification, test methods, and frequency of testing are published by the standards organization. Certification listing does not necessarily guarantee fitness-for-use. Validation testing, proper usage, and field testing are often needed.

Certification marks distinguished from other marks
Certification marks can be owned by independent companies absolutely unrelated in ownership to the companies, offering goods or rendering services under the particular certification mark.

Certification marks and trademarks
The USPTO states that a certification mark is "a type of trademark". However, it "is a special creature, created for a purpose uniquely different from that of a trademark or service mark", since:
 * its owner cannot use it (it is used only by providers of certified goods or services);
 * the mark does not define the source of the product. Instead, it identifies properties of the good or service (regional or other origin), material, quality, accuracy, etc.

However, what is meant by a collective trade marks or certification mark differs from country to country. However, a common feature of these types of marks is that they may be used by more than one person, as long as the users comply with the regulations of use or standards established by the holder. Those regulations or standards may require that the mark be used only in connection with goods that have a particular geographical origin or specific characteristics. In some jurisdictions, the main difference between collective marks and certification marks is that the former may only be used by members of an association, while certification marks may be used by anyone who complies with the standards defined by the holder of the mark. The holder, which may be a private or a public entity, acts as a certifier verifying that the mark is used according to established standards. Generally, the holder of a certification mark does not itself have the right to use the mark.

For various reasons, usually relating to technical issues, certification marks are difficult to register, especially in relation to services. One practical workaround for trademark owners is to register the mark as an ordinary trademark in relation to quality control and similar services.

Certification marks and approvals
Certification is often mistakenly referred to as an approval, which is not true. Organizations such as Underwriters Laboratories, TÜV Rheinland, NTA Inc, and CSA International will test the products according to standard procedures and "list" them as compliant to that standard. They do not approve anything except the use of the mark to show that a product has been certified for compliance with such specific standard. Thus, for instance, a product certification mark for a fire door or for a spray fireproofing product does not signify its universal acceptance for use within a building. Approvals are up to the Authority Having Jurisdiction (AHJ), such as a municipal building inspector or fire prevention officer.

Regulations
Trademark laws in countries, such as the United States, Australia, and others that provide for the filing of applications to register certificate marks also usually require the submission of regulations, which define a number of issues, including:

 * People authorized to use the certification mark
 * Characteristics that the certification mark certifies
 * How the certification or standards tests these characteristics and supervises use of the mark
 * What the dispute resolution procedures are

The main purpose of the regulations is to protect consumers against misleading practices.

International treaties and certification marks
Many jurisdictions have been required to amend their trade mark legislation to accommodate protection of certification marks under the TRIPs treaty.

Some jurisdictions recognise certification marks from other jurisdictions. This means good manufactured in one country may need not go through certification in another. One example is the European Union recognition of Australia and New Zealand marks based on an International treaty.

Cases
Cases involving certification marks include:
 * Re Legal Aid Board's Trade Mark Application (unreported 3 October 2000, UK CA)
 * the Sea Island Cotton case [1989]RPC 87

title: Certification mark


text:
Parry (fencing)

A parry is a fencing bladework maneuver intended to deflect or block an incoming attack.

Execution
To execute a parry, fencers strike the opponent's foible, or the area near the tip of the blade, with their forte, or the part of the blade near the bell guard (or handle) of the weapon. This deflects the opponent's blade away from them, protecting them and placing them in a good position to strike back. Approximations of the precise parries are made often during bouts, but are usually accurate enough to be classed as parries.

In épée, because of absence of priority rules (see right-of-way), a parry can be classed as any deflection of the blade that prevents the opponent's attack from landing.

Use
The primary function of a parry is to prevent an opponent's attack from landing. During a bout, parries are commenced from the "en garde" (neutral) position, when an opponent's attack is considered threatening.

A parry is usually followed by a riposte, which is an attack back against the original attacker. More advanced fencers can, instead of immediately riposting after successfully taking a parry, initiate a prise de fer ("taking of the blade") in which they move the opponent's blade to a different position and then hit them.

In foil and sabre, the rules governing the parry give it tactical significance as well: there is a rule known as priority, or "right-of-way." The first fencer to commence an attack gains the priority. If the attack results in a successful hit, only the fencer who has the priority is awarded a touch (regardless of whether the fencer without right of way has made a touch). A successful parry causes the attack to fail, and hence the priority is transferred to the defender (who is now the attacker). Taking a parry, therefore, means that the attacker is in an awkward position (with their arm extended and sometimes off-balance), having just committed to attacking, and the defender has the priority, as well as the best position to riposte, or strike after parrying.

Classification

There are eight parries in the classical systems of épée and foil fencing. Parries are classified based on three attributes: 1) The direction of the blade in relation to the hand: up or down. 2) The position of the blade in relation to the fencing line: inside or outside. 3) The rotation of the wrist in the hand holding the weapon: supinated (palm up) or pronated (palm down).

The parries are numbered from one to eight, with the numbers often referred to by the old French terms: prime, seconde, tierce, quarte, quinte, sixte, septième, octave.

For a right-handed fencer, the inside line is to the left, and the outside line is to the right; thus the parries prime, quarte, and septime deflect the opponent's blade to the left (inside), while the parries seconde, tierce, sixte, and octave deflect the opponent's blade to the right (outside), as shown.

The phrase "counter-parry" indicates a parry that is done in response to an opponent's parry (that is, to block the riposte which follows up the opponent's parry.) This is not to be confused with the contra- (or "circular") parry, in which a semicircular motion is used to make a parry from the opposite side from the attack.

