text:
Richard Henry Horne

Richard Hengist Horne (born Richard Henry Horne) (31 December 1802 – 13 March 1884) was an English poet and critic most famous for his poem Orion.

Early life
Horne was born at Edmonton, London, son of James Horne, a quarter-master in the 61st Regiment. The family moved to Guernsey, where James was stationed, until James' death on 16 April 1810. Horne was raised at the home of his rich paternal grandmother and sent to a school at Edmonton and then to the Royal Military College, Sandhurst, as he was intended for the army. Horne appears to have had as little sense of discipline as Adam Lindsay Gordon showed at the Royal Military Academy, Woolwich, and like him was asked to leave. It appears that he caricatured the headmaster, and took part in a rebellion. He began writing while still in his teens. In 1825 he went as a midshipman in the Libertad to fight for Mexican independence, was taken prisoner, and joined the Mexican navy. He served in the war against Spain, travelled in the United States and Canada, returned to England in 1827, and took up literature as a profession.

Early career
Horne became a journalist, and from 1836 to 1837 edited the Monthly Repository. In 1837 he published two tragedies, Cosmo de' Medici and The Death of Marlowe. Another drama in blank verse, Gregory VII, appeared in 1840, and in 1841 a History of Napoleon in prose.

About the end of 1840 Horne was given employment as a sub-commissioner in connection with the Royal Commission of Inquiry into Children's Employment which particularly focused on the employment of children in mines and manufactures. This commission finished its labours at the beginning of 1843, and in the same year Horne published his epic poem, Orion. It was published originally at the price of one farthing, and was widely read; three editions were published at that price, and three more at increased prices before the end of the year. In the next year he set forth a volume of critical essays called A New Spirit of the Age, in which he was assisted by Elizabeth Barrett Browning, with whom, from 1839 to her marriage in 1846, he conducted a voluminous correspondence.

For many years Horne lived with the writer Mary Gillies, sharing houses in Upper Montagu Street, 5 Fortess Terrace, Kentish Town (later renamed 40 Fortess Road) and Hillside, Fitzroy Park Highgate, with her sister, the artist Margaret Gillies and her partner, the physician and reformer Thomas Southwood Smith. This cohabitation of two unmarried women with their partners, one of whom was himself married, was calmly accepted by some but shocked many who ostracised them.

In 1847 Horne married Catherine Foggo (daughter of David Foggo) and they lived at Beaumont Cottage, Adelaide Road, Hampstead but their marriage was not a happy one. Catherine died in 1893 and shares a grave in Highgate Cemetery with Mary Gillies.

In December 1849 Horne's acquaintance Charles Dickens gave him a position as a sub-editor on his new weekly magazine Household Words at a salary of "five guineas a week". In 1852 with Horne's marriage failing and being discontented with his work on Household Words, he decided to emigrate to Australia.

Australia
In June 1852 Horne migrated to the Colony of Victoria in Australia, travelling as a passenger on the same ship as William Howitt and arriving in Melbourne in September. With assistance from Captain Archibald Chisholm (husband of Caroline Chisholm, a contributor to Household Words), he was given a position as commander of a gold escort. It was later reported that on the first trip of the escort under Horne's command they returned to Melbourne with "two tons weight of gold". The escort was robbed in 1853 and Horne wrote to The Argus with his recollections of George Melville, the bushranger convicted of the crime and hanged.

In 1854 he was a Goldfields Commissioner at the Waranga goldrush (during the Victorian gold rush) and named the township of Rushworth. During his time there he also reached a peaceful settlement with over 4,000 gold miners who had rioted over the payment of their mining license fee and, in his memoirs, stated that he believed this action, in light of the events at the Eureka Stockade a few months later, was never adequately recognised.

During his time at Rushworth, as part of a "foolhardy business transaction", Horne had invested in blocks of land at nearby Murchison on the Goulburn River. But as "the village grew slowly" he was eager to "promote any venture which might bring prosperity to the district" and joined with his friend, Rushworth storekeeper Ludovic Marie in establishing a vineyard on the river near Nagambie. The two set up a public company, the Goulburn Vineyard Proprietary, with Marie as manager and Horne as honorary secretary. A third partner "died mysteriously in the Melbourne scrub" but the venture lasted and still exists as the Tahbilk winery. The venture didn't compensate Horne for the money he had lost in an early public float but he later claimed "he was the father of the Australian wine industry".

In 1856, he was an unsuccessful candidate for the Victorian Electoral district of Rodney. In his platform of policies was an ambitious proposal for an irrigation system, which was realised with the construction of the Waranga Basin in the 1900s.

Following Waranga, Horne acted as a counsel's clerk to his friend, Archibald Michie. Horne became a commissioner of the Yan Yean water-supply on 18 April 1857. It is unfortunate that his lively Australian Autobiography, prefixed to his Australian Facts and Prospects published in 1859, abruptly breaks off about 1854–55. From among the Commissioners he was elected President of the Victorian Sewerage and Water Commission.

He lost the position "as a consequence of departmental changes" and was promised another "by successive Governments" however this did not eventuate. He "wasted three years and upwards, in fruitless expectation", and, with his capital tied up in Goulburn River investments, he applied to the Royal Literary Fund, of London, where he "was at once recognised, and a handsome assistance transmitted to him by return mail".

While in Australia Horne brought out an Australian edition of Orion (1854), and in 1864 published his lyrical drama Prometheus the Fire-bringer. Another edition, printed in Australia, came out in 1866. Also published in 1866 were The South Sea Sisters, a Lyric Masque, for which Charles Horsley (then living in Melbourne) wrote the music. It was sung at the opening of the 1866 intercolonial exhibition. Along with such literary figures as Henry Kendall, Adam Lindsay Gordon, George Gordon McCrae and Marcus Clarke he was a member of the Yorick Club where members met and discussed literature.

Horne was the founding President of Melbourne's Garrick Club in the 1850s and at a charitable theatrical fundraiser in 1855 "kindly consented to sing a Spanish Romansa and Serence" between the two short plays.

London and later life
In 1860 Horne was again unemployed. In 1869, "dissatisfied with the failure of the Victorian government to fulfil what he conceived to be its obligations to him", he returned to England. A later memoria of Horne notes that after his return from Australia he settled in "poor quarters in Marylebone" and "ill at ease in London" his health suffered. This included "a melancholy increase in weight" that resulted in "V-shaped additions" having to be added to his trousers to accommodate his girth. However, courtesy of his physician, Dr. Bird, of Welbeck Street, his health returned and one day two ladies entering the Doctor's practice "were startled to see an old gentleman sliding headfirst down the banisters. This was Mr. Horne celebrating his return to health."

During the 15 years after his return to England, Horne published several books including the Letters of Elizabeth Barrett Browning to Richard Hengist Horne.

Horne received a Civil List pension of £50 a year in 1874 (increasing to £100 in 1880) and died at Margate on 13 March 1884; leaving behind him much unpublished work. A more complete list of Horne's published work will be found in the British Museum catalogue. Horne was buried in Margate Cemetery.

Legacy and influence
Horne possessed extraordinary versatility, but, except in the case of Orion, he never attained to a very high degree of distinction. That poem, indeed, has much of the quality of fine poetry; it is earnest, vivid and alive with spirit. But Horne early drove his talent too hard, and continued to write when he had little left to say. In criticism he had insight and quickness. He was one of the first to appreciate Keats and Tennyson, and he gave valuable encouragement to Mrs. Browning when she was still Miss Elizabeth Barrett.

Hornes's epic poem, Orion was reprinted by the Scholartis Press in 1928.

He has been the subject of two biographies:
 * Always morning: the life of Richard Henry "Orion" Horne by Cyril Pearl (1960)
 * The farthing poet: a biography of Richard Hengist Horne, 1802–84; a lesser literary lion by Ann Blainey (1968)

title: Richard Henry Horne


text: User talk:207.162.229.10

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

title: User talk:207.162.229.10


text:
Roy Rogers (drink)

A Roy Rogers is a non-alcoholic mixed drink made with cola and grenadine syrup, and traditionally garnished with a maraschino cherry.

The drink originated in the 1940s and is named after American actor and singer Roy Rogers (1911–1998), who was popular at the time. It was likely named after Rogers because he did not drink alcohol.

The Roy Rogers is similar to other non-alcoholic beverages, specifically the Shirley Temple. Their recipes are similar: the Roy Rogers uses cola instead of the ginger ale and/or lemon-lime soda used in the Shirley Temple. The Roy Rogers was reportedly sold as a boy's alternative to the Shirley Temple in the 1950s and 1960s.

title: Roy Rogers (drink)


text:
PCT

PCT, P.C.T. or pct may refer to:

Math, science and technology

 * pct, an abbreviation for "%" (percentage)
 * PCT theorem, on parity, charge and time inversions
 * Perceptual control theory, a model of behavior
 * Personal Communication Telephone, a mobile telephone service
 * Polychlorinated terphenyl, an industrial chemical
 * Polycyclohexylenedimethylene terephthalate, a thermoplastic polyester
 * Private Communications Technology, an obsolete Internet security protocol
 * Programmable communicating thermostat, California, US term
 * Projected capacitive touchscreen, a type of touchscreen technology

Medicine

 * Patient care technician
 * Person-centered therapy
 * Porphyria cutanea tarda, the most common subtype of porphyria
 * Postcoital test, for infertility
 * Post-coital tristesse
 * Pragmatic clinical trial
 * Primary care trusts, UK NHS bodies 2001–2013
 * Procalcitonin, a precursor of the hormone calcitonin
 * Progestogen challenge test
 * Proximal convoluted tubule, in the kidney
 * Proton computed tomography (pCT), or proton CT

Places

 * Pacific Crest Trail, US hiking trail from Mexico–US to Canada–US border
 * Potomac Consolidated TRACON, FAA facility designation
 * Princeton Airport (New Jersey), Montgomery Township, New Jersey, US, IATA code

Politics

 * Communist Party of Togo (Parti Communiste du Togo)
 * Congolese Party of Labour (Parti Congolais du Travail)
 * Tunisian Communist Party (Parti Communiste Tunisien)

Other

 * P.C.T, hip-hop musicians
 * Paleolithic continuity theory, suggesting the Proto-Indo-European language comes from the Upper Paleolithic
 * Patent Cooperation Treaty, an international patent treaty
 * Pennsylvania College of Technology
 * Phi Chi Theta, fraternity
 * Presbyterian Church in Taiwan
 * Production car trial, a type of classic trial or off-road motor car rally
 * Territorial Control Plan (Plan Control Territorial), Salvadoran anti-gang security policy

title: PCT


text:
William Howitt

William Howitt (18 December 1792 – 3 March 1879), was a prolific English writer on history and other subjects. Howitt Primary Community School in Heanor, Derbyshire, is named after him and his wife.

Biography
Howitt was born in Heanor, Derbyshire. His parents were Quakers, and he was educated at the Friends public school at Ackworth, Yorkshire. His younger brothers were Richard and Godfrey whom he helped tutor. In 1814, he published a poem on the Influence of Nature and Poetry on National Spirit. In 1821, he married Mary Botham, who, like himself, was a Quaker and a poet. William and Mary Howitt collaborated throughout a long literary career; the first of their joint productions was The Forest Minstrels and other Poems (1821).

In 1831, William Howitt produced a work that naturally resulted from his habits of observation and his genuine love of nature. It was a history of the changes in the face of the outside world in the different months of the year, and was entitled The Book of the Seasons, or the Calendar of Nature (1831). His Popular History of Priestcraft (1833) won him the favour of active Liberals and the office of alderman in Nottingham, where the Howitts had made their home.

They moved to Esher in 1837 and became friends with Elizabeth Gaskell and her husband. In 1838, the publication of his Colonization and Christianity, which was later quoted approvingly by Karl Marx in Capital, Volume I, marked a significant moment. In 1840, they went to Heidelberg, primarily for the education of their children, and remained in Germany for two years. In 1841, William Howitt produced, using the pseudonym Dr Cornelius, produced The Student Life of Germany, the first of a series of works on German social life and institutions. Mary Howitt devoted herself to Scandinavian literature, and between 1842 and 1863 she translated the novels of Frederika Bremer and many of the stories of Hans Christian Andersen.

In 1847 Howitt published the 'Homes and Haunts of the most Eminent British Poets' with the publisher Richard Bently. The Preface to the Second Edition dated 1847, and referring to careful revision of the work is included in the third edition, published by George Routledge & Sons in 1877, suggesting there were either two editions in 1847, or the first edition was earlier. With her husband Mary wrote, in 1852, The Literature and Romance of Northern Europe.

In September 1852 William Howitt, with two of his sons, arrived in Melbourne Australia where he visited his younget brother and visited the newly discovered goldfields. The results of two years in the colony were A Boy's Adventures in the Wilds of Australia (1854), Land, Labour and Gold; or, Two Years in Victoria (1855) and Tallangetta, the Squatter's Home (1857). His eldest son Alfred William Howitt remained in Australia as an anthropologist, explorer and naturalist. He was known for leading the Victorian Relief Expedition, which set out to establish the fate of the ill-fated Burke and Wills expedition.

On his return to England Howitt had settled at Highgate and resumed his indefatigable book-making. From 1856 to 1862 he was engaged on Cassell's Illustrated History of England, and from 1861 to 1864 he and his wife worked at the Ruined Abbeys and Castles of Great Britain. The Howitts had left the Society of Friends in 1847, and became interested in Spiritualism. In 1863 he published The History of the Supernatural in all Ages and Nations, and in all Churches, Christian and Pagan, demonstrating a Universal Faith. He added his own conclusions from a practical examination of the higher phenomena through a course of seven years.

From 1870 onwards Howitt spent the summers in Tyrol and the winters in Rome, where he died. In 1880 Mary Howitt had a house built for her (which is still standing) in the spa town of Meran in South Tyrol (then part of Austria) and from then on divided her time between Rome and Meran. Mary Howitt was much affected by William's death, and in 1882 she joined the Roman Catholic Church, towards which she had been gradually moving during her connection with spiritualism. She died at Rome on 30 January 1888.

The Howitts are remembered for their untiring efforts to provide wholesome and instructive literature. Anna Mary Howitt was both an artist and a poet, and married Alaric Alfred Watts. Mary Howitt's autobiography was edited by her daughter, Margaret Howitt, in 1889. William Howitt wrote some fifty books, and his wife's publications, inclusive of translations, number over a hundred.

Published works

 * A Popular History of Priestcraft in all Ages and Nations (1833)
 * Calendar of Nature (1836)
 * The Rural Life of England (1838)
 * Colonization and Christianity: A Popular History of the Treatment of the Natives by the Europeans in all their Colonies (1838)
 * ’'Visits to Remarkable Places: Old Halls, Battle Fields and Scenes Illustrative …’’ (Two series, 1840–42)
 * The Student-Life of Germany: By William Howitt, from the Unpublished MS. of Dr. Cornelius (1841)
 * The Rural and Domestic Life of Germany (1842)
 * The Life and Adventures of Jack of the Mill: commonly called Lord Othmill; created, for his eminent services, Baron Waldeck, and knight of Kitcottie; a fireside story; with forty illustrations on wood by G. F. Sargent (1844)
 * Madam Dorrington of the Dene: the story of a life (1850) v.1, v.2, v.3
 * The Literature and Romance of Northern Europe: Constituting a Complete History of the Literature of Sweden, Denmark, Norway, and Iceland, ... (1852)
 * Land, Labour, and Gold; or, Two Years in Victoria (1855)
 * A Boy's Adventures in the Wilds of Australia; or, Herbert's Note-Book (1855)
 * The Man of the People (1860)
 * The History of the Supernatural in all Ages and Nations, and in all Churches, Christian and Pagan; Demonstrating a Universal Faith (1863)
 * The History of Discovery in Australia, Tasmania, and New Zealand (1865)
 * The Mad War-Planet; And Other Poems (1871)
 * " Homes and Haunts of the most eminent British Poets" George Routledge & Sons 3rd Edition (1877)

As translator (incomplete list)
 * The Wonderful History of Peter Schlemihl by Adelbert von Chamisso (1844),
 * The History of Magic by Joseph Ennemoser, 2 vols. (1854) – interior images at Internet Archive; (1970 edition, )
 * Subtitle: To which is added an Appendix of the most remarkable and best authenticated stories of Apparitions, Dreams, Second Sight, Somnambulism, Predictions, Divination, Witchcraft, Vampires, Fairies, Table-turning, and Spirit-rapping. Selected by Mary Howitt. [Editor's Preface closes "M. H."]

title: William Howitt


text:
Dietsch

Dietsch may refer to:

 * Dietsch (surname), a surname

Languages

 * German (disambiguation)
 * Low German (disambiguation)
 * Low German
 * Middle Dutch

title: Dietsch


text:
Andy Hamilton

Andrew Neil Hamilton (born 28 May 1954) is a British comedian, game show panellist, television director, comedy screenwriter, radio dramatist, novelist and actor.

Early life and education
Hamilton was born in Fulham, southwest London. He was educated at Westminster City School which was then a voluntary aided grammar school and later read English at Downing College, Cambridge, where he was a member of the Cambridge University Light Entertainment Society (CULES).

Career
Hamilton first came to notice while performing at the Edinburgh Festival Fringe in the 1970s. In the mid-1970s he sustained himself by taking jobs at Harrods and the Post Office before joining the BBC in 1976.

His early radio work, mostly on BBC Radio 4 included Week Ending, The News Huddlines and The Million Pound Radio Show (with Nick Revell). He has since appeared regularly in Chelmsford 123, Have I Got News for You, The News Quiz, QI, and If I Ruled the World. Hamilton is frequently invited as a panellist on The News Quiz and as a guest panellist on I'm Sorry I Haven't a Clue.

He is the voice of Dr Elephant, the dentist in the children's show Peppa Pig. He was also the original voice of Bob Fish, who is also a dentist, in the cartoon Bob and Margaret. Hamilton is also the voice of Captain Squid, the pirate in the children's show Ben & Holly's Little Kingdom.

On 16 March 2007, he co-presented BBC Radio 4's Woman's Hour programme alongside usual presenter Martha Kearney as part of that day's Comic Relief fundraising activities, after defeating Richard Hammond and Kelvin MacKenzie in a poll.

Since 1995, Hamilton has written and played the lead role of Satan in the Radio 4 sitcom Old Harry's Game. He toured with his UK stand-up show Hat of Doom in 2008.

In 2009, Hamilton presented the BBC Four series It's Only a Theory with Reginald D. Hunter.

BBC Radio 4 broadcast two, four-part series, Andy Hamilton Sort of Remembers, in 2017 and 2018. Series 1 comprised the topics of childhood, politics, the human body, and animals, based on his own personal experiences of them.

Personal life
He has no thumb on his right hand. He joked that it was amputated when he was five "by a surgeon who felt that symmetry was over-rated" to the audience of Andy Hamilton Sort of Remembers on Radio 4 in October 2017.

He married Libby Asher in 1988, and they have three children.

He is a supporter of Chelsea Football Club.

Writing
Hamilton has written for:

Television

 * Not the Nine O'Clock News (1979)
 * The Dawson Watch (1979-1980)
 * Shelley (1979)
 * Scotch and Wry (1980)
 * Who Dares Wins (1983)
 * Alas Smith & Jones (1984)
 * The Kit Curran Radio Show (1984)
 * Kit Curran (1986; with Guy Jenkin)
 * Scotch & Wry (1986)
 * Drop the Dead Donkey (1990; co-creator with Guy Jenkin)
 * Eleven Men Against Eleven (1995)
 * Never Mind the Horrocks (1996)
 * Underworld (1997)
 * Bob and Margaret (1998-2000)
 * Bedtime (2001–2003)
 * The Exam (2002; for the National Theatre Connections Anthology)
 * Trevor's World of Sport (2003)
 * The Armstrong and Miller Show (2007)
 * Outnumbered (2007–2014; co-written with Guy Jenkin)
 * The Two Ronnies
 * It's Only a Theory (2009)
 * Just Around The Corner (2012; Pilot only; co-written with Guy Jenkin)
 * Ballot Monkeys (2015)
 * Power Monkeys (2016)
 * Kate & Koji (2020–present)

Radio

 * The Million Pound Radio Show (with Nick Revell)
 * The News Huddlines
 * Old Harry's Game (creator, in which he also stars as Satan)
 * Trevor's World of Sport (radio version broadcast years: 2004, 2005 and 2007)
 * Revolting People (co-creator with Jay Tarses, in which he also stars as Sergeant McGurk)
 * Week Ending
 * Andy Hamilton Sort of Remembers (2017)

Film

 * What We Did on Our Holiday (2014)

Books

 * The Thatcher Papers (New English Library, 1980) (with Alistair Beaton)
 * "The Star Witness" ([Unbound Publishers], ISBN 1-78352-298-4, 2016), "Like its author, this book is funny, poignant and too short" - Jack Dee
 * "The Star Witness" ([Unbound Publishers], ISBN 1-78352-298-4, 2016), "Like its author, this book is funny, poignant and too short" - Jack Dee

title: Andy Hamilton


text:
Talk:Alfred, Lord Tennyson

Lord Tennyson or Baron Tennyson? Whats the diff?
I saw in my English class he is called Alfred Lord Tennyson. What's the difference between Lord Tennyson or Baron Tennyson. Should it be Lord Alfred Tennyson? Which is correct?? (PatseG (talk) 01:19, 4 September 2008 (UTC))

All the lower ranks of British Peerage (Marquess, Earl, Viscount, Baron)are referred to simply as Lord This-n-that, for speed and simplicity. Tennyson became well-known, and was appointed Poet Laureate, just under his common name, Alfred Tennyson. When he was created Baron, common parlance started to refer to him as Alfred,Lord Tennyson, an unusual usage, but one that has stuck. Fairlightseven 04/06/09 —Preceding unsigned comment added by 92.9.137.225 (talk) 16:41, 4 August 2009 (UTC)

Definitely not Lord Alfred Tennyson, a form reserved for younger sons of dukes and marquesses. Seadowns (talk) 14:53, 27 July 2017 (UTC)

 * @ 92.9.137.225: You call the form "Alfred, Lord Tennyson" an "unusual usage". Wouldn't it be more correct to call it a unique usage? I know of no other cases. Does anyone? And if, as I suspect, this was unprecedented, then just exactly how did it arise? I mean, it was far from the first case where a person well-known to the public was given a peerage late in life. --   Jack of Oz   [pleasantries]  23:05, 14 May 2020 (UTC)

A perhaps inappropriate question
I doubt this is the right forum to ask, but I'll do so anyway, excusing myself by not being a native speaker of English.

 * It says: "There lives more faith in honest doubt, believe me, than in half the creeds." [The context directly contradicts the apparent meaning of this quote.]

And I'm bound to ask how is one supposed to understand it? I find it difficult not to interpret this as anything other than a praise of intellectual and spiritual honesty with it's inevitable doubt about accepted beliefs, faith, and so on. So, dear ladies and gentlemen, what am I missing here? Cheerio Sorte Slyngel (talk) 19:29, 17 August 2015 (UTC)

Signature
I noticed that Lord Duffrin has his signature on his page here. Why doesn't Tennyson? — Preceding unsigned comment added by 76.1.59.252 (talk) 00:57, 3 February 2016 (UTC)

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External links modified
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Siblings?
There were quite a few. Could we have them listed? Valetude (talk) 00:46, 30 May 2020 (UTC)

I married a descendant of Alfred Lord Tennyson
Can someone help me fill in the gaps? 173.92.142.45 (talk) 22:48, 22 May 2022 (UTC)
 * Sorry, but this isn't a genealogy site. --  Jack of Oz   [pleasantries]  00:28, 23 May 2022 (UTC)

title: Talk:Alfred, Lord Tennyson


text:
Middle Dutch

Middle Dutch is a collective name for a number of closely related West Germanic dialects whose ancestor was Old Dutch. It was spoken and written between 1150 and 1500. Until the advent of Modern Dutch after 1500 or c. 1550, there was no overarching standard language, but all dialects were mutually intelligible. During that period, a rich Medieval Dutch literature developed, which had not yet existed during Old Dutch. The various literary works of the time are often very readable for speakers of Modern Dutch since Dutch is a rather conservative language.

Differences with Old Dutch
Several phonological changes occurred leading up to the Middle Dutch period.

 * Earlier Old Dutch, , merge into  already in Old Dutch.
 * Voiceless fricatives become voiced syllable-initially: >,  >  (merging with  from Proto-Germanic ),  > . (10th or 11th century)
 * > or . The outcome is dialect-specific, with  found in more western dialects and  further east. This results in later pairs such as dietsc  versus duitsc.
 * Various dialects also show >, while others retain . Compare southeastern Middle Dutch hiwen  with modern Dutch huwen.
 * In word-initial position, some northern dialects also show a change from a falling to a rising diphthong ( > ) like Old Frisian. Cf. the accusative second-person plural pronoun iu > northern jou  versus southern u.
 * Phonemisation of umlaut for back vowels, resulting in a new phoneme (from earlier Old Dutch  before  or ). Unlike most other Germanic languages, umlaut was only phonemicised for short vowels in all but the easternmost areas; long vowels and diphthongs are unaffected.
 * Insertion of between  and a vowel.
 * Syllable-final >  in some areas. This created pairs such as duwen  versus douwen, or nu  versus nou.
 * Lowering of >  when not umlauted.
 * This change did not (fully) occur in the southwestern (Flemish) dialects. Hence, these dialects retain sunne "sun" where others have sonne.
 * Fronting of, > , . In some dialects,  remained syllable-finally or before.
 * This change did not occur in Limburgish.
 * In Flemish, this change also affected cases that escaped the lowering in the previous change, hence sunne.
 * Vowel reduction: Vowels in unstressed syllables are weakened and merge into, spelled $⟨e⟩$. (11th or 12th century) Long vowels seem to have remained as such, at least is known to have remained in certain suffixes (such as -kijn ).
 * Diphthongisation of the long mid vowels:,  > , ,.
 * Non-phonemic lowering of short, > ,.
 * Open syllable lengthening: Short vowels in stressed open syllables become long. As a result, all stressed syllables in polysyllabic words become heavy. Old Dutch (original) long vowels are called "sharp-long" and indicated with a circumflex (â, ê, î, ô). Lengthened vowels are "soft-long" and are indicated with a macron (ā, ē, ī, ō).
 * Lengthened vowels initially have the same vowel quality as the short variants, so this produces, , , ,.
 * and are then lowered to  and  respectively.
 * Lengthened, , remain distinct from the previously diphthongised long mid vowels.
 * In most dialects, lengthened merges with original, but in some, a distinction in backness develops.
 * This introduces many length alternations in grammatical paradigms, e.g. singular dag, plural dag(h)e.
 * Dental fricatives become stops: >,  > , merging with existing  and . (around 12th century)
 * The geminate (originating from Germanic *-þj-) develops into : *withtha > wisse, *smiththa > smisse.
 * L-vocalisation: and  >  before dentals.
 * This change does not occur in Limburgish, which retains the distinction but undergoes its own round of vocalisation in modern times, producing and  respectively.
 * Lengthening of vowels before + dental consonant. This did not occur in all dialects, and in some,  was lengthened to . E.g. farth  > vāert, ertha  > āerde , wort  > wōort.
 * Syncope of schwa in certain environments, particularly inflectional endings. This phonemicises the soft-long vowels produced by open syllable lengthening, which can now also occur in closed syllables. E.g. hēvet > hēeft.
 * Syncope of schwa in certain environments, particularly inflectional endings. This phonemicises the soft-long vowels produced by open syllable lengthening, which can now also occur in closed syllables. E.g. hēvet > hēeft.

Consonants
The consonants of Middle Dutch differed little from those of Old Dutch. The most prominent change is the loss of dental fricatives. In addition the sound was phonemicised during this period, judging from loanwords that retain  to this day.

For descriptions of the sounds and definitions of the terms, follow the links on the headings.

Notes:

 * All obstruents underwent final-obstruent devoicing as in Old and Modern Dutch.
 * During the first part of the Middle Dutch period, geminated varieties of most consonants still occurred. Geminated was a plosive, retained in modern Limburgish as.
 * were most likely bilabial, whereas were most likely labiodental.
 * could have been either dental or alveolar.
 * had a velar allophone when it occurred before the velars.
 * After, was realized as a plosive.
 * was most likely alveolar, either a trill or a tap.

Vowels
Most notable in the Middle Dutch vowel system, when compared to Old Dutch, is the appearance of phonemic rounded front vowels, and the merger of all unstressed short vowels.

Short vowels

 * The exact height of is not certain, and may have varied between actual  and a lower  or even.
 * and could have also been  and, as in modern Dutch.
 * was a back in most varieties, but front  probably occurred in some western dialects.

Long vowels and diphthongs
Long vowels and diphthongs cannot be clearly distinguished in Middle Dutch, as many long vowels had or developed a diphthongal quality, while existing diphthongs could also develop into monophthongs. Sometimes, this occurred only in restricted dialects, other developments were widespread.

 * The rounded front vowels in brackets only occurred in the eastern dialects, where umlaut of long vowels and diphthongs occurred.
 * The rounded back vowel only occurred in the Limburgish dialects.

Many details of the exact phonetics are uncertain, and seemed to have differed by dialect. The overall system is clear, however, as almost all the vowels remain distinct in modern Limburgish:, , , and  appear in modern Limburgish as , , ,  and  respectively.

The vowels, and  developed from Old Dutch opening diphthongs, but their exact character in Middle Dutch is unclear. The following can be said:
 * In eastern Brabant, and all of Limburg, the pronunciation remained diphthongal.
 * is frequently found written with just $⟨i⟩$, which may indicate a monophthongal pronunciation. never merged with the long vowel, however, as no rhyme pairs between these vowels are found.
 * In the coastal areas (Flanders, Holland), seems to have been a monophthong  or . Before velar and labial consonants, the pronunciation was a close . This is revealed by the distinction in spelling between $⟨oe⟩$ and $⟨ou⟩$.
 * In western Brabant, the pronunciation of was more close, probably monophthongal.

The vowels, and , termed "sharp-long" and denoted with a circumflex ê ô, developed from Old Dutch long vowels. The opening diphthong pronunciation was probably widespread, and perhaps once universal, as it is nowadays still found in both West Flemish and in Limburgish, at opposite ends of the Middle Dutch language area. In the general area in between, including standard Dutch, the vowels merged with the "soft-long" vowels during the early modern Dutch period.
 * In southern Flanders, southern Brabant and Holland, appears spelled with $⟨ie⟩$ (e.g. stien for steen), while  appears with $⟨e⟩$ (e.g. speghel for spieghel), suggesting a merger between these phonemes.
 * is sometimes found to rhyme with . It is possible that the two vowels merged under some conditions, while remaining distinct in other cases.
 * In Brabant, occasionally rhymes with . In western Brabant, this implies a close monophthongal pronunciation.

The vowels, and , termed "soft-long" and denoted with a macron ē ō, developed through the lengthening of Old Dutch short vowels in open syllables, but also frequently before. They were simple monophthongs in all Middle Dutch dialects, with the exception of western Flanders where later developed into. They might have been close-mid but also perhaps open-mid, and , as in modern Limburgish.

There were two open vowels, with "sharp-long" â developed from the Old Dutch long ā, and "soft-long" ā being the result of lengthening. These two vowels were distinguished only in Limburgish and Low Rhenish at the eastern end, and in western Flemish and coastal Hollandic on the western end. The relative backness of the two vowels was opposite in the two areas that distinguished them.
 * On the coast, â was front or, while ā was central or back.
 * In the eastern varieties, â was back, while ā was front or central . merged into  during Middle Dutch, first in Low Rhenish, then later also in Limburgish further south.
 * In all dialects between, the two vowels were not distinguished. The phonetic realisation ranged from back (in Brabant) to front  (Holland further inland).

The closing diphthong remained from the corresponding Old Dutch diphthong. It occurred primarily in umlauting environments, with appearing otherwise. Some dialects, particularly further west, had in all environments (thus cleene next to cleine). Limburgish preserved the diphthong wherever it was preserved in High German.

The closing diphthong has two different origins. In the vast majority of the Middle Dutch area, it developed through l-vocalization from older and  followed by a dental consonant. In the eastern area, Limburg in particular, it was a remnant of the older diphthong as in High German, which had developed into elsewhere. L-vocalization occurred only in the modern period in Limburgish, and the distinction between and  was preserved, being reflected as ów and aa respectively.

Changes during the Middle Dutch period
Phonological changes that occurred during Middle Dutch:

 * >, > . This eliminated the sound  from the language altogether.
 * and originating from  and  through final devoicing were not affected. This therefore resulted in alternations such as singular coninc  versus plural coninghe, singular lamp  versus plural lammere.
 * > (spelled $⟨sc⟩$ or later $⟨sch⟩$). It is unclear when this change happened, as the spelling does not seem to differentiate the two sounds (that is, $⟨sc⟩$ and $⟨sch⟩$ could both represent either sound).
 * > before  plus another consonant, merging with original Old Dutch  (< Proto-Germanic ). E.g. ende > einde, pensen > peinsen (from Old French penser). This change is found sporadically in Old Dutch already, but becomes more frequent in some Middle Dutch areas.
 * Epenthesis of in various clusters of sonorants. E.g. donre > donder, solre > solder, bunre > bunder. In modern Dutch, this change has become grammaticalised for the -er (comparative, agent noun) suffix when attached to a word ending in -r.
 * Shortening of geminate consonants, e.g. for bidden >, which reintroduces stressed light syllables in polysyllabic words.
 * Early diphthongisation of long high vowels: >  and  >  except before  and, probably beginning around the 14th century.
 * The diphthongal quality of these vowels became stronger over time, and eventually the former merged with ei. But the diphthongal pronunciation was still perceived as unrefined and 'southern' by educated speakers in the sixteenth century, showing that the change had not yet spread to all areas and layers of Dutch society by that time.
 * Following the previous change, monophthongisation of opening diphthongs: >,  > . The result might have also been a short vowel (as in most Dutch dialects today), but they are known to have remained long at least before.
 * Beginning in late Middle Dutch and continuing into the early Modern Dutch period, schwa was slowly lost word-finally and in some other unstressed syllables: vrouwe > vrouw, hevet > heeft. This did not apply consistently however, and sometimes both forms continued to exist side by side, such as mate and maat.
 * Word-final schwa was restored in the past singular of weak verbs, to avoid homophony with the present third-person singular because of word-final devoicing. However, it was lost in all irregular weak verbs, in which this homophony was not an issue: irregular dachte > dacht (present tense denkt), but regular opende did not become *opend because it would become indistinguishable from opent.
 * During the 15th century at the earliest,  begins to disappear when between a non-short vowel and a schwa.
 * The actual outcome of this change differed between dialects. In the more northern varieties and in Holland, the was simply lost, along with any schwa that followed it: luyden > lui, lade > la, mede > mee. In the southeast, intervocalic  instead often became : mede > meej.
 * The change was not applied consistently, and even in modern Dutch today many words have been retained in both forms. In some cases the forms with lost were perceived as uneducated and disappeared again, such as in Nederland and neer, both from neder (the form Neerland does exist, but is rather archaic in modern Dutch).

Dialects
Middle Dutch was not a single homogeneous language. The language differed by area, with different areas having a different pronunciation and often using different vocabulary. The dialect areas were affected by political boundaries. The sphere of political influence of a certain ruler also created a sphere of linguistic influence, with the language within the area becoming more homogeneous. Following, more or less, the political divisions of the time, several large dialect groups can be distinguished. However, the borders between them were not strong, and a dialect continuum existed between them, with spoken varieties near the edges of each dialect area showing more features of the neighbouring areas.

Middle Dutch has four major dialects groups: Flemish, Brabantic and Hollandic are known as West Franconian, while Limburgic is known as East Franconian (not to be confused with the High German dialect East Franconian).
 * 1) Flemish in Flanders and Zeeuws in Zeeland,
 * 2) Brabantic in Brussels, Leuven, Antwerp, Mechelen, Breda,
 * 3) Hollandic in the county of Holland,
 * 4) Limburgic in the East.

In a finer classification there are:
 * Flemish
 * West Flemish
 * East Flemish
 * Brabantic
 * West Brabantic
 * East Brabantic
 * Hollandic
 * Utrechts
 * Limburgic

Brabantian
Brabantian was spoken primarily in the Duchy of Brabant. It was an influential dialect during most of the Middle Ages, during the so-called "Brabantian expansion" in which the influence of Brabant was extended outwards into other areas. Compared to the other dialects, Brabantian was a kind of "middle ground" between the coastal areas on one hand, and the Rhineland and Limburg on the other. Brabantian Middle Dutch has the following characteristics compared to other dialects:

 * Merger of â and ā, articulated as a back vowel.
 * Use of the form g(h)i for the second-person plural pronoun.
 * Early diphthongization of and.
 * Tended towards Rhinelandic and/or Limburgish in the easternmost areas, with umlaut of long vowels and diphthongs. This in turn led to stronger use of umlaut as a grammatical feature, in for example diminutives.
 * Lack of umlaut >  before, in western varieties.
 * Lack of umlaut >  before, in western varieties.

Flemish
Flemish, consisting today of West and East Flemish and Zeelandic, was spoken in the County of Flanders, northern parts of the County of Artois and areas around the towns of Calais and Boulogne-sur-Mer. Though due to their intermediary position between West Flemish and Brabantian, the East Flemish dialects have also been grouped with the latter. Flemish had been influential during the earlier Middle Ages (the "Flemish expansion") but lost prestige to the neighbouring Brabantian in the 13th century. Its characteristics are:

 * Fronted realisation for â.
 * Unrounding of rounded front vowels.
 * Loss of, with the occasional hypercorrection found in texts.
 * Opening diphthong articulation of ê and ô, often spelled $⟨ee⟩$ and $⟨oe⟩$.
 * Old Dutch developed into  instead of, thus giving forms such as vier ("fire") where other dialects have vuur.
 * Lowering of to  before  + consonant, often also with lengthening. The change is generally limited to West Flemish before dentals, while before labials and velars it is more widespread.
 * Lack of umlaut >  before.
 * > in some words.
 * > sometimes before  + consonant in West Flemish.

Hollandic
Hollandic was spoken in the County of Holland. It was less influential during most of the Middle Ages but became more so in the 16th century during the "Hollandic expansion", during which the Eighty Years' War took place in the south. It shows the following properties:

 * Strong Ingvaeonic influence from earlier Frisian presence in the area. This became more apparent closer to the coast and further north (West Friesland).
 * â and ā merged and had a fronted articulation (which forms the basis for the modern standard Dutch pronunciation).
 * Occasional occurrence of the Ingvaeonic nasal-spirant law. Seen in some place names, such as -mude ("mouth") where more southwestern areas retain the nasal: -monde.
 * Use of the form ji for the second-person plural pronoun.
 * Retention of.
 * Lack of umlaut >  before.

Limburgish
Limburgish was spoken by the people in the provinces of modern Dutch and Belgian Limburg. It was not clearly tied to one political area, instead being divided among various areas, including the Duchy of Limburg (which was south of modern Limburg). It was also the most divergent of the dialects.

 * Generally, a strong "southeastern" influence, tying it more to Middle High German in some respects ("Colognian expansion"). The effects of the High German consonant shift are occasionally found.
 * Umlaut affects all vowels and is morphologically significant.
 * Retention of the older Germanic diphthongs and  where other Middle Dutch dialects have monophthongized these to ê and ô.
 * Retention of (did not merge with ) and  (remained as a back vowel).
 * Orthography is also more eastern. represents a back vowel, and vowel length in closed syllables is not marked.
 * Full use of du as the second-person singular pronoun.
 * Long a in words ending in a single consonant, e.g. blaet for blat, gaef for gaf, etc. and before, , , + dental,

Kleverlandish
Kleverlandish ("Kleverlands") was spoken around the area of the Duchy of Cleves, around the Lower Rhine. It represented a transitional dialect between Limburgish and Middle Low German.

 * It had an eastern influence, with a more eastern-tinted orthography. Umlaut was a regular grammatical feature.
 * Stronger Middle Low German influence.

Orthography
Middle Dutch was written in the Latin alphabet, which was not designed for writing Middle Dutch so different scribes used different methods of representing the sounds of their language in writing. The traditions of neighbouring scribes and their languages led to a multitude of ways to write Middle Dutch. Consequently, spelling was not standardised but was highly variable and could differ by both time and place as various "trends" in spelling waxed and waned. Furthermore, a word could be found spelled differently in different occurrences within the same text. There was the matter of personal taste, and many writers thought it was more aesthetic to follow French or Latin practice, leading to sometimes rather unusual spellings.

The spelling was generally phonetic, and words were written based on how they were spoken rather than based on underlying phonemes or morphology. Final-obstruent devoicing was reflected in the spelling, and clitic pronouns and articles were frequently joined to the preceding or following word. Scribes wrote in their own dialect, and their spelling reflected the pronunciation of that particular scribe or of some prestige dialect by which the scribe was influenced. The modern Dutch word maagd ("maiden") for example was sometimes written as maghet or maegt, but also meget, magt, maget, magd, and mecht. Some spellings, such as magd, reflect an early tendency to write the underlying phonemic value. However, by and large, spelling was phonetic, which is logical as people usually read texts out loud.

Modern dictionaries tend to represent words in a normalised spelling to form a compromise between the variable spellings on one hand and to represent the sounds of the language consistently. Thus, normalised spellings attempt to be a general or "average" spelling but still being accurate and true to the language.

Vowels
The general practice was to write long vowels with a single letter in an open syllable and with two letters in a closed syllable. Which two letters were used varied among texts. Some texts, especially those in the east, do not do so and write long vowels with a single letter in all cases (as is the predominant rule in modern German).

Nouns
Middle Dutch nouns inflected for number as well as case. The weakening of unstressed syllables merged many different Old Dutch classes of nominal declension. The result was a general distinction between strong and weak nouns. Eventually even these started to become confused, with the strong and weak endings slowly beginning to merge into a single declension class by the beginning of the modern Dutch period.

Strong nouns
The strong nouns generally originated from the Old Dutch a-stem, i-stem and u-stem inflections. They mostly had a nominative singular with no ending, and a nominative plural in -e or, for some neuter nouns, with no ending. Most strong nouns were masculine or neuter. Feminines in this class were former i-stems, and could lack an ending in the dative singular, a remnant of the late Old Dutch inflection. In some rare occasions, the genitive singular was also endingless. Some nouns ended in -e in the singular also; these were primarily former ja-stems, which were masculine or neuter. A few were former i-stems with short stems. Nouns of this type tended to be drawn into the weak inflection by analogy.

The following table shows the inflection of the masculine noun "day", feminine  "deed" and neuter  "bread".

Weak nouns
Weak nouns were characterised by the ending -en throughout the plural. The singular ended in -e.

The following table shows the inflection of the masculine noun "bow, arc".

Adjectives
Middle Dutch adjectives inflected according to the gender, case and number of the noun they modified.

The Germanic distinction between strong and weak, or indefinite and definite inflection, was fairly minimal in Middle Dutch, appearing only in the masculine and neuter nominative singular. These forms received an -e ending when a definite word (demonstrative, article) preceded, and had no ending otherwise. Adjectives were uninflected when connected through a copula. Thus, even for feminine nouns, no ending appeared: die vrouwe is goet "the lady is good".

Some adjectives, namely the former ja-stems, had an -e even in the strong and copular form, e.g. die vrouwe is cleine "the lady is small".

Pronouns
Middle Dutch pronouns differed little from their modern counterparts. The main differences were in the second person with the development of a T-V distinction. The second-person plural pronoun ghi slowly gained use as a respectful second-person singular form. The original singular pronoun du gradually fell out of use during the Middle Dutch period. A new second person plural pronoun was created by contraction of gij/jij and lui ('people') forming gullie/jullie (literally, 'you people').

Note: There are several other forms.

Determiners
Definite Article (die, dat = the)

Verbs
Middle Dutch mostly retained the Old Dutch verb system. Like all Germanic languages, it distinguished strong, weak and preterite-present verbs as the three main inflectional classes. Verbs were inflected in present and past tense, and in three moods: indicative, subjunctive and imperative.

The weakening of unstressed vowels affected the distinction between the indicative and subjunctive moods, which had largely been determined by the vowel of the inflectional suffix in Old Dutch. In Middle Dutch, with all unstressed vowels merging into one, the subjunctive became distinguished from the indicative only in the singular but was identical to it in the plural, and also in the past tense of weak verbs. That led to a gradual decline in the use of the subjunctive, and it has been all but lost entirely in modern Dutch.

Strong verbs
The seven classes of strong verb common to the Germanic languages were retained. The four principal parts were the present tense, first- and third-person singular past tense, remaining past tense, and the past participle.

In classes 6 and 7, there was no distinction between the two different vowels of the past tense. In classes 4 and 5, the difference was primarily one of length, since ā and â were not distinguished in most dialects. The difference between ê and ē, and between ô and ō, found in classes 1 and 2, was a bit more robust, but also eventually waned in the development to modern Dutch. Consequently, the distinction was mostly lost. Class 3, which retained a clear distinction that did not rely on vowel length, was levelled in favour of the o of the plural.

In classes with a lengthened vowel in the present, the singular imperative often appears with a short vowel instead, e.g. les, drach. An alternative form, with final -e by analogy with the weak verbs, also occurs.

The eastern dialects occasionally show i in the second- and third-person singular present indicative forms, instead of e. This is a remnant of older i-mutation in these forms. Umlaut is also sometimes found in the past subjunctive in the east.

Weak verbs
Middle Dutch retained weak verbs as the only productive class of verbs. While Old Dutch still had two different classes of weak verbs (and remnants of a third), this distinction was lost in Middle Dutch with the weakening of unstressed syllables.

The past tense was formed with a suffix -ed-, which generally lost its e through syncope and thus came to be directly attached to the preceding stem. This triggered voicing assimilation, so that t appeared whenever the preceding stem ended in a voiceless consonant. This phenomenon remains in modern Dutch. Unsyncopated forms, which retain the fuller suffix -ed-, are sometimes found, especially with stems ending in a labial or velar consonant.

Some former class 1 weak verbs retained so-called Rückumlaut. These verbs had undergone umlaut in the present tense, but the umlaut-triggering vowel was syncopated in the past tense already in Old Dutch, preventing umlaut from taking hold there. Thus, senden had the first- and third-person singular past tense sande. These verbs tended to be reinterpreted as strong verbs in later Middle Dutch; sande itself gave rise to the modern zond, mirroring strong class 3.

title: Middle Dutch


text:
If I Ruled the World

"If I Ruled the World" is a popular song, composed by Leslie Bricusse and Cyril Ornadel, which was originally from the 1963 West End musical Pickwick (based on Charles Dickens's The Pickwick Papers).

Background
In the context of the stage musical, the song is sung by Samuel Pickwick, when he is mistaken for an election candidate and called on by the crowd to give his manifesto. Ornadel and Bricusse received the 1963 Ivor Novello award for Best Song Musically and Lyrically.

First recordings

 * The song is usually associated with Sir Harry Secombe, who got the song to No 18 in the UK charts in 1963.
 * Tony Bennett originally recorded the song in 1965, and had a number 34 hit with it on the U.S. pop singles charts and number 8 on the Middle-Road Singles chart. In a duet with Celine Dion, he returned to the song on his Grammy-winning 2006 album Duets: An American Classic.

Other recordings
It has been performed by other singers, notably:
 * Nancy Wilson
 * Robert Goulet
 * James Brown
 * Sammy Davis Jr.
 * Stevie Wonder
 * The Supremes
 * Tom Jones
 * Regina Belle
 * Jamie Cullum also recorded a version for his album The Pursuit, and performed it at his special performance at the Late Night Prom, number Prom 55, of The Proms in London, with The Heritage Ensemble, on Thursday 26 August 2010 between 22:15 and 13.45. As shown on BBC televisions' BBC Four on the following night.

Popular culture

 * The song was featured in Bruce Almighty (2003), in a scene with Bennett himself singing the song at a scene in a piano-bar.
 * The song was featured in the movie, War of the Worlds by Steven Spielberg (2005).
 * This song was featured in Spring/Summer 2009 on the Vodafone adverts in the UK.
 * This song was featured in the South Korean film, Night Flight, directed by Lee Song Hee-il (2014)
 * The politician-spoofing BBC panel show If I Ruled the World was named after the song.
 * Andy Hallett, the actor best known for playing the part of Lorne ('The Host') in the television series Angel, sang the song in that series' final episode.
 * A cover of the song arranged by Jamie Stevens of Elephant Music underscored the 2023 trailer for the third season of The Morning Show.

title: If I Ruled the World


text:
Grammy Award for Best Musical Album for Children

The Grammy Award for Best Musical Album for Children was an honor presented to recording artists for quality children's music albums at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".

The award for Best Musical Album for Children was first presented to producer Alan Menken and Tim Rice in 1994 for the soundtrack to the Disney film Aladdin.

The award was discontinued from 2012 in a major overhaul of Grammy categories. Starting in 2012, this category merged with the Best Spoken Word Album for Children category to form the new Best Children's Album category. This merger meant essentially returning to the categorization set-up prior to 1994 (although with a small name change), when recordings for children was covered by the Grammy Award for Best Album for Children alone.

Recipients
undefined Each year is linked to the article about the Grammy Awards held that year.

undefined Producer(s) are only indicated if they were presented a Grammy Award.


text:
CNES

CNES (Centre national d'études spatiales) is the French national space agency. Headquartered in central Paris, the agency comes under the supervision of the ministries of the Armed Forces, Economy and Finance and Higher Education, Research and Innovation.

It operates from the Toulouse Space Centre and the Guiana Space Centre. The president of CNES is Philippe Baptiste. CNES is a member of Institute of Space, its Applications and Technologies. It is Europe's largest national organization of its type.

History
CNES was established under President Charles de Gaulle in 1961. It is the world's third oldest space agency, after the Soviet space program (Russia), and NASA (United States). CNES was responsible for the training of French astronauts, until the last active CNES astronauts transferred to the European Space Agency in 2001.

, CNES is working with Germany and a few other governments to start a modest research effort with the hope to propose a LOX/methane reusable launch vehicle by mid-2015. If built, flight testing would likely not start before approximately 2026. The design objective is to reduce both the cost and duration of reusable vehicle refurbishment, and is partially motivated by the pressure of lower-cost competitive options with newer technological capabilities not found in the Ariane 6.

Timeline

 * 1947: CIEES missile range and launch facility built for the French military near Hammaguir in French Algeria.
 * 1961: CNES founded.
 * 1962: First Berenice rocket launched.
 * 1963: CNES became the first—and only—space agency to successfully launch a cat into space.
 * 1964: Diamant Launch Vehicle introduced.
 * 1965: First French satellite put in orbit.
 * 1967: Hammaguir range closed.
 * 1968: Toulouse Space Centre completed.
 * 1969: Guiana Space Centre in French Guiana completed.
 * 1973: Évry Space Centre completed.
 * 2014: E-CORCE Earth observation satellite launched
 * 2024: Space Variable Objects Monitor launched

Programs
CNES concentrates on access to space, civil applications of space, sustainable development, science/technology research, and security/defence.

Access to space
France was the third space power (see Diamant) to achieve access to space after the USSR and US, sharing technologies with Europe to develop the Ariane launcher family. Commercial competition in space is fierce, so launch services must be tailored to space operators' needs. The latest versions of the Ariane 5 launch vehicle can launch large satellites to geosynchronous orbit or perform dual launches—launching two full-size satellites with one rocket—while the other launch vehicles used for European payloads and commercial satellites—the European/Italian Vega and Russian Soyuz-2—are small and medium-lift launchers, respectively.

Sustainable development
CNES and its partners in Europe—through the Global Monitoring for Environment and Security initiative (GMES)—and around the world have put in place satellites dedicated to observing the land, oceans, and atmosphere, as well as to hazard and crisis management. The best-known are the SPOT satellites flying the Vegetation instrument, the Topex/Poseidon, Jason-1 and Jason-2 oceanography satellites, the Argos system, Envisat, and the Pleiades satellites.

Civil applications
CNES is taking part in the Galileo navigation programme alongside the European Union and the European Space Agency (ESA), and—in a wider international context—in the Cospas-Sarsat search-and-rescue system.

Security and defense
The aforementioned Galileo navigation programme, though intended primarily for civilian navigational use, has a military purpose as well, like the similar American Global Positioning System and Russian GLONASS satellite navigational systems.

In addition to Spot and the future Pleiades satellites, CNES is working for the defence community as prime contractor for the Helios photo-reconnaissance satellites.

Global Monitoring for Environment and Security—a joint initiative involving the EU, ESA, and national space agencies—pools space resources to monitor the environment and protect populations, though it also encompasses satellite support for armed forces on border patrol, maritime security, and peacekeeping missions.

Ongoing missions
France's contribution to the International Space Station is giving French scientists the opportunity to perform original experiments in microgravity. CNES is also studying formation flying, a technique whereby several satellites fly components of a much heavier and complex instrument in a close and tightly controlled configuration, with satellites being as close as tens of meters apart. CNES is studying formation flying as part of the Swedish-led PRISMA project and on its own with the Simbol-x x-ray telescope mission.

CNES currently collaborates with other space agencies on a number of projects, including orbital telescopes like INTErnational Gamma-Ray Astrophysics Laboratory, XMM-Newton, and COROT and space probes like Mars Express, Venus Express, Cassini-Huygens, and Rosetta. CNES has collaborated with NASA on missions like the Earth observation satellite PARASOL and the CALIPSO environment and weather satellite.

It has also collaborated with the Indian Space Agency (ISRO) on the Megha-Tropiques Mission, which is studying the water cycle and how it has been impacted by climate change. CNES plays a major role in the ESA's Living Planet Programme of Earth observation satellites, having constructed the Soil Moisture and Ocean Salinity satellite.

UFO Archive
In December 2006, CNES announced that it would publish its UFO archive online by late January or mid-February. Most of the 6,000 reports have been filed by the public and airline professionals. Jacques Arnould, an official for the French Space Agency, said that the data had accumulated over a 30-year period and that UFO sightings were often reported to the Gendarmerie.

In the last two decades of the 20th century, France was the only country whose government paid UFO investigators, employed by CNES's UFO section GEPAN, later known as SEPRA and now as GEIPAN.

On March 22, 2007, CNES released its UFO files to the public through its website. The 100,000 pages of witness testimony, photographs, film footage, and audiotapes are an accumulation of over 1,600 sightings since 1954 and will include all future UFO reports obtained by the agency, through its GEIPAN unit.

Tracking stations
The CNES has several tracking stations. A partial list follows:
 * Kourou in French Guiana
 * Issus Aussaguel, 20 km away from Toulouse
 * Kerguelen Island, French Southern and Antarctic Lands
 * Hartebeesthoek, South Africa
 * Kiruna, Sweden, for the SPOT program

title: CNES


text:
Dead Can Dance (album)

Dead Can Dance is the debut studio album by Australian musical act Dead Can Dance. It was released on 27 February 1984 on the 4AD label.

Background
Dead Can Dance commented on their official website regarding the name of the band and album:

"To understand why we chose the name, think of the transformation of inanimacy to animacy. Think of the processes concerning life from death and death into life. So many people missed the inherent symbolic intention of the work, and assumed that we must be 'morbid gothic types'."

Production
The album was recorded at Blackwing Studios.

The musicians who performed on the album were Brendan Perry, Lisa Gerrard, Paul Erikson, James Pinker and Peter Ulrich.

The instrumentation consisted of guitars, bass guitar and drums, with added percussion and the very distinct sound of the yangqin, as played by Gerrard.

Musical style
AllMusic commented on the album's sound: "Bearing much more resemblance to the similarly gripping, dark early work of bands like the Cocteau Twins and the Cure than to the later fusions of music that would come to characterize the duo's sound, Dead Can Dance is as goth as it gets in many places".

Album cover
The album cover includes a photo of a piece of artwork from Papua New Guinea on the left side, and on the right, the Greek characters "ΔΞΛΔ CΛΝ ΔΛΝCΞ", which aimed to visually resemble the title "DEAD CAN DANCE".

Release
The album was released by 4AD on 27 February 1984. Some editions included Dead Can Dance's next release, the EP Garden of the Arcane Delights, added onto the end of the album.

Reception
In its retrospective review, AllMusic wrote that, with the album, "Perry and Gerrard created a striking, dour landmark in early-'80s atmospherics".

Touring
The band's touring was limited to Europe during this period.

Personnel
Personnel adapted from Dead Can Dance liner notes.
 * Dead Can Dance
 * Lisa Gerrard
 * Brendan Perry
 * Paul Erikson
 * James Pinker
 * Scott Roger
 * Peter Ulrich

 * Production
 * John Fryer – production

title: Dead Can Dance (album)


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Jane Adams

Jane Adams may refer to:

 * Jane Kelley Adams (1852–1924), American educator
 * Jane Swain Adams (1851–1934), Australian pioneer, settler, farmer and inn-keeper
 * Jane Adams (actress, born 1918) (1918–2014), American performer during 1940s and early 1950s
 * Jane Adams (actress, born 1965), American film, television and theatre Tony winner
 * Jane Adams (camogie), Northern Irish centre field since 1997
 * Jane Adams (writer) (born 1960), English novelist

title: Jane Adams


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Grammy Award for Best Spoken Word Album for Children

The Grammy Award for Best Spoken Word Album for Children was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for works containing quality "spoken word" performances aimed at children. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."

The award was first presented to Audrey Hepburn and producers Deborah Raffin and Michael Viner in 1994 for the album Audrey Hepburn's Enchanted Tales. Its last winners were the artists, producers, audio engineers, and audio mixers who contributed to the album Julie Andrews' Collection of Poems, Songs, and Lullabies in 2011, when it was announced the award would be combined with the Grammy Award for Best Musical Album for Children to form the Grammy Award for Best Children's Album.

Tom Chapin holds the record for the most wins in this category, with a total of three. Artists Bill Harley and Jim Dale, along with audio engineer David Correia, and producers Arnold Cardillo and David Rapkin, and audio engineer-musical director Rory Young, are the others to win the award more than once, all winning it twice. Former U.S. President Bill Clinton has also won the award, along with Mikhail Gorbachev and Sophia Loren, for their work on the album Wolf Tracks and Peter and the Wolf at the 2003 installment of the awards.

Recipients
undefined Each year is linked to the article about the Grammy Awards held that year.


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Edward Thurlow, 1st Baron Thurlow

Edward Thurlow, 1st Baron Thurlow, PC (9 December 1731 – 12 September 1806), was a British lawyer and Tory politician who sat in the House of Commons from 1765 to 1778 when he was raised to the peerage as Baron Thurlow. He served as Lord High Chancellor of Great Britain for fourteen years and under four Prime Ministers.

Early life
Born at Bracon Ash, Norfolk, Thurlow was the eldest son of Reverend Thomas Thurlow. Thomas Thurlow, Bishop of Durham, was his brother. He studied at King's School, Canterbury and at Caius College, Cambridge. However, he was forced to leave Cambridge in 1751 without a degree after coming into conflict with the authorities of the university. He was for some time articled to a solicitor in Lincoln's Inn, but in 1754 he was called to the Bar, Inner Temple. After a slow start, Thurlow eventually established a successful legal practice. He was made a King's Counsel in 1761 and was elected a bencher of the Inner Temple in 1762.

Political career
Thurlow then turned to politics, and in 1768 he was elected Member of Parliament for Tamworth as a Tory. Two years later, as a recognition of his defence the previous January of the expulsion of John Wilkes he was appointed Solicitor-General in the government of Lord North. He held this post for a little under a year, chiefly involved in the prosecution of libels and limitations on the freedom of the press, until he was promoted to Attorney General in January 1771. He was to remain in this office for seven years, during which period he became known as an ardent opponent of the American colonists' strive for independence. He is noted for his defeat in the case of Woodfall, who was publisher of the Letters of Junius, upon which a verdict of mistrial was entered by Lord Mansfield.

In 1778 Thurlow was admitted to the Privy Council, raised to the peerage as Baron Thurlow, of Ashfield in the County of Suffolk, and appointed Lord Chancellor by Lord North, taking his seat on 14 July 1778. In this post he notably opposed the economical and constitutional reforms proposed by Edmund Burke and John Dunning. The Tory administration of Lord North fell in March 1782, after twelve years in office. The Whigs under Lord Rockingham came to power, but Thurlow managed to cling on as Lord Chancellor. Rockingham died in July 1782, but Thurlow remained Lord Chancellor also when Lord Shelburne became Prime Minister. The latter government fell in April 1783, when a coalition government under Charles James Fox and Lord North was formed (with the Duke of Portland as titular Prime Minister). Thurlow was not invited to resume the role of Lord Chancellor, and instead the Great Seal was put into commission. He went into opposition and contributed to the downfall of the coalition in December 1783. William Pitt the Younger became Prime Minister and reinstated Thurlow as Lord Chancellor. The relationship between Pitt and Thurlow was always fragile, and Thurlow often relied on his friendship with King George III to be able to remain in office. He opposed a bill for the restoration to the heirs of estates forfeited in the Jacobite rising of 1745. Partly to please the king, he consistently and strongly supported Warren Hastings, and negotiated with the Whigs to ensure his continued power in the event of a change of government. In 1792, when he attacked Pitt's bill to establish a fund to redeem the national debt, he was finally dismissed.

Personal life
Thurlow had a number of illegitimate children Two of his daughters, Maria and Catharine, had their portrait painted by George Romney in 1783. Maria, who died in 1816, married Colonel Sir David Cunynghame of Milncraig, 5th Baronet, in 1801, and had several children. Catharine, who died in 1826, married Alexander Fraser, 17th Lord Saltoun, in 1815.

Later life
As a way of compensation, Thurlow was given a second peerage as Baron Thurlow, of Thurlow in the County of Suffolk, with remainder to his three nephews and their heirs male. He was never to hold office again and retired into private life. However, in 1797 he intrigued for the formation of a government from which Pitt and Fox should be excluded, and in which the Earl of Moira should be Prime Minister and himself Lord Chancellor. Despite the tacit support of the Prince of Wales the enterprise failed. His last recorded appearance in the House of Lords was in 1802.

Thomas Creevey described Thurlow towards the end of his life:"Thurlow was always dressed in a full suit of cloaths of the old fashion, great cuffs and massy buttons, great wig, long ruffles, &c.; the black eyebrows exceeded in size any I have ever seen, and his voice, tho' by no means devoid of melody, was a kind of rolling, murmuring thunder. He had great reading, particularly classical, and was a very distinguished, as well as most daring, converser."

Lord Thurlow never married, but left three natural daughters. He died at Brighton on 12 September 1806, aged 76, and was buried in the Temple Church. The barony of 1778 became extinct on his death, while he was succeeded in the barony of 1792 according to the special remainder by his nephew Edward, who was the eldest son of the first baron's brother, Right Reverend Thomas Thurlow, Bishop of Durham.

In popular culture
Thurlow appears as a character in Alan Bennett's play The Madness of George III and the subsequent film adaptation, in which he was played by John Wood.

John Poynder's Literary Extracts (1844) attributes to Thurlow the following widely quoted saying: "Corporations have neither bodies to be punished, nor souls to be condemned; they therefore do as they like."

title: Edward Thurlow, 1st Baron Thurlow


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User talk:MHalbert

I want to know easier ways to make programs on my TI86. Lots of Programs are easy to make, but I still have many restrictions that are trouble some and prevent me from doing all the things that I want to.

title: User talk:MHalbert