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Hot hatch

A hot hatch (shortened from hot hatchback) is a high-performance variant of a hatchback car. The term originated in the mid-1980s; however, faster factory versions of hatchbacks have been produced since the 1970s. A front-mounted engine that uses petrol for fuel, together with front-wheel drive, is the most common powertrain layout, however all-wheel drive has become more commonly used since around 2010. Most hot hatches are of European or Asian origin.

Etymology
Usage of the term "hot hatchback" began in the United Kingdom in 1983, which was shortened to "hot hatch" in 1984. The term first appeared in The Times in 1985, and is now commonly and widely accepted as a mainstream, albeit informal, term. It is retrospectively applied to cars from the late 1970s but was not a phrase used at the time. While hot hatches generally come with two-box designs, three-box/sloped liftback designs are not unheard of, with some of them crossing into sports sedan territory.

Due to the historical scarcity of hatchback cars in the United States, the term hot hatch is not widely used in the US.

Since the 1990s and 2000s, the term warm hatch has been used to describe sporting hatchback models that are slower than a hot hatch (i.e. a "junior" version of a hot hatch). Examples include the Mini Cooper (which sits below the Mini Cooper S), Peugeot 207 GT (which sits below the Peugeot 207 GTi) Suzuki Swift Sport, and Toyota Yaris SR.

1960s and 1970s

The 1961 Mini Cooper was one of the first performance cars to use a small body and an FF layout, both key characteristics of a hot hatchback. However, the Mini was not produced in a hatchback body style until 2001 and is therefore not considered a hot hatch.

The first car to meet the criteria of a hot hatch, the AMC Gremlin, was introduced in the United States on April 1, 1970. Promoted as "America's first subcompact", it came standard with a 3.3 L straight-six engine with an optional 3.8 L upgrade. By the 1972 model year it was available with a 5 L V-8 engine. The manufacturer described the Gremlin as "a pal to its friends and an ogre to its enemies," emphasizing its performance and radical design in comparison to other cars in its class. Compared to the Volkswagen Beetle, it was two inches longer, achieved comparable fuel economy, and sold for $1 less in the eastern US, though its base engine delivered 128 horsepower, more than twice that of the German subcompact.

The first European hot hatch was the Autobianchi A112 Abarth, introduced in September 1971. It was prepared by the motorsports division of the Fiat Group, at first with a 982 cc engine, obtained by increasing the stroke, coupled to a sporting exhaust, a twin-choke carburetor, and a different camshaft.

In 1973, the Simca 1100 Ti was launched. It had its power increased by 40% to 82 hp (61 kW), which resulted in a 0 to 60 mph (97 km/h) time of under 12 seconds and a top speed of 105 mph (169 km/h). Other upgrades included front disc brakes, front and rear spoilers and alloy wheels. The Alfa Romeo Alfasud Ti was launched in the same year. Along with a 5-speed gearbox, it featured a more powerful version of the standard 1.2 litre engine, brought to 68 PS (50 kW; 67 hp) by adopting a Weber twin-choke carburettor, allowing the small saloon to reach 160 km/h (99 mph).

The Renault 5 Alpine (called Gordini in the United Kingdom), which went on sale in May 1976. It had a top speed of 110 mi/h and could accelerate from 0 to 60 mph in under 10 seconds.

The car credited with establishing the popularity of hot hatches is the Volkswagen Golf GTI, which was announced at the 1975 Frankfurt Motor Show. and released in July 1976. The Golf GTI was originally designated to be sold only in West Germany, but from 1977 Volkswagen began exports of the (left-hand drive only) GTI. Production of right-hand drive GTI's began in 1979.

The Renault 5 Alpine and Volkswagen Golf GTI, with the addition of a more powerful engine, sharper handling, distinctive body styling with additional spoilers and alloy wheels, helped create the birth of a huge market for small, practical hatchback cars with performance to match contemporary coupes such as the Ford Capri 2.0, Lancia Beta Coupe 2000 and Renault 17 TS. With top speeds above 110 mi/h, the Alpine and GTI enjoyed a short run of unparalleled sales success until the early 1980s.

There were two hot hatches created specifically for competition. In 1978, Vauxhall created the Chevette HS and HSR by fitting the 2.3 litre slant-four engine, using a 16-valve cylinder head. Fitted with two Stromberg carburettors the engine developed 135 bhp (the HSR developed 150 bhp). In 1979, Chrysler developed the Lotus Sunbeam which used the Lotus 1973 cc 16V slant four engine. Power output of 150 bhp and a 0-60 mph time of 6.6 seconds. Despite being rear-wheel drive, the Sunbeam is considered a hot hatch.

1980s

Until the early 1980s, the Volkswagen Golf Mk1 GTI and the Renault 5 Alpine/Gordini dominated the retrospectively named hot hatch market segment in many European markets.

From around 1984, the market for hatchbacks with sportier performance grew, and many manufacturers added a hot hatch variant to their range. Power increases were achieved through upgraded carburettors (e.g. the Ford Fiesta XR2), fuel injection (e.g. the Peugeot 205 GTI), turbocharging (e.g. the Renault 5 GT Turbo), supercharging (e.g. the Polo G40) or fitting larger engines (e.g. the 2.0 litre Fiat Ritmo/Strada Abarth 130 TC). Other significant hot hatches of the 1980s include the Ford Escort RS Turbo, Opel Kadett GTE (also known as Vauxhall Astra GTE), Renault 11 Turbo, Lancia Delta HF Integrale (all-wheel drive), Citroën AX GT and Suzuki Swift GTi.

By the end of the 1980s, the hot hatch was hugely popular in Europe, and was pushing into other worldwide markets. The brief heyday of Group B rallying pushed the hot hatch genre to its limits, and small numbers of ultra-high performance variants were manufactured to comply with the rally rules (often termed "homologation specials"). These vehicles represented a brief, extreme branch of the hot hatch, and included such notable vehicles as the Lancia Delta S4, MG Metro 6R4 and Peugeot 205 T16.

1990s

European manufacturers continued to produce hot hatches through the 1990s, including the Ford Fiesta RS Turbo, Ford Escort RS Cosworth, Peugeot 106 Rallye / GTi, Peugeot 306 GTi-6 / Rallye, Renault Clio Williams, SEAT Ibiza GTi / GT 16v / Cupra, Volkswagen Golf GTI / VR6 and Ford Focus ST170.

Japanese manufacturers also began to produce hot hatches, including the Honda Civic Type R, Mazda 323 GT-R, Nissan Pulsar GTI-R, Suzuki Swift GTi and Toyota Corolla GTi.