Because sabre parries defend against both cuts (attacks with the edge) as well as thrusts (attacks with the point), the sabre parries are slightly different from the corresponding épée or foil parries; most notably the parry 5 ("quinte"), which defends against a head cut in sabre (an attack that is not allowed in foil or épée).

title: Parry (fencing)


text:
Thoroughbred racing in Australia

Thoroughbred horse racing is a spectator sport in Australia, and gambling on horse races is a very popular pastime with A$14.3 billion wagered in 2009/10 with bookmakers and the Totalisator Agency Board (TAB). The two forms of Thoroughbred horseracing in Australia are flat racing, and races over fences or hurdles in Victoria and South Australia. Thoroughbred racing is the third most attended spectator sport in Australia, behind Australian rules football and rugby league, with almost two million admissions to 360 registered racecourses throughout Australia in 2009/10. Horseracing commenced soon after European settlement, and is now well-appointed with automatic totalizators, starting gates and photo finish cameras on nearly all Australian racecourses.

On an international scale Australia has more racecourses than any other nation. It is second to the United States in the number of horses starting in races each year. Australia is third, after the U.S. and Japan for the amount of prize money that is distributed annually.

Racing industry
Racing in Australia is administered by the Australian Racing Board, with each state's Principal Racing Authority agreeing to abide by, and to enforce, the Australian Rules of Racing.

Besides being a spectator sport, horseracing is also an industry, which provides full- or part-time employment for almost 250,000 people, the equivalent of 77,000 jobs. About 300,000 people have a direct interest as individual owners of, or members of syndicates which own, the 30,000 horses in training in Australia. There are bookmakers, over 3,600 registered trainers and more than 1,000 jockeys, plus farriers and veterinarians involved at race meetings alone. Race meetings are oraganised by approximately 374 race clubs that conduct about 2,694 meetings on 360 racecourses around Australia for over $427,245,000 in prize money.

Important races
Public interest in Thoroughbred racing, especially during the main spring and autumn racing carnivals, has been growing in recent years with over 100,000 attracted to the running of the Melbourne Cup, the Victoria Derby and the VRC Oaks race meets. The Golden Slipper Stakes, Caulfield Cup and W. S. Cox Plate are also major attractions.

Horses

The first horses that came to Australia arrived on the Lady Penrhyn with the First Fleet on 26 January 1788. It is thought that they consisted of one stallion, one colt, three mares, and two fillies from Cape Town, South Africa. (Young) Rockingham was one of the first bloodhorses to be imported into Australia, c. 1797. In 1802, the stallion Northumberland and an English mare were imported, followed shortly thereafter by Washington, a stallion from America. (Old) Hector, was an important Arabian horse that was imported to Australia c. 1803 and whose bloodlines have survived in Australian Thoroughbred pedigrees. Northumberland and Hector were the two leading sires in Australia until 1820. These sires and a number of other Arabian stallions contributed to the breeding up of the bloodhorse population prior to 1825. Manto, imported in 1825, was the first General Stud Book recorded Thoroughbred mare known by name to arrive in Australia. Her family is still producing winners. In 1826 the Thoroughbred stallion Peter Fin, and mares Cutty Sark and Spaewife, were imported.

The first recorded public auction of bloodstock took place in 1805. After the 1830s more English bred horses were imported for racing, as more racing clubs were formed in the country areas of New South Wales.

Malua, foaled in 1879, was the most versatile Australian Thoroughbred racehorse, winning classic races on the flat and the VRC Grand National Hurdle before becoming a good sire. The New Zealand bred Carbine was one of the early champions of the Australian turf, and was later inducted into the Australian Racing Hall of Fame and the New Zealand Racing Hall of Fame. His descendants, the New Zealand-bred horses Phar Lap and Tulloch (the first horse to win more than £100,000 in Australia) also became champions of the Australian turf. Bernborough, Kingston Town, Heroic, Makybe Diva (bred in England) and Winx were other champions that have been inducted into the Australian Racing Hall of Fame. On 31 March 2011 Black Caviar was rated the best Thoroughbred racehorse in the world by Timeform (with a 135 rating) for the period of 1 October 2010 to 27 March 2011.

Australian Thoroughbred breeding has long been involved in the importation of horses, especially from Europe and later the US. Initially the British importations were identified on records with (imp) or an asterisk (*) added as a suffix to indicate that they were not locally bred. With the advent of importations from other countries and the use of shuttle stallions that stand at stud in Australia during the northern hemisphere's winter, these suffixes were replaced by an abbreviated country suffix. These took the format of, e.g., (USA), (GB), (IRE) and (FR) etc.

Australian-bred stallions exported to America have proved very successful at stud there. Some of these exported horses include, Bernborough, Shannon, Sailor's Guide, Noholme, Tobin Bronze and Royal Gem.

Annually, about 8,500 horses are retired from racing, many of which are slaughtered for an export market in human consumption.

Throughout its history, horseracing has become part of the Australian culture and has developed a rich and colourful language.

Early race meetings and clubs
Horseracing had become well established in and around Sydney by 1810. The first official race meeting was organised by officers of Governor Macquarie's visiting 73rd Regiment and held at Hyde Park, Sydney in October 1810, starting on Monday 15th and continuing on the Wednesday and the Friday. The Australian Jockey Club (AJC) held its meetings at Homebush from 1842 to 1859, before moving to Randwick in 1860. The AJC has its headquarters at Randwick where it plays a major role in the regulation of the sport. The Sydney Turf Club (STC) was formed in 1943 and held races on the Rosehill Gardens track and at Canterbury. This club was the initiator of the world's richest race for two-year-olds, the Golden Slipper Stakes. The Australian Jockey and Sydney Turf Clubs Merger Act 2010 merged the two clubs under the name of the Australian Turf Club.

In Victoria the first official races were held in March 1838 on a specially marked out course at Batman's Hill in Melbourne. The Victorian Racing Club (VRC) was formed from the amalgamation in 1864 of the Victoria Jockey Club and Victoria Turf Club.

Queensland's first recorded race meeting was held at Cooper's Plains in 1843. The major race club, the Queensland Turf Club (QTC), was formed in 1863, followed by the Brisbane Amateur Turf Club (BATC) in 1923.

South Australia's first meeting was held at Adelaide in 1843. The principal race club, the South Australian Jockey Club (SAJC), was founded in 1856.

Organised racing was first held in Tasmania in 1814 at Newtown, near Hobart. The Tasmanian Turf Club (TTC) was formed in 1871, but the major club, the Tasmanian Racing Club (TRC), was not established until 1874.

Thoroughbred racing commenced in Western Australia in 1836. The Western Australian Turf Club (WATC) was established in 1852.

By 1883, 192 country clubs were registered to race under Australian Jockey Club rules.

In the Northern Territory, the Darwin Turf Club was established in May 1955.

Breeders and stud farms
The early breeders of Australian bloodstock were men of historical significance such as Robert Campbell (1769–1846), Lieutenant William Lawson (explorer), John Macarthur (wool pioneer), John Piper (military officer), Richard Rouse of Rouse Hill and Dr D'Arcy Wentworth.

Charles Smith established Bungarribee stud at Doonside, New South Wales, shortly after 1830, which only had pure-bred English horses. It was Charles Smith who bred the great colonial stallion, Sir Hercules who was foaled in 1843.

James White (1828–1890), owner of Kirkham Stud, was one of the most successful owner/breeders in Australian racing with his horses winning two Melbourne Cups, six VRC Derbies and five AJC Derbies.

The three eastern mainland states supply 85% of Australian racehorses with the Hunter River valley being the favoured region for Thoroughbred horses in NSW. In Queensland the Darling Downs is the major nursery. Hurtle Fisher's Maribyrnong Stud was a famous stud in Victoria where expensive imported horses were used until it was dispersed in 1866. The St Albans Stud at Geelong was established in the 1850s and was still operating over 100 years later. Tranquil Star was bred here and Briseis was bred, owned and trained by James Wilson at this stud. The Widden Stud in the Hunter Valley, NSW was established by John Thompson in 1867. Since then Widden Stud has been home to some of the finest stallions and broodmares including the following who were all at various times Australia's champion sire; Lochiel (four times leading sire), Grafton (four times), Maltster (five times), Bletchingly (three times), Vain (once) and Marscay (twice). Heroic, Ajax and Todman were other famous Widden stallions. The stud has had a seven generation unbroken chain of ownership under the Thompson family.

Percy Miller (1879–1948) in 1914 established Kia Ora stud just east of Scone. Miller imported the leading sire, Magpie (GB) who ran second in the English 2,000 Guineas Stakes. This stallion sired Windbag, Amounis and Talking. Kia-Ora stud had the leading imported sires, Midstream and Delville Wood who sired champions, Shannon (exported to the United States), Delta, Hydrogen and Evening Peal etc., plus a superb band of brood mares.

Stanley Wootton exerted a major influence on Australian racing when he imported the stallion Star Kingdom, now recognised as the most influential sire line in this country. Wootton also bred the outstanding Biscay and Bletchingly.

Jockeys
Australian jockeys are some of the best in the world and were among the first in the world to experiment with the crouched riding style. In the late 19th century Tot Flood and James Barden pioneered this crouch style in Australia independently of the American, Tod Sloan, after whom the style was named. Australian jockeys have successfully ridden on racecourses across the world. Some of the notable jockeys include, Scobie Breasley (four times British champion jockey), Edgar Britt, Mick Dittman, Roy Higgins, George T. D. Moore, Nash Rawiller, Neville Sellwood, Harry White and Bill Williamson.

In the 1850s amateur "ladies only" events were held in Victoria, Australia but women were not permitted to ride as professional jockeys or on professional tracks. Although women jockeys were still barred from riding in the mid-20th century Wilhemena Smith rode as Bill Smith at north Queensland racecourses.

In the 1920s Hilda Thomas (b 1905) is reported to have raced in Western Australia, on special race-day granted permits, as she wasn't eligible for a jockey's licence. There's little record of this except a 1927-28 West Australian Turf Guide, where she was named the jockey of an unplaced horse. Unofficial records suggest that her brother may have been given the placing in the records. During 1974 the VRC permitted female jockeys to be registered for professional "ladies only" events. Pam O'Neill and Linda Jones, in 1979, were the first women jockeys that were licensed to compete in registered races against men.

Trainers
Historically, the most notable trainers in Australia are Bart Cummings (trainer of 12 Melbourne Cup winners) and Tommy Smith who had won 30 successive Sydney Trainers' Premierships prior to his death. Other successful trainers include Jack Denham, Lee Freedman, Colin Hayes, David Hayes, Etienne L. de Mestre, James Scobie and Gai Waterhouse. In recent years, Chris Waller and Darren Weir have experienced success.

In the 2015/16 Season, Weir broke John Hawkes' record for most winners in a season.

In 1962 Betty Lane applied to the AJC for a metropolitan trainer's licence but was refused as "it's not our policy to license women." After the refusal she became a successful premiership winning trainer in the Western Districts of NSW, where she was permitted to train. In 1982 Betty Lane became the first woman trainer with a Number One Trainers Licence.

In 2019, Victoria Police raided properties owned by Darren Weir in Warrnambool and near Ballarat, and arrested Weir, 48, and two other men relating to the corruption of betting results and animal cruelty. Police found what was believed to be cocaine and four devices known as "jiggers", which can deliver electric shocks. "In relation to the conducted energy devices, or the jiggers, clearly the allegation is that they may be used against a horse with the aim of improving their performance on a particular race day" Assistant Commissioner Neil Paterson said.

Stud books and registrations
The Stud Book of New South Wales by Fowler Boyd Price was published in 1859, and was the first official attempt to document the pedigrees of the colony's bloodhorses. The Victorian Stud Book was then published in Volumes 1-2 which were edited by William Levey to the year 1864 and volumes 3-4 edited by William Cross Yuille to the year 1874. The Australian Stud Book (ASB) began in 1878 as a private venture by A. & William C. Yuille, Melbourne bloodstock agents who published nine volumes. New Zealand horses were included in the ASB until Volume VII appeared in 1900. The copyright was sold in 1910 to the AJC and VRC who now administer matters concerning the breeding of racehorses.

The outstanding ASB online database contains the records of over 860,000 horses, which includes every Australian foal born since 1972. This database includes 28,000 winners of major races in Australia and around the world. A 3,000 plus pages, printed version of volume 42 of the ASB contains the breeding records of 43,000 mares and 70,000 of their named offspring.

In the 1880s it was decided that all Thoroughbreds in Australasia should have their official ages calculated from 1 August.

The Registrar of Racehorses controls the naming, registration, leasing and transfers of all horses racing in Australia. Racehorses must be registered to race, but do not have to be purebred Thoroughbreds in order to be registered and race in Australia. Prior to 1980 it was not uncommon to see a racehorse registered as "by an unidentified sire out of a station mare". During 1980 it was regulated that horses without registered parents could not be officially named.

The registration of racing colours is also handled by the Registrar of Racehorses.

EI outbreak
Equine influenza (EI) was initially discovered in a metropolitan Sydney horse complex in late August 2007, and spread to many areas of New South Wales and southern Queensland. This immediately stopped all equine pursuits nationwide, but soon racing in those states without EI cases resumed. The entire racing industry was put under great pressure because of a lack of racing for Standardbreds and Thoroughbreds.

Australia
Racing in the Australian continent is governed by the Australian Racing Board. This body supersedes the power of the principal clubs, which were once the sovereign body of racing in every state until government reforms introduced separate governing bodies for the industry. The board is constituted of the various principal racing bodies in each state. The board is directly responsible for establishing the rules of racing (subject to additional local rules), the establishment and maintenance of the pattern racing committees, responsible for grading races and allocating black type status, as well as establishing a number of advisory groups to attempt to maintain uniformity in procedures between states and establish an accepted national racing calendar.

Victoria
Victoria is considered to be the home of racing in Australia, with international races like the Melbourne Cup and Cox Plate. The governing body is Racing Victoria Limited. The principal club is the Victoria Racing Club, which races at Flemington; the two other metropolitan clubs are the Melbourne Racing Club, which races at Caulfield and Sandown, and the Moonee Valley Racing Club, home of the Weight for Age championship of Australasia, the Cox Plate. The state boasts many top-class provincial and country racecourses including Pakenham, Cranbourne, Mornington, Geelong, Ballarat, Bendigo, Mildura, Stony Creek, Wangaratta, Warrnambool, Moe and Tatura.

New South Wales
Racing in New South Wales is governed by Racing NSW. The principal club is the Australian Turf Club, which races at Randwick, Warwick Farm, Rosehill Gardens and Canterbury Park. The state's major provincial tracks are Newcastle and Kembla Grange, which alternate their meetings every second Saturday. Other notable tracks include Hawkesbury, Gosford and Grafton which hosts the largest race carnival in Australia outside of a capital city.

South Australia
Racing in South Australia is governed by Thoroughbred Racing S.A. Limited. The principal club is the South Australian Jockey Club, which races at Morphettville (and previously Cheltenham until its closure in 2009, and Victoria Park until 2008). Additionally, the Oakbank Racing Club holds the highly popular Oakbank Easter Racing Carnival with its two meetings on Easter Saturday and Easter Monday.

Queensland
Racing in Queensland is governed by the Racing Queensland, with the principal club being the Brisbane Racing Club, formed out of a merger between the Queensland Turf Club (Eagle Farm) and the Brisbane Turf Club (Doomben). The most significant Queensland race is the Stradbroke Handicap, held at Eagle Farm over 1,400 metres. The BRC hosts the vast majority of metropolitan meetings in Queensland. Outside of Brisbane, meetings are held each Saturday at the Gold Coast and Toowoomba racecourses. The Sunshine Coast Turf Club operates a considerable facility at Caloundra, Queensland. Country racing is also popular in Queensland, with several country cups attracting large crowds throughout the year - the most notable being the Roma Cup in November.

Western Australia
Racing in Western Australia is governed by Racing and Wagering Western Australia, which is a government-owned body. The main racing club, Western Australian Turf Club now known as Perth Racing, holds racing at Belmont Park and Ascot Racecourse. Other popular courses with feature races in Western Australia are Bunbury, Pinjarra, York, Geraldton, Albany, Kalgoorlie and Northam.

The most popular race is the Perth Cup, held each New Year's Day at Ascot. There are three Group One (G1) races contended, being the Railway Stakes, the Kingston Town Classic, and the Winterbottom Stakes.

Tasmania
Racing in Tasmania is governed by the Tasmanian Thoroughbred Racing Council and the principal club is the Tasmanian Turf Club. There are Tasmanian meetings every Sunday usually alternating between Elwick Racecourse near Hobart, Tasman Park near Launceston and Spreyton, Devonport. Race meetings also occur at the King Island Racing Club

Northern Territory
Racing in the Northern Territory is now governed by Thoroughbred Racing NT (formerly the Darwin Turf Club, which races at Fannie Bay.)

Australian Capital Territory
Racing in the Australian Capital Territory is governed by the principal club, the Canberra Racing Club.

Betting
There are four main avenues for race betting in Australia. Licensed on-track bookmakers offer fixed-odds betting, mostly on wins and places. Off-track betting was traditionally controlled by the various state government through organisation called "Totalisator Agency Boards" (TAB), which offered mainly parimutuel betting - that is, the odds were not fixed but involved "the house" taking a fixed cut and distributing the remainder amongst people who made a winning bet. Many of these "TABs" have now been privatised, and many pubs now offer betting services linked to the privatised offshoots of the companies. In some parts of Australia there was a tradition of illegal off-course bookmaking, known as SP bookmaking. This became a large area of vice, intimately associated with police corruption and racetrack rigging. Several Royal Commissions investigated the practice, and there were many attempts to eradicate it. Once a common sight in suburban pubs and bars, the introduction of telephone and internet betting at fixed prices by licensed on-course bookmakers has made it largely redundant. Finally, there is online person to person exchange betting, where members set their own prices and pay a percentage of their winnings in commission.

In 1913 one of the major developments in race wagering, the automatic totalisator, which allowed the automatic calculation of race odds given betting patterns, was invented in Australia by George Julius (later Sir).

In recent years, corporate bookmakers operating online and through mobile apps have become increasingly popular through various specials, promotion and ease of use.

Group races

 * Group 1 races: 67
 * Group 2 races: 83
 * Group 3 races: 110
 * Listed races: 282
 * Total of Black Type races: 542

Breeding

 * Stallions: 840
 * Mares: 28,134
 * Live Foals: 16,113
 * Gross Yearling Sales: A$245 million
 * Median sale price: A$19,000
 * Champion Sire: Encosta De Lago

Prize money and earnings

 * Total Prize money: A$421 million
 * Leading Prize money Earner: Viewed
 * Total number of racehorses: 31,659
 * Number of horses which earned over $100,000: 674
 * Number of horses which earned less than $2,000: 22,300
 * Number of horses with 4 or more wins: 634
 * Number of horses with 0 wins: 19,579

Wagering

 * Totalisator: $9,897 million
 * Win: 47.4%
 * Place: 15.7%
 * Trifecta: 16.3%
 * Quinella: 5.2%
 * Exacta: 2.6%
 * Doubles: 2.2%
 * Quadrella: 4.0%
 * Other: 6.5%
 * Bookmakers: A$4,536 million

The season's winners

 * Racehorse of the year: Scenic Blast
 * Leading Trainer by Group wins: Gai Waterhouse
 * Leading Trainer by wins: David A. Hayes
 * Leading Jockey by Group wins: Nash Rawiller
 * Leading Jockey by wins: Hugh Bowman

Elite and black type racing in Australia
The Australian Pattern Racing Committee is responsible for grading races under the auspices of the Australian Racing Board. Traditionally, until the late 1970s, a series of stakes races were recognised as black type but there was no grading of races within this grouping. Historically, handicaps have been extremely popular among Australian punters, owners and industry participants. As a result, a large number of handicap races still exist within the list of group and listed races. Small efforts have been made to downgrade handicaps and promote set weights and weight for age races however the strength of fields that most handicaps attract make them better punting races than possible under even conditions.

As the largest racing country in the world, Australia has 66 of the world's 193 Group One races, recognised by the International Federation of Horseracing Authorities.

By tradition many state races have maintained higher gradings than they would otherwise be entitled to because of the poor quality of horses participating in them. The rapid growth in the Victorian and to a lesser extent, New South Wales racing carnivals has made the leading races of the other states less competitive in prize money and as a result prestige.

Given the self-interest of each state forming the Australian Racing Board, progress in properly grading races has been slow and controversy is often found in the decisions taken by the Pattern Racing Committee. In recent years, change has been occurring as the Pattern Racing Committee has taken a more scientific approach.

Criticism is also often made of a trend towards the promotion of sprint races over staying races. Many traditional staying races have been reduced in distance significantly over the last 30–40 years. Many parties have called for staying races to be given special dispensation in on-going reviews of race classifications to allow for a current lack of depth to encourage breeding and thus further depth in future.

The group 1 races (and selected other races) in Australia can generally be split into 3 groups, Australian races, state/city/track races and historically significant races.

National races
Australian Derby - AJC Easter Carnival - 2,400m - 3yo

Australian Oaks - AJC Easter Carnival - 2,400m - 3yo

Australian Cup - VRC Autumn Carnival - 2,000m - Open WFA

Australian Guineas - VRC Autumn Carnival - 1,600m - 3yo

Australia Stakes - Moonee Valley - 1,200m - Open

Australian Sires Produce Stakes - AJC Easter Carnival - 1,400 - 2yo

Victorian races
Victoria Derby, Victoria Oaks, Victoria Sires Produce Stakes, Melbourne Cup, Caulfield Cup, Caulfield Guineas, 1000 Guineas, Caulfield Stakes, Moonee Valley Cup, Zipping Classic

New South Wales Races
Sydney Cup, Randwick Guineas, Rosehill Guineas, Storm Queen Stakes

Queensland Races
Queensland Derby, Queensland Oaks, Queensland Cup, QTC Sires Produce Stakes, Queensland Guineas, Brisbane Cup, Doomben Cup

South Australian Races
South Australian Derby, South Australian Oaks, SAJC Sires' Produce Stakes, Adelaide Cup, Port Adelaide Cup, Port Adelaide Guineas

Western Australian Races
WATC Derby, Perth Cup

Victoria
W. S. Cox Plate, Newmarket Handicap, Blue Diamond Stakes, MRC Futurity Stakes C F Orr Stakes, Black Caviar Lightning, Manikato Stakes, Oakleigh Plate, Mackinnon Stakes, Sir Rupert Clarke Stakes, Underwood Stakes, Turnbull Stakes, VRC Classic, Myer Classic

New South Wales
Golden Slipper, Doncaster Handicap, Epsom Handicap, George Main Stakes, Metropolitan Handicap, Spring Champion Stakes, Flight Stakes, Chipping Norton Stakes, Coolmore Classic, Ranvet Stakes, Queen of the Turf Stakes, George Ryder Stakes, The BMW, All Aged Stakes, The Galaxy, TJ Smith Stakes, Queen Elizabeth Stakes, Champagne Stakes

Queensland
The T J Smith, BTC Cup, Doomben 10,000, Stradbroke Handicap, Winter Stakes

South Australia
Robert Sangster Stakes, Goodwood Handicap, Australasian Oaks

Western Australia
Railway Stakes, Kingston Town Classic

title: Thoroughbred racing in Australia


text:
Cabaret Voltaire (band)

Cabaret Voltaire were an English music group formed in Sheffield in 1973 and initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson. Named for the Zürich nightclub that fostered the early Dada movement, the band are often characterized as among the most innovative and influential electronic acts of their era.

The band's early work consisted of experimentation with DIY electronics and tape recorders, as well as Dada-influenced performance art, helping to pioneer industrial music in the mid-1970s. Finding an audience during the post-punk era, they integrated their experimental sensibilities with dance styles. After Watson's 1981 departure, the group continued as a two-piece until disbanding in 1994. Kirk revived the name as a solo project from 2009 until his death in 2021.

Formation
By the early 1970s, Chris Watson of Sheffield, England, began experimenting with electronic devices to make "music without musical instruments." Inspired by Brian Eno of Roxy Music, and helped along by his work as a telephone engineer, Watson's experimentation with tape loops evolved to include custom-built kit oscillators obtained by mail order by the time he met fellow Sheffield local and Eno devotee Richard Kirk. Kirk and Watson began exploring the intersection of technology and music, producing tapes loops to generate sound collages and unusual sound structures. Kirk began to add traditional instrumentation, including clarinet and guitar. In late 1973, they brought in Kirk's friend Stephen Mallinder to provide vocals and bass guitar. Some of these early experiments were first documented on the Industrial Records cassette 1974-1976 (1980), then later on the triple album CD set Methodology '74/'78: The Attic Tapes (Mute 2002).

The band eventually turned to live performance, often sharing the bill with Joy Division, though much of their earliest public performance tended more towards being unconventional and provocative stunts rather than conventional shows. The trio would deploy to various parts of Sheffield with their portable tape recorders and play their experimental compositions in places as diverse as public toilets and on the streets from loudspeakers on the top of a friend's van. This raucous and punkish attitude followed the band onstage to great effect; their first live concert in May 1975 ended in a fight between the band and the audience that sent Mallinder to hospital. In another incident, Mallinder was hospitalised with a chipped backbone after objects were thrown at the band. However, the arrival of punk rock brought a more accepting audience for their industrial, electronic sound and they were championed by Sheffield punk fanzine Gunrubber edited by Paul Bower of local band 2.3.

In 1977, Watson financed the establishment of the band's own recording studio on the second floor of a building called the Western Works on Portobello Street in Sheffield. The "Western Works" studio served as the band's studio for many years as well as providing a social gathering spot for the local Sheffield scene. Western Works produced some of the earliest recordings of pioneering local bands including Clock DVA, The Human League, and New Order.

Emergence: Mix-Up to Red Mecca (1979–1981)
In 1978, Cabaret Voltaire signed to Rough Trade Records. Manchester-based Factory Records had offered to sign the band, and Throbbing Gristle were also interested in signing the band to Industrial Records, but it was with an offer of a four-track Revox tape machine (in lieu of an advance) that Rough Trade secured the deal. With Rough Trade, they released several acclaimed, musically experimental singles and EPs, including Extended Play and "Nag Nag Nag", and albums such as Three Mantras and The Voice of America in 1980, and Red Mecca in 1981.

In the 27 June 1978 edition of NME, Andy Gill said "I firmly believe Cabaret Voltaire will turn out to be one of the most important new bands to achieve wider recognition this year. Wait and see". Subsequently, "Nag Nag Nag" sold 10,000 copies, despite poor reviews, and reached as far afield as France and Belgium, while the debut album Mix-Up reached number 12 on the UK Indie charts. Their success continued with The Voice of America and Red Mecca, reaching number three and number one on the UK Indie charts respectively.

Watson departs, Kirk and Mallinder continue (1981–1982)
Watson left the band in 1981 to work for Tyne Tees Television and went on to found The Hafler Trio with Andrew M. McKenzie before becoming a BBC sound engineer and then a soloist. On 25 June 1981, John Peel broadcast a session on the BBC, recorded previously by the band, which included four songs: "Black Mask", "Greensborough", "Walls of Jericho" and "Jazz the Glass".

During this time, Cabaret Voltaire toured Europe, Japan, and the United States without major record label support, releasing Hai!, a live album recorded in Japan, in 1982.

In late 1982, Cabaret Voltaire decided consciously to turn in a more commercial direction. Introduced by New Order to the American dance music producer John Robie, Cabaret Voltaire enlisted him to remix "Yashar", a track from their 1982 album 2x45. The 12-inch single was released by Factory Records in May 1983, and received extensive play in dance clubs.

The Virgin years: The Crackdown to The Covenant (1983–1985)
In 1983, Stevo Pearce signed the duo to his Some Bizzare label and leveraged a licensing deal with Virgin. The £50,000 advance from Some Bizzare allowed Kirk and Mallinder to significantly improve their operation at Western Works, but came with the stipulation of having to record their next LP in London and making certain production changes to their music. The relationship with Some Bizzare and Virgin resulted in greater exposure and promotion for the band. In August 1983, the album The Crackdown was released and reached number 31 in the UK Albums Chart – over 60 places higher than their previous (and, at the time, only) chart placement. The album's single for "Just Fascination" peaked at number 74.

In 1984, the singles "Sensoria" and "James Brown" from the album Micro-Phonies charted on the UK Indie Chart, as well as getting play in the underground dance scene. The 12" mix of "Sensoria", co-produced by Robin Scott of the new wave band M, was a vastly improved melding of two of the album's tracks, "Sensoria" and "Do Right". The video for the single was directed by Peter Care and earned significant air time and acclaim including a Los Angeles Times Best Video award for 1985.

1985 proved to be a busy year for the band with numerous releases as well as an American tour. Gasoline in your Eye was released that year, which was a compendium of singles videos along with prototype footage for the band's unfinished film "Earthshaker" and other band-filmed footage put to unreleased Cabaret Voltaire music. A double 12" release was derived from the video and released as Drinking Gasoline. The band rounded-out 1985 with a new album, The Covenant, The Sword and the Arm of the Lord and its single, "I Want You," which would be the last releases for the band on Virgin.

The EMI years begin: Code and an identity crisis (1986-1987)
By 1986, Virgin offered to extend Cabaret Voltaire's record contract, but EMI group signalled an intent to invest more in the group and the lure of increased resources through a major label proved irresistible. One of these resources was access to producer Adrian Sherwood, who produced 1987's Code and its singles "Don't Argue" and "Here to Go". Code also featured additional musicians including Bill Nelson on guitar and Mark Brydon on bass.

While 1987 proved to be a successful year musically, in other respects the band was faltering. The decision was made to abandon the original Western Works studio after a series of break-ins and the emergence of financial issues due to accounting problems from years before threatened to force a sale of their new studio. Additionally, Mallinder moved to London and took on more of a socialite lifestyle while Kirk remained in Sheffield. This formed a schism between the band members characterized by the extroverted Mallinder and the reluctant Kirk that was a mirror of the identity crisis of an experimental/unconventional band on the verge of going pop.

Solo excursions and house/techno era (1988–1994)
Prior to 1988, each member of Cabaret Voltaire had released several solo recordings under their own names, and Kirk had worked with Peter Hope of The Box on an album and single. The band's physical separation — with Kirk in Sheffield and Mallinder in London — and the burgeoning house and acid house movements opened new opportunities for solo collaborations. In 1988, Mallinder collaborated with Robert Gordon, co-founder of Warp Records, and David Ball of Soft Cell on a one-off house album under the name Love Street, and Kirk produced a solo acid house 12" as Wicky Wacky.

The band's interest in house music created new connections for the band in America. After trying in vain to contact New York producer Todd Terry, an introduction was made by an Atlantic Records executive to Chicago house producer Marshall Jefferson. The introduction led to a cross-Atlantic collaboration, with the members of Cabaret Voltaire spending a month in Chicago to produce material for their 1990 album Groovy, Laidback and Nasty. Marshall brought numerous guest artists into the album's production including Ten City and Kym Mazelle, and the lead single from the album — "Hypnotised" — featured remix talent from Fon Force (Mark Brydon and Robert Gordon), A Guy Called Gerald, and Daniel Miller.

Despite the newfound energy and direction, the band amassed significant debt under EMI and the label dropped Cabaret Voltaire from their roster. Released from the label, Kirk began a series of projects between 1990 and 1992, including Sweet Exorcist with Richard Barratt, The Technocrats with Ralf Dörper, XON with Robert Gordon, Citrus with Steve Cobby, and solo as Sandoz.

Cabaret Voltaire returned to Les Disques Du Crépuscule to release the Body and Soul album in 1991. The album featured a more minimal sound than Groovy, Laidback and Nasty and was the last Cabaret Voltaire release to feature Mallinder on vocals. In 1991, the band entered an agreement with Mute Records to release new and past works from the band's own Plastex label imprint in the US. Between 1992 and 1994, the band released a trio of instrumental works.

Parting ways and rumours of revival (1995–2009)
In 1995, Mallinder moved to Perth, Australia, and effectively left Cabaret Voltaire in order to step away from the commercial and financial pressures of what had become of his music career. Opting instead to make music with less emphasis on product, Mallinder set up his own music company in Perth, OffWorld Sounds, while he pursued an academic career. Eventually Mallinder returned to music collaboration with a number of projects including Sassi & Loco and Kuling-Bros. Mallinder also contributed to synthesizer and programming on Shaun Ryder's solo album Amateur Night at the Big Top.

Meanwhile, Kirk remained in England and continued in the vein of where Cabaret Voltaire left off through the remainder of the '90s and into the 2000s with more releases under his own name, as Sandoz, and as a new solo project, Electronic Eye.

Hopes of a Cabaret Voltaire reunion were raised when Kirk dropped hints in the late 1990s, the most significant being in the notes of a reissue of Radiation, but this never happened. In a special 'Depeche Mode/History of Electro-pop' edition of Q magazine, Kirk suggested he was still considering resurrecting the Cabaret name, but this time he planned to "Get some young people involved".

Kirk revives the band (2009–2021)
In 2009, Kirk resurrected the Cabaret Voltaire name and released an album with New Zealand band Kora called ''Kora! Kora! Kora! and another with Sheffield band The Tivoli called National Service Rewind''. The new material was recorded at Western Works studios.

In July 2014, Berlin Atonal reported that Cabaret Voltaire were to perform at the festival. The performance – the first in twenty years – saw a set list of all new material performed by a line-up "consisting solely of machines, multi-screen projections and Richard H. Kirk", the lone remaining member of the 'group'.

In early August 2016, Cabaret Voltaire performed an hour long set of otherwise unreleased material at the Dekmantel festival in Amsterdam, the Netherlands.

Circa 2017, the Coachella Festival made a significant offer to Kirk to reform the original Cabaret Voltaire for a reunion show. Kirk refused, stating that "Cabaret Voltaire was always about breaking new ground and moving forward. It would be so sad to see it as a nostalgia act."

In August 2020, Cabaret Voltaire announced a new studio album Shadow of Fear. Backed by the first single "Vasto," the album was released on 20 November 2020. These are the first strictly Cabaret Voltaire recordings with Richard H. Kirk as the group's sole member. These were followed in 2021 by the release of a new EP, Shadow of Funk, and two albums, Dekadrone and BN9Drone.

Richard Kirk died in September 2021 at the age of 65.

Legacy and influence
New Order lead singer and guitarist, Bernard Sumner, said that Cabaret Voltaire influenced his songwriting, having helped him understand that one "could make music without guitars". In Alan Cross's 2012 biography of Skinny Puppy, Cabaret Voltaire's "industrial-grade thumping and noise terrorism" was cited as an influence on the band. In 2012, Trent Reznor stated that the Cabaret Voltaire was a major influence when working on his debut studio album with How to Destroy Angels. Others who have cited Cabaret Voltaire as an influence include Horrid Red, Fluke and Front Line Assembly. Depeche Mode's Martin Gore once listed Cabaret Voltaire among his favourite bands. David J of Bauhaus named the group as one of the "few bands on the [post-punk] scene at the time to whom we related".

As well as helping pioneer industrial music in the 1970s, Cabaret Voltaire have been considered influential on the industrial techno movement of the 1990s. Alain Jourgensen, while working with the band on the Acid Horse project, observed the irony of Cabaret Voltaire's turn towards house music circa 1989 as closing the circle on a genre they helped influence: ""

Jourgensen's assertion was an echo of Mick Fish's observation in his 1989 book Cabaret Voltaire: The Art of the Sixth Sense:

""

Alternative Press included Cabaret Voltaire in their 1996 list of "100 underground inspirations of the past 20 years."

The experimental Sensoria Music & Film Festival is named after the Cabaret Voltaire song, and has become an annual event held in Sheffield since 2008.

Personnel

 * Richard H. Kirk – guitars, keyboards, clarinet, saxophone, tapes, sampling, drum machines, sequencer programming (1973–1994, 2009–2021; died 2021)
 * Stephen Mallinder – vocals, bass, keyboards (1973–1994)
 * Chris Watson – keyboards, tapes (1973–October 1981)

Discography

 * Mix-Up (1979)
 * Three Mantras (1980)
 * The Voice of America (1980)
 * Red Mecca (1981)
 * 2x45 (1982)
 * The Crackdown (1983)
 * Micro-Phonies (1984)
 * The Covenant, the Sword and the Arm of the Lord (1985)
 * C O D E (1987)
 * Groovy, Laidback and Nasty (1990)
 * Body and Soul (1991)
 * Colours (1991)
 * Plasticity (1992)
 * International Language (1993)
 * The Conversation (1994)
 * Shadow of Fear (2020)
 * Dekadrone (2021)
 * BN9Drone (2021)

Related projects

 * Acid Horse featuring Al Jourgensen, Chris Connelly and Bill Rieflin with Mallinder and Kirk.
 * Hafler Trio featuring Watson.
 * Sweet Exorcist featuring DJ Parrot and Kirk.
 * Xon featuring Kirk.

title: Cabaret Voltaire (band)


text:
Talk:Lee Jong-wook

Untitled
I do think a Korean name is need to be present here. --Samuel 10:16 23 Jul 2003 (UTC)

Removed: text copied from WHO site
I removed the following text because it came verbatim from http://www.who.int/dg/lee/en/index.html

 * He was nominated on 28 January, 2003 by the WHO's Executive Board for the post of Director-General of agency and elected to the post on 21 May by the Member States of WHO. The Director-General is WHO's chief technical and administrative officer.

 * Lee took office and started his five-year term as Director-General of WHO on 21 July 2003.

 * Lee received a Doctor of Medicine degree (M.D.) from Seoul National University and a Master of Public Health degree from the University of Hawaii.

 * He has worked at WHO, at country, regional and HQ level for 20 years in technical, managerial and policy positions, notably leading the fight against two of the greatest challenges to health and development: tuberculosis and vaccine preventable diseases of children. After heading the WHO Global Programme for Vaccines and Immunizations and serving as a Senior Policy Advisor, he became, in 2000, Director of Stop TB, a coalition of more than 250 international partners including WHO member states, donors, non-governmental organizations, industry and foundations. Dr. Lee speaks English, Korean and Japanese, and reads French and Chinese.

Claudine (talk) 09:36, 22 May 2006 (UTC)

And it's been added again! Why? Claudine (talk) 23:43, 22 May 2006 (UTC)

Name
"李鍾鬱" changed to "李鍾郁". --Samwingkit 15:46, 26 May 2006 (UTC)

External links modified
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title: Talk:Lee Jong-wook