2000s

Hot hatches continued to get faster through the 2000s, with an increasing number of models using turbocharged engines. During the 2000s manufacturers started to emphasise the sub-brand of their hot hatch derivatives such as Renault's Renault Sport, Opel's OPC, Vauxhall's VXR and Fiat's Abarth.

European-built hot hatches from the 2000s include the Abarth Grande Punto, Alfa Romeo 147 GTA, Audi S3, Ford Fiesta ST, Ford Focus ST/RS, MG ZR, Mini Cooper S/JCW, Opel/Vauxhall Astra SRi Turbo/OPC/VXR, Peugeot 206 RC/207 GTi, Renault Clio RS/Mégane RS, SEAT León Cupra/FR+SEAT Ibiza Cupra/FR and Volkswagen Golf GTI /Golf R. Asian-built hot hatches included the Honda Civic Type R, Mazdaspeed 3, and Proton Satria GTi.

2010s

Although all-wheel drive system has been made available for hot hatches since the 1980s, further increases to power outputs saw more adoption of the drivetrain on several hot hatches in the 2010s, such as the 2010 Volkswagen Golf R, 2011 Audi RS 3,  2013 Mercedes-Benz A 45 AMG, and the 2015 Ford Focus RS. With these models expanding the definition of hot hatches from front-wheel drive to also include all-wheel drive, the hatchback versions of the Subaru Impreza WRX/STI that have been produced at various times could be considered to be hot hatches. However, the WRX/STI is generally considered a compact saloon (to rival the Mitsubishi Lancer Evolution), rather than a hot hatch.

The majority of hot hatches continued with the traditional front-wheel drive layout, with many models producing in excess of 270 bhp and the Ford Focus RS 500 producing 257 kW. The BMW M135i/M140i is a rare example of a rear-wheel drive hot hatch from the 2010s.

Another technical development for hot hatches since 2010 is the increasing use of dual-clutch transmissions.

The W177 Mercedes-AMG A 45 S, which was introduced in 2019, is the first mass-produced hot hatch that exceeded the 400 bhp border, with its M139 engine producing 416 bhp.

Asia
Japanese-built hot hatches include the 1982 Honda City Turbo, 1984 Isuzu Piazza XS Turbo, 1986 Suzuki Cultus GTi, 1988 Nissan March Super Turbo, 1988 Toyota Corolla GTi (AE92), 1989 Daihatsu Charade GTti, 1990 Toyota Starlet GT Turbo, 1992 Mazda 323 GT-R, 1992 Mitsubishi Mirage Cyborg R, 1994 Nissan Pulsar GTI-R, 1995 Nissan Pulsar VZ-R N1, 1996 Toyota Starlet Glanza, 1997 Honda Civic Type R, 1999 Toyota Yaris TS, 2004 Toyota Corolla TS, 2005 Suzuki Swift Sport, 2006 Mitsubishi Colt Ralliart Version-R, 2007 Mazdaspeed3, 2008 Subaru Impreza WRX STI hatchback, 2020 Toyota GR Yaris, and the 2023 Toyota Agya GR.

South Korean manufacturers began to produce hot hatches in 2013 with the Kia Pro_Cee'd GT. Hyundai's first hot hatch, the i30 N, was released in 2017 and was awarded Best Hot Hatch at the 2018 UK Car of the Year Awards. The Veloster N was released in 2019 and was awarded the 2020 Performance Car of the Year by Road and Track Magazine.

North America
In the 1980s, hot hatches built by Ford in the United States include the 1983 Escort GT (and its twin the Mercury Lynx XR3), Chrysler hot hatches include the 1984 Dodge Omni GLH ("Goes Like Hell") and the 1986 Shelby GLHS ("Goes Like Hell S'more"). General Motors produced the 1986 Chevrolet Cavalier Z24, 1986 Pontiac Sunbird GT and 1987 Buick Skyhawk Sport Hatch with rear hatches, however these are hatchback coupes, rather than traditional utilitarian hatchbacks.

More recent North American hot hatches include the 2002 Ford Focus SVT, 2008 Dodge Caliber SRT-4, and 2016 Ford Focus RS.

Ford stopped production of the Fiesta and Focus models in 2018, which also ended the production of the ST and RS models and left American automakers with no hot hatch offerings.

title: Hot hatch


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Apocalypse of Baruch

The Apocalypse of Baruch are two different Jewish pseudepigraphical texts written in the late 1st/early 2nd century AD/CE, after the fall of Jerusalem to the Romans in 70 AD, though attributed to Baruch ben Neriah (c. 6th century BC).

 * Syriac Apocalypse of Baruch or 2 Baruch is named for the fact that it predominantly survives in Syriac manuscripts
 * Greek Apocalypse of Baruch or 3 Baruch predominantly survives in Greek manuscripts

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

title: Apocalypse of Baruch


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User talk:Venimar

Just wondering if there are articles on Bulgaria here. The search box does not ring a bell

title: User talk:Venimar


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Rogers Hi-Speed Internet

Rogers Hi-Speed Internet is a broadband Internet service provider in Canada, owned by Rogers Communications. Rogers previously operated under the brand names Rogers@Home, '''Rogers Yahoo! Hi-Speed Internet, WAVE, and Road Runner ''' in Newfoundland. It is currently the second largest Internet provider in Canada, after Bell Internet by customer count.

1990s: Early years
Rogers' started high speed internet service as a way to aid remote workers.

The Rogers' cable home Internet network was first launched on November 28, 1995 and was available to about 16,000 homes in Newmarket, Ontario. The service was branded WAVE. It was North America's first cable Internet service.

2000s: Growth and relationship with Yahoo!
By the year 2000, the service was rebranded to Rogers@Home and availability was extended to more cities in Ontario and British Columbia.

In 2004, Rogers partnered with Yahoo! to offer Rogers Yahoo! Hi-Speed Internet to its members. This included service offers unlimited e-mail storage, plus access to Premium Yahoo! Services at no charge, including a Flickr PRO account. Customers with websites previously hosted by Rogers were offered the option of transferring to ca.geocities.com addresses. (Unike regular GeoCities websites, these were ad-free for existing accounts, although those for new customers had drop-down ads.) All such websites were discontinued with the closure of GeoCities on 27 October 2009. Although still partnered with Yahoo!, Rogers dropped Yahoo! from its services name in 2008.

In mid-2009, Rogers discontinued giving free Flickr Pro accounts to all Rogers customers and switched all accounts to the free version while allowing old pictures and videos to be stored even though it was over the allowed limit. Rogers Mail accounts continue to be provided by Yahoo!.

2010-present: DOCSIS 3, fibre to the home (FTTH) and price increases
On January 16, 2012, customer advocacy blog Stop The Cap! reported that Rogers increased the price of all its cable Internet services by $2, except for Lite and Ultra-Lite which remain unchanged. Rogers blames its slightly higher cap limits and its SpeedBoost technology as reasons for the price increase. A customer, however, was quick to point out that the cable company "introduced 'SpeedBoost' as a 'free' feature which we are now apparently/effectively going to pay more for".

A few days later, Stop The Cap! reported that DOCSIS 3.0 customers would benefit from a speed and usage increase. By February 21, Express speeds of up to 12 Mbit/s would now be up to 18 Mbit/s, while Extreme speeds of up to 24 Mbit/s would be increased to 28 Mbit/s. Also, Ultimate speeds of up to 50 Mbit/s would now be up to 75 Mbit/s. On March 8, data allowances for each plan would be increased by 10 GB and 20 GB, respectively. In August 2012, Rogers doubled speeds on its Lite plan from 3 Mbit/s to 6 Mbit/s. It also increased its usage caps from 15 GB to 20 GB.

On August 1, 2012, Rogers started the availability of an unadvertised Ultimate tier which offers 150 Mbit/s of download speed and 10 Mbit/s of upload speed. Currently being implemented within the GTA area, the company plans to extend this service's availability to the rest of Ontario by the end of 2012. Customers with the older Ultimate tier will be informed when the new tier is available.

Rogers introduced fibre to the home (FTTH) residential internet service in 2012. It is only available is select areas of Toronto, ON and Moncton, NB.

In March 2015, Rogers introduced a streamlined package structure, known as Rogers Ignite. The Ignite packages are aimed primarily towards streaming media, with the majority of the packages offering no usage caps. In October 2015, Rogers launched Ignite Gigabit Internet, which supports 4K resolution streaming to Rogers Cable NextBox 4K receivers.

In November 2015, Rogers launched a Fido-branded home internet service in its Ontario markets, offering a 30 Mbit/s package with a 300 GB bandwidth cap, and discounts for Fido mobile customers.

Services
Rogers offers cable Internet using the Data Over Cable Service Interface Specification (DOCSIS) standard. They also offer value-added services such as Internet security computer software.

Cable Internet
Cable Internet from Rogers is branded as "Hybrid Fibre", to indicate that on the coaxial cable in customers' homes, the frequencies used for Internet service are separate from those used for Rogers' cable television service. Available at a variety of speeds, from Lite (10 Mbit/s down, 1 Mbit/s up) to Ultimate (250 Mbit/s down, 20 Mbit/s up) tiers. Rogers Hi-Speed Internet Ultimate Fibre's speeds are 350 Mbit/s down and 350 Mbit/s up. Rogers Hi-Speed Ultimate and Ultimate Fibre's usage caps had been increased dramatically to 1 TB/month and 2 TB/month respectively.

Those who do not subscribe to television services from Rogers cannot access most analog cable channels. Channels 2 to 6, however, can be legally watched without a subscription. These channels are also available over the air, with the exception of the TV guide on channel 4.

Rogers Hi-Speed Internet users may be warned, through their browser via Rogers-injected code, that they have reached 75% or 100% of their monthly limit. This message explains that there will be charges for additional usage after the 100% warning for exceeding their limit. The overcharge fees are charged on a per-gigabyte basis, rounded down to the nearest gigabyte. Overage costs as low as $0.50 for the high-end Ultimate plan, but costs as much as $4.00 for the low-end Lite plan. All plans except for Lite are DOCSIS 3.0 compatible.

Fibre Internet (FTTH)
Rogers confirmed that it is using fiber-to-the-home (FTTH) to power a new broadband service tier that provides upload and download speeds of up to 350 Mbit/s (symmetric). The tier, called Rogers Ultimate Fibre Internet, is currently available only in parts of Toronto and the MSO's Atlantic region, which includes Moncton. According to Rogers, this is not a beta but in fact a first market rollout of fibre to the home service; meaning rogers is likely to expand this to other areas. The service comes with a monthly 2-terabyte usage limit. Pricing is listed at $225.99 CAD per month as of October 30, 2013. This new service is based on GPON.

Security
While previously offering Norton Internet Security, Rogers switched to offering Rogers Online Protection. It contains anti-virus/spyware, parent/privacy control and firewall features. A cutoff time of June 30, 2009 was set for people to switch from their previous protections to this new one.

The security suite is distributed for free with basic services, such as antivirus, antispyware, firewall, and parental controls, while premium services, at an additional cost, include PC optimizing tools, identity theft protection, wireless security services, and backup services. The security suite only supports Microsoft Windows operating systems.

Legacy services
Rogers previously offered a Portable Internet service in select rural regions, similarly to its competitor Bell Internet. These services used the Inukshuk Wireless network. The company is no longer accepting subscriptions to this service, as they plan to discontinue the service on March 1, 2012. Customers are encouraged to use Rogers Wireless Internet services instead, which generally offer a much lower bandwidth cap.

Criticism
Rogers has been criticised for traffic redirection and inspection. They use deep packet inspection to identify and throttle BitTorrent traffic. and use website address errors (failed DNS lookups) to redirect traffic to their search portal. They have also made a controversial move to display advertisements in webmail despite users having to pay for the service (usually in paid web-apps, there is no advertising).

Throttling
BitTorrent traffic was restricted through bandwidth throttling using the SCE-2020, and in later years, the SCE-8000 from Cisco Systems Inc, which had caused complaints as users felt Rogers was overstepping their bounds as a service provider and despite Rogers advertising their service "for sharing large files and much more". Rogers had previously denied such allegations, despite widespread reports of the issue. Further controversy arose when in May 2007, Rogers began throttling all encrypted file transfers allegedly to combat BitTorrent traffic, but affecting all encrypted transfers regardless if they are BitTorrent traffic or not.

In January 2011, the CRTC issued a letter to Rogers stating it was breaking CRTC policy by not "indicat[ing] that there are circumstances whereby the Rogers ITMP will also affect download speeds available to subscribers." Despite the letter from the CRTC, Rogers still had not updated their policy pages as of February 4, 2011, and continued throttling all non-whitelisted internet traffic (no longer just P2P) for up to 15 minutes after P2P had been disabled. Several games had been caught up in this more restrictive throttling as Rogers was incorrectly detecting them as P2P, and had also been slow to fix it despite offers of assistance from customers, and game manufacturers.

On May 31, 2011, Rogers filed that they had resolved the World of Warcraft throttling, however they had only resolved it on their testing equipment, as users were still experiencing throttling. This resulted in the CRTC ordering testing done by Rogers, and the CRTC providing the complainant (Teresa Murphy) a redacted copy of the Rogers testing. On September 22, 2011, the CRTC released Telecom Information Bulletin CRTC 2011-609, which set out new steps for complaints, and allowed for the World of Warcraft complaint to be sent to the CRTC Enforcements division. While the World of Warcraft complaint was then closed as it was resolved, the creators of the WoW complaint created a new one, which was then sent to Enforcements division, who then began looking into Rogers' throttling practices, and found additional non-compliance.

After Bell announced they were ending throttling in December 2011, and the CRTC Enforcement division finding another violation of CRTC throttling policy in January 2012, Rogers announced on Feb 6, 2012 that they were ending throttling on their network by the end of 2012.

Injection of content

Since early December, 2007, Rogers has been injecting their own content into other companies' websites without permission. Rogers users who are close to their maximum data cap in their internet plan of choice are seeing red text appear above the content of every website they visit. The notice continues to appear on every page until the user either clicks a link acknowledging that they have seen the message or chooses to opt out of the notification.

title: Rogers Hi-Speed Internet


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Matiur Rahman

Matiur Rahman or Motiur Rahman (مطيع الرحمن) is a South Asian masculine given name of Arabic origin. It is composed of the elements Muti' , al- and Rahman meaning obedient to the Most Gracious. It may refer to:

 * M. Matiur Rahman (1923–2018), Bangladeshi minister and politician from Pirojpur
 * Motiur Rahman (Gazipur politician) (1926–2014) Bangladeshi politician from Gazipur
 * Matiur Rahman (politician, born 1933) (1933–2003), Bangladeshi minister and politician from Rangpur
 * Matiur Rahman (military pilot) (1942–1971), Bengali military pilot, killed during the Bangladesh Liberation War in 1971
 * Motiur Rahman (politician, born 1942) (1942–2023), Bangladesh Awami League politician, Minister of Religious Affairs (2014–2018)
 * Motiur Rahman Nizami (1943–2016), Bangladeshi politician
 * Matiur Rahman (born 1946), Bangladeshi journalist and newspaper editor
 * Mohammad Matiur Rahman (Tangail politician) (1947–2012), Bangladeshi politician and cardiac surgeon
 * Motiur Rohman Mondal (born 1949), Indo-Bengali politician and physician
 * Motiur Rahman (Indian politician) (1949–2007), Indian politician
 * Motiur Rahman Mollik (1950–2010), Bangladeshi poet
 * Matiur Rahman Mallik (1953–1969), Bengali activist
 * S. M. Matiur Rahman (born 1965), Bangladesh Army lieutenant general
 * Matiur Rehman (born 1977), Pakistani militant, suspected to be an al Qaeda leader
 * Motiur Rahman Munna (born 1979), Bangladeshi footballer
 * Mati-ur-Rehman (born 1984), Pakistani weightlifter
 * Matiur Rahman Mallik (died 1969), Bangladeshi student killed on Mass Upsurge Day
 * Matiur Rahman (army officer) (died 1981), Bangladesh Army officer
 * A.S.M. Matiur Rahman, Bangladesh Army officer and physician
 * Md. Motiur Rahman, Bangladeshi politician from Kurigram
 * Md. Matiur Rahman (Sunamganj politician), Bangladeshi politician from Sunamganj
 * Matiur Rahman Chowdhury, Bangladeshi journalist
 * Matiar Rahman Chowdhury, Bangladeshi politician from Rangpur
 * M. Motiur Rahman Talukdar, Bangladeshi politician

title: Matiur Rahman


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Hokey Pokey

The Hokey Pokey (as it is known in the United States and Canada) or Hokey Cokey (as it is known in the United Kingdom, Ireland, some parts of Australia, and the Caribbean) is a participation dance with a distinctive accompanying tune and lyric structure. It is well-known in English-speaking countries. It originates in a British folk dance, with variants attested as early as 1826. The song and accompanying dance peaked in popularity as a music hall song and novelty dance in the mid-1940s in the UK. The song became a chart hit twice in the 1980s. The first UK hit was by the Snowmen, which peaked at UK No. 18 in 1981.

Origins and meaning
Despite several claims of a recent invention, numerous variants of the song exist with similar dances and lyrics dating back to the 19th century. One of the earlier variants, with a very similar dance to the modern one, is found in Robert Chambers' Popular Rhymes of Scotland from 1842. The words there are given as:

A later variant of this song is the Shaker song "Hinkum-Booby", which had more similar lyrics to the modern song and was published in Edward Deming Andrews' A gift to be simple in 1940: (p. 42).

A song rendered ("with appropriate gestures") by two sisters from Canterbury, England while on a visit to Bridgewater, N.H. in 1857 start an "English/Scottish ditty" thus:

As the song continues, the "left hand" is put in, then the "right foot," then the "left foot," then "my whole head." . . . [I]t does not seem to have been much used in Shaker societies.

A version known as "Ugly Mug" is described in 1872:

A version from c. 1891 from the town of Golspie in Scotland was published by Edward W. B. Nicholson:

In the book English Folk-Rhymes, published 1892, a version of the song originating from Sheffield is given:

Some early versions of this song thus show a marked resemblance to the modern song Looby Loo, and the songs have been described as having a common origin.

In the book Charming Talks about People and Places, published circa 1900, there is a song with music on page 163 entitled "Turn The Right Hand In". It has 9 verses, which run thus: "Turn the right hand in, turn the right hand out, give your hands a very good shake, and turn your body around." Additional verses include v2. left hand...; v3. both hands...; v4. right foot...; v5. left foot...; v6. both feet...; v7. right cheek...; v8. left cheek...; and, v9. both cheeks... The tune is not the same as the later popular version of the Hokey Cokey but the verse is more similar as it states to "turn your body around." No author or composer was credited.

In recent times various other claims about the origins of the song have arisen, though they are all contradicted by the publication history. According to one such account, in 1940, during the Blitz in London, a Canadian officer suggested to Al Tabor, a British bandleader of the 1920s–1940s, that he write a party song with actions similar to "Under the Spreading Chestnut Tree". The inspiration for the song's title that resulted, "The Hokey Pokey", supposedly came from an ice cream vendor whom Tabor had heard as a boy, calling out, "Hokey pokey penny a lump. Have a lick make you jump". A well-known lyricist/songwriter/music publisher of the time, Jimmy Kennedy, reneged on a financial agreement to promote and publish it, and finally, Tabor settled out of court, giving up all rights to the number.

In 2008, an Anglican cleric, Canon Matthew Damon, Provost of Wakefield Cathedral, West Yorkshire, claimed that the dance movements were a parody of the traditional Catholic Latin Mass. Up until the reforms of Vatican II, the priest performed his movements facing the altar rather than the congregation, who could not hear the words very well, nor understand the Latin, nor clearly see his movements. At one point the priest would say "Hoc est corpus meum" Latin for "This is My body" (a phrase that has also been suggested as the origin of the similar-sounding stereotypical magician's phrase "hocus-pocus"). That theory led Scottish politician Michael Matheson in 2008 to urge police action "against individuals who use it [the song and dance] to taunt Catholics". Matheson's claim was deemed ridiculous by fans from both sides of the Old Firm (the rival Glasgow football teams Celtic and Rangers) and calls were made on fans' forums for both sides to join together to sing the song on 27 December 2008 at Ibrox Stadium. Close relatives of Jimmy Kennedy and Al Tabor have publicly stated their recollections of the origin and meaning of the Hokey Cokey, and have denied its connection to the Mass. Those accounts differ, but they are all contradicted by the fact that the song existed and was published decades before its supposed composition in the 1940s.

Australia
In Australia, the dance may be called the "hokey pokey" or the "hokey cokey." It was a hit for Johnny Chester & The Chessmen in 1961.

Denmark
Mostly performed in the British style of the dance, it is known as the "boogie woogie" (pronounced ).

Germany
Performed mainly in the carnival in a variation of the British style of the dance, it is known as "Rucki-Zucki".

Mexico
Released as a commercial recording by Tatiana (singer) as "Hockey-Pockey".

New Zealand
In the North Island, the dance is usually known as the "hokey tokey", or the "hokey cokey" because hokey pokey is the usual term for honeycomb toffee. In the South Island it's just The Hokey Pokey.

United Kingdom
Known as the "hokey cokey" or the "hokey kokey", the song and accompanying dance peaked in popularity as a music hall song and novelty dance in the mid-1940s in Britain.

There is a claim of authorship by the British/Irish songwriter Jimmy Kennedy, responsible for the lyrics to popular songs such as the wartime "We're Going to Hang out the Washing on the Siegfried Line" and the children's song "Teddy Bears' Picnic". Sheet music copyrighted in 1942 and published by Campbell Connelly & Co Ltd, agents for Kennedy Music Co Ltd, styles the song as "the Cokey Cokey".

In the 1973 Thames Television documentary, May I Have the Pleasure?, about the Hammersmith Palais de Danse, Lou Preager comments on how his was the first band to record the 'Okey Cokey'.

EMI Gold released a Monsta Mash CD featuring the "Monsta Hokey Cokey" written and produced by Steve Deakin-Davies of "The Ambition Company".

The song was used by comedian Bill Bailey during his "Part Troll" tour, however, it was reworked by Bailey into a style of the German electronic group Kraftwerk, including quasi-German lyrics and Kraftwerk's signature robotic dance moves.

The comedy act Ida Barr, a fictional East End pensioner who mashes up music hall songs with rap numbers, almost always finishes her shows with the hokey cokey, performed over a thumping RnB backing. Ida Barr is performed by a British comedian Christopher Green.

United States and Canada
Known as the "hokey pokey", it became popular in the US in the 1950s. Its originator in the US is debatable:
 * Larry LaPrise, Charles Macak, and Tafit Baker of the musical group the Ram Trio, better known as the Sun Valley Trio, recorded the song in 1948 and it was released in 1950. They have generally been credited with creating this novelty dance as entertainment for the ski crowd at the Sun Valley, Idaho resort.
 * However, two club musicians from Scranton, Pennsylvania, Robert Degen and Joseph P. Brier, had previously copyrighted a very similar song, "The Hokey Pokey Dance", in 1944. (One account says that copyright was granted in 1946.) According to Degan's son in The New York Times, Degan and Brier wrote the song while playing for the summer at a resort near the Delaware Water Gap. Degan resided at Richmond Place Rehabilitation and Health Center in Lexington, Kentucky, until he died on November 23, 2009, aged 104.
 * Degen and Brier, who died in 1991, sued the members of the Ram Trio, and several record companies and music publishers for copyright infringement, demanding $200,000 in damages and $1 for each record of the LaPrise "Hokey Pokey". The suit was settled out of court. LaPrise later sold the rights to his version to country-western music star Roy Acuff's Nashville publishing company, Acuff-Rose Music; that company was sold to Sony/ATV Music Publishing in 2002.
 * A competing authorship claim is made by or on behalf of British bandleader Gerry Hoey from around 1940, under the title "The Hoey Oka".

In 1953, Ray Anthony's big band recording of the song turned it into a nationwide sensation. The distinctive vocal was by singer Jo Ann Greer, who simultaneously sang with the Les Brown band and dubbed the singing voices for such film stars as Rita Hayworth, Kim Novak, June Allyson, and Esther Williams. (She also charted with Anthony later the same year with the song "Wild Horses".)

In 1978, Mike Stanglin produced a "skating version" of the Hokey Pokey, for use in skating rinks.

United Kingdom, Australia and Ireland style of dance
The instruction set goes as follows: You put your [left arm] in, Your [left arm] out: In, out, In, out Shake it all about. You do the hokey cokey, And you turn around. That's what it's all about!

On "You do the hokey cokey", each participant joins their right and left hands at the fingertips to make a chevron and rocks the chevron from side to side. After that the participants separately, but in time with the others, turn around (usually clockwise when viewed from above – novices may go in the opposite direction to the main group, but this adds more hilarity to this joyous, novelty dance). The hands are either still joined together or moved as in a jogging motion – dependent on local tradition or individual choice.

Each instruction set is followed by a chorus, entirely different from other parts of the world. There is either a caller, within or outside the group, or the instructions are called by the whole group – which can add to the confusion and is laughed off as part of the dance's charm and amusement.

Whoa, hokey cokey cokey Whoa, hokey cokey cokey Whoa, hokey cokey cokey Knees bend, arms stretch, Rah, rah, rah!

The first three lines of this chorus are sometimes rendered 'Whoa, the hokey cokey', with the 'whoa' lasting three beats instead of two. It can also be said "Whoa, the hokey cokey cokey".

For this chorus, all participants stand in a circle and hold hands: on each "Whoa" they raise their joined hands in the air and run in toward the centre of the circle, and on "...the hokey cokey" they run backwards out again. This instruction and chorus are repeated for the other limb, then for the upper right, and then the upper left arm. Either the upper or lower limbs may start first, and either left or right, depending on local tradition, or by random choice on the night. On the penultimate line they bend their knees then stretch their arms, as indicated, and on "Rah, rah, rah!" they either clap in time or raise their arms above their heads and push upwards in time. Sometimes each subsequent verse and chorus is a little faster and louder, with the ultimate aim of making people chaotically run into each other in gleeful abandon. There is a final instruction set with "you put your whole self in, etc", cramming the centre of the dance floor.

Often, the final chorus is sung twice, the second time even faster and the song ends with the joyous chant, 'aye tiddly aye tie, brown bread!'.

United States style of dance
The dance follows the instructions given in the lyrics of the song, which may be prompted by a bandleader, a participant, or a recording. A sample instruction sequence would be:

You put your [right leg] in, You put your [right leg] out; You put your [right leg] in, And you shake it all about. You do the hokey pokey, And you turn yourself around. That's what it's all about! Yeah!

Participants stand in a circle. On "in" they put the appropriate body part in the circle, and on "out" they put it out of the circle. On "And you shake it all about", the body part is shaken three times (on "shake", "all", and "-bout", respectively). Throughout "You do the hokey pokey, / And you turn yourself around", the participants spin in a complete circle with the arms raised at 90° angles and the index fingers pointed up, shaking their arms up and down and their hips side to side seven times (on "do", "hoke-", "poke-", "and", "turn", "-self", and "-round" respectively). For the final "That's what it's all about", the participants clap with their hands out once on "that's" and "what" each, clap under the knee with the leg lifted up on "all", clap behind the back on "a-", and finally one more clap with the arms out on "-bout".

The body parts usually included are, in order, "right foot", "left foot", "right hand", "left hand", "head", "buttocks" (or "backside"), fingers, toes, hair, lips, tongue and "whole self"; the body parts "right elbow", "left elbow", "right hip", and "left hip" are often included as well.

The final verse goes:

You do the hokey pokey, The hokey pokey, The hokey pokey. That's what it's all about! Yeah!

On each "pokey", the participants again raise the arms at 90° angles with the index fingers pointed up, shaking their arms up and down and their hips side to side five times.

Copyright
In the United States, Sony/ATV Music Publishing controls 100% of the publishing rights to the "hokey pokey."

Advertising

 * It was used in a 2005 Velveeta Salsa Dip commercial.
 * In a 1982 radio advert for Video 2000 by Mel Smith and Griff Rhys Jones, a character refers to a television called the "Hokey Cokey 2000".
 * It was used in a Marvel toy commercial with parody lyrics in the mid-2010s.
 * It was used in a 2019 Apple Watch commercial.

Comedy and humor

 * Comedian Jim Breuer performs the hokey pokey as he imagines it would be interpreted by AC/DC, commenting on the band's ability to turn any song, no matter how mundane, into a rock anthem.
 * Comedian Bill Bailey performed a Kraftwerk inspired version for his Part Troll tour.
 * There is a joke about when Larry LaPrise died, his family had trouble getting him into his coffin ("they put his left leg in, and that's where the tragedy began…").

Music
(Alphabetical by group)
 * In 2003, Filipina actress Ai-Ai delas Alas did a Tagalog version of "Hokey Pokey", entitled Ang Tanging Ina which from the movie of the same title and a TV series of the same title.
 * In 2004, Bill Bailey performed a version of the "Hokey Kokey" in German and in the style of Kraftwerk, on his Part Troll tour.
 * In 1985, the British pop band Black Lace released their version of the song as a single under the title "The Hokey Cokey". This version peaked at #31 in the UK.
 * The horror-themed heavy metal band Haunted Garage recorded a humorous hardcore punk version of the hokey pokey on their album Possession Park (1991).
 * The Canadian kids' bands Judy & David (1993) and Sharon, Lois & Bram (1998) did covers.
 * In 1979, the rock band Slade released a version titled "Okey Cokey" as a single. It failed to enter the UK Singles Chart but did reach number 96 in Record Business magazine's The Singles Chart. The song was later included on the group's EP Xmas Ear Bender (1980) and album ''Crackers: The Christmas Party Album (1985).
 * In 1981, a band of uncredited musicians known as The Snowmen had a #18 UK hit with the song; there have been persistent unsubstantiated rumours that the vocalist was Ian Dury, yet it was session guitarist and singer Martin Kershaw, as revealed by author Richard Balls in 2015. Rudolph the Red-Nosed Reindeer is also played during the break.
 * In 1974 the UK singer Kristine Sparkle released her glam pop rock version as a single and on her first album.
 * Alternative band The Three O'Clock used the roller skating version of the Hokey Cokey in the video for their song "Her Head's Revolving." The video opens and ends with them doing the hokey cokey. It is available at YouTube.
 * In 2017, Jimmy Buffett released "What If the Hokey Pokey Is All It Really Is About?", on his album Far Side of the World. After listing all the ills and mysteries to which our modern world is prey, he imagines the solution in its simplest form:  The Hokey Pokey.
 * The song 'Petty Sessions' from Half Man Half Biscuit's 2008 album CSI:Ambleside is the Hokey Cokey with alternative satirical lyrics - the title being a pun on a form of magistrate's court for minor public nuisance offences in England and Wales which had been abolished in 2004.

Sports

 * The Marching Virginians of Virginia Tech play this song (known as the "Hokie Pokie" at Virginia Tech because of their mascot) between the third and fourth quarters at all Virginia Tech football games. Much of the crowd participates in the dance, as do the tubas during much of the song and the rest of the band during the tuba feature.  The song is also generally used as the Marching Virginians' dance number in the first half-time field show of the year, and an abbreviated version is played as a "Spirit Spot" (short song used between plays during the football game) after a big play.
 * The University of Iowa Hawkeye football team, under coach Hayden Fry, used to perform the hokey pokey after particularly impressive victories, such as over Michigan and Ohio State. On September 3, 2010, a crowd of 7,384 – with Fry present – performed the hokey pokey in Coralville, Iowa, establishing a new world record.

Television

 * The BBC TV comedy series 'Allo 'Allo! showed one of its characters (Herr Otto Flick) demonstrating a variation of the Hokey Cokey in an episode from season 3. Being a Gestapo officer the lyrics are changed to reflect his sinister nature, as follows:

 * In the Arthur episode "Best of the Nest", Francine remarks that the only way to scare off a bear is to do the Hokey-Pokey. Binky claims that it's stupid, but when a bear attacks the campsite, Binky and his friends start doing the Hokey-Pokey.
 * In the Babylon 5 episode "A Voice in the Wilderness, Part I", the Centauri Ambassador, Londo Mollari refers to the song as further evidence of the incomprehensible nature of human culture.
 * In the Full House episode "Greek Week", Papouli says that according to Pompadoras tradition, getting married consists of "giving a girl flowers, walking around the table, and that's what it's all about". Danny Tanner replies to this comment by saying, "That's not a wedding. That's the Hokey-Pokey."
 * In the Pee-wee's Playhouse episode "Party", Pee-wee Herman and his playhouse visitors perform this dance.
 * In the Sesame Street segment Elmo's World, the hokey pokey was performed on The Dancing Channel in the episode, "Dancing".
 * Elmo does the dance from the 2003 hot toy "Hokey Pokey".
 * In the episode "Chinga" (5×10) of the TV series The X-Files, the song is featured at multiple times during the episode.
 * The song was also featured on The Backyardigans in the "Cave Party" episode.
 * On a May 24, 2019, episode of The Tonight Show starring Jimmy Fallon, host Jimmy Fallon and radio personality Howard Stern danced the hokey pokey in a Times Square billboard in front of a crowd in New York City.
 * The song was featured in BBC's Wartime Farm episode 8, showing the characteristic choreography.
 * In the Count Duckula episode "Dead Eye Duck", the shoot-out takes place at the Okay Kokay Corral, which is an obvious pun on the O.K. Corral as well as this dance.
 * In the Buffy the Vampire Slayer episode "Intervention", Giles performs a ritual with elements similar to the Hokey-pokey. Buffy remarks: "I know this ritual! The ancient shamans were next called upon to do the hokey-pokey and turn themselves around." After the ritual, she adds, "And that's what it's all about."
 * A portion of the song was danced by the Bay of Pigswatch cast in Muppets Tonight episode 204.
 * In the final episode of Bojack Horseman, "Nice While It Lasted", Todd Chavez and Bojack Horseman discuss the meaning of life by using the Hokey-Pokey as a metaphor. Todd observes that most people think the song (and life) is about 'the Hokey-Pokey', where as he believes differently and observes "It's like the song says. You do the Hokey-Pokey and you turn yourself around. 'You turn yourself around!'; that's what it's all about!" - Implying that life isn't about 'the Hokey-Pokey' parts of life, but that it's about making changes and fixing mistakes. Bojack Horseman gives little credit to the song and quips "Yeah, I don't know if the song writers put that much thought into the existential significance of the lyrics; they literally rhyme 'about' with 'about'."
 * This song was used as the "song of the week" in a 1988 week on Polka Dot Door

Film

 * The 1947 British film Frieda features a group of dancers in a dance hall singing and performing the hokey cokey.

 * In the 1988 film Cherry 2000, the Hokey Pokey is performed by the fanatical followers of the film's antagonist Lester (Tim Thomerson) after he murders a tracker.

 * In both the English and German versions of Animals United (2010), Charles the Rooster walks to this song while the Other Animals coming to Africa and “The Valley of Death”

Video games

 * In the video game Constructor (1997), the Thief in the Pawn Shop can be heard mentioning a computer called the "Hokey Cokey 2000".
 * The music that plays in the options menu of the SNES video game Super Troll Islands heavily resembles the Hokey Pokey.

title: Hokey Pokey


text:
Renata Tebaldi

Renata Tebaldi (, ; 1 February 1922 – 19 December 2004) was an Italian lirico-spinto soprano popular in the post-war period, and especially prominent as one of the stars of La Scala, San Carlo and, especially, the Metropolitan Opera. Often considered among the great opera singers of the 20th century, she focused primarily on the verismo roles of the lyric and dramatic repertoires. Italian conductor Arturo Toscanini called her voice "la voce d'angelo" ("the voice of an angel"), and La Scala music director Riccardo Muti called her "one of the greatest performers with one of the most extraordinary voices in the field of opera."

Early years and education
Born in Pesaro, Tebaldi was the daughter of cellist Teobaldo Tebaldi and Giuseppina Barbieri, a nurse. Her parents separated before her birth and Tebaldi grew up with her mother in her maternal grandparents' home in Langhirano.

Stricken with polio at the age of three, Tebaldi became interested in music and sang with the church choir in Langhirano. Her mother sent her, at age 13, for piano lessons with Giuseppina Passani in Parma, who took the initiative that Tebaldi study voice with Italo Brancucci at the Parma Conservatory. She was admitted to the conservatory at 17, where she studied with Brancucci and Ettore Campogalliani. She later transferred to Liceo musicale Rossini in Pesaro, taking lessons with Carmen Melis, and on her suggestion with Giuseppe Pais. She then studied with Beverley Peck Johnson in New York City.

Italian career
Tebaldi made her stage debut as Elena in Boito's Mefistofele in Rovigo in 1944. Wartime conditions made for a difficult trip, with Tebaldi partly travelling by horse cart to Rovigo, and her return trip coming under machine-gun fire. Her early career was also marked by a performance in Parma in La bohème, L'amico Fritz and Andrea Chénier. She caused a stir when in 1946 she made her debut as Desdemona in Verdi's Otello alongside Francesco Merli as the title role in Trieste.

Her major breakthrough came in 1946 when she auditioned for Arturo Toscanini, who says she had the "voce d'angelo" (voice of an angel). Tebaldi made her La Scala debut that year at the concert marking the reopening of the theatre after World War II. She sang the "Prayer" ("Dal tuo stellato soglio") from Rossini's biblical opera, Mosè in Egitto, and the soprano part in Verdi's Te Deum.

She was given the roles of Margherita and Elena in Mefistofele and Elsa in Lohengrin in 1946. The next year she appeared in La bohème and as Eva in Die Meistersinger. Toscanini encouraged her to sing the role of Aida and invited her to rehearse it in his studio. She believed the role was reserved for a dramatic soprano, but Toscanini convinced her otherwise, and she debuted in the role at La Scala in 1950 with Mario del Monaco and Fedora Barbieri, conducted by Antonino Votto. It was the greatest success in her budding career and led to international opportunities. During the first decade of her career, Tebaldi's repertoire included roles by Rossini, Spontini, Handel, Mozart, Wagner, Gounod, Mascagni, Tchaikovsky and contemporary composers such as Refice, Casavola and Cilea.

Tebaldi provided Sophia Loren's singing in the film version of Aida (1953).

International career
Tebaldi went on a concert tour with the La Scala ensemble in 1950, first to the Edinburgh Festival and then to London, where she made her debut as Desdemona in two performances of Otello at the Royal Opera House and in the Verdi Requiem, both conducted by Victor de Sabata.

The Met
Tebaldi made her American debut in 1950 as Aida at the San Francisco Opera; her Metropolitan Opera debut took place on 31 January 1955, as Desdemona opposite Mario Del Monaco's Otello. For some 20 years she made the Met the focus of her activities. For the 1962-1963 season, she convinced Met director Rudolf Bing to stage a revival of Cilea's Adriana Lecouvreur, an opera Bing said he "detested". Tebaldi was not in top form and cancelled performances; and, as Bing was quoted in 1000 Nights at the Opera, "We had to do the wretched thing without her." However, her Lecouvreur was a practical move for the Met, as she was "the greatest box-office draw since Flagstad", according to Francis Robinson, then assistant manager of ticket sales. Tebaldi however returned triumphantly to the role of Adriana for the opening night of the 1968-69 season. The MET scored a box office record of $126,000.

One of the public's favourite Tebaldi roles was Minnie in Puccini's La fanciulla del West of which she sang only five performances in February and March 1970. When she made her debut in the role at the Met, she was told that, as all Minnies do, she would have to enter in the 3rd act on horseback. Tebaldi, who had a lifelong fear of horses, refused to go near the animal until she was sure he was safe. At her first rehearsal, she approached him, patted his mane, and said, "Well, Mr. Horse, I am Tebaldi. You and I are going to be friends, eh?" She conquered her fear and the performances were successful.

She sang more at the Met and far less elsewhere. She developed a special rapport with the Met audiences and became known as "Miss Sold Out", as her name on the marquee was considered a performance that could hardly be matched. She sang there some 270 times in La bohème, Madama Butterfly, Tosca, Manon Lescaut, La fanciulla del West, Otello, La forza del destino, Simon Boccanegra, Falstaff, Andrea Chénier, Adriana Lecouvreur, La Gioconda, and as Violetta in a production of La Traviata created specially for her. Puccini's Tosca was her most regular role there, with 45 performances. She was the Leonora in La forza del destino on the night in 1960 when Leonard Warren suddenly died mid-performance; and she was Adriana Lecouvreur on the night Placido Domingo made his Met debut in 1968. She made her last appearance there on 8 January 1973 as Desdemona in Otello; it was the role in which she made her Met debut 18 years earlier, and which had become one of her signature roles.

Tebaldi was widely admired by the American operatic public. She did not become a classically temperamental diva, but trusted her artistic instincts. Rudolf Bing, referring to her more assertive side, famously said of her, "She has dimples of iron".

Tebaldi and Callas
During the early 1950s, controversy arose regarding a supposed rivalry between Tebaldi and the Greek-American soprano Maria Callas.

The contrast between Callas's often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected an argument as old as opera itself, namely, the beauty of sound versus the expressive use of sound.

In 1951, Tebaldi and Callas were jointly booked for a vocal recital in Rio de Janeiro, Brazil. Although the singers supposedly agreed that neither would perform encores, Tebaldi took two, and Callas was reportedly incensed.

This incident began the rivalry, which reached a fever pitch in the mid-1950s, at times even engulfing the two women themselves, who were said by their more fanatical followers to have engaged in verbal barbs in each other's direction. Tebaldi was quoted as saying, "I have one thing that Callas doesn't have: a heart" while Callas was quoted in Time magazine as saying that comparing her with Tebaldi was like "comparing Champagne with Cognac. No, with Coca Cola". However, witnesses to the interview stated that Callas only said "champagne with cognac", and it was a bystander who quipped, "No, with Coca-Cola", but the Time reporter attributed the latter comment to Callas.

According to John Ardoin, however, these two singers should never have been compared. Tebaldi was trained by Carmen Melis, a verismo specialist, and she was rooted in the early 20th-century Italian school of singing just as firmly as Callas was rooted in 19th-century bel canto.

Callas was a dramatic soprano, whereas Tebaldi considered herself essentially a lyric soprano. Callas and Tebaldi generally sang a different repertoire: in the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas Tebaldi concentrated on late Verdi and verismo roles. They shared a few roles, including Tosca in Puccini's opera and La Gioconda, which Tebaldi performed only late in her career.

The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross in Chicago, Callas said, "I admire Tebaldi's tone; it's beautiful – also some beautiful phrasing. Sometimes, I actually wish I had her voice." Francis Robinson of the Met wrote of an incident in which Tebaldi asked him to recommend a recording of La Gioconda to help her learn the role. Being fully aware of the alleged rivalry, he recommended Zinka Milanov's version. A few days later, he went to visit Tebaldi, only to find her sitting by the speakers, listening intently to Callas's recording. She then looked up at him and asked, "Why didn't you tell me Maria's was the best?" According to Time magazine, when Callas quit La Scala, "Tebaldi made a surprising maneuver: she announced that she would not sing at La Scala without Callas. 'I sing only for artistic reasons; it is not my custom to sing against anybody', she said."

Callas visited Tebaldi after a performance of Adriana Lecouvreur at the Met in 1968, and the two were reunited. In 1978, Tebaldi spoke warmly of her late colleague and summarized this rivalry: "This rivality [sic] was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don't know why they put this kind of rivality [sic], because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria."

Voice
Tebaldi's voice was reputed to be one of the most beautiful of the day, with rich, perfectly produced tones. At the start of her career, her audition in bomb-ravaged La Scala's reopening was marked by Arturo Toscanini praising Tebaldi, calling her la voce d'angelo with enthusiastic "Brava!"s and applauds.

British musicologist Alan Blyth posited that in posterity, Tebaldi holds a position of being one of the last and best spinto sopranos of the last 50 years, due to Tebaldi's successors in the fach not having the right vocal equipment for her parts. Blyth attributed this in part to Tebaldi's recordings and her live performances onstage. Tebaldi's voice added a frisson of urgency when she sang in an opera house. This was noted in two of her performances as Leonora in Verdi's La forza del destino, evident in a recording done at the Maggio Musicale Fiorentino in 1953, where conductor Dimitri Mitropoulos urged her to great heights of vocal and dramatic achievement, and a live video recording in Naples.

Montserrat Caballe remarked on an interview that Tebaldi, "She was our Aida, our Traviata, our Manon Lescaut. She was all the roles, and she was the most perfect human voice we ever heard", likewise, Robert Merrill and Licia Albanese commented on the sumptuous and beautiful quality of Tebaldi's voice.

Tebaldi withdrew from performances in 1963 to restudy, made in part due to the emotional stress after eighteen years of singing. After thirteen months of reworking her voice, Tebaldi possessed an unmistakable metallic edge in her voice which only strengthened over the years. In her mid-to-later career, Tebaldi shifted from being a spinto to one with a near-dramatic sound. Adding La Gioconda in her repertoire, Tebaldi had chest notes carried high, bearing ample size and strength but little of the known beauty of Tebaldi's tone. Similarly, in her recorded Puccini roles at that time, one can't always count on the "floats" being easily produced or accurately pitched.

Some critics of Tebaldi have commented adversely on her seemingly incomplete technique; sometimes she took on strident, full-voiced top notes when tackling material above the high B-flat, and had occasional lapses in her pitch. For most audiences however, there was the sheer and deep richness of Tebaldi's voice, her melting legato phrases, the deeply expressive but never maudlin quality of singing, the beauty of her floated pianissimo high notes, and her temperament when dwelling in moments of dramatic intensity. Tebaldi's often mentioned alleged rival, Maria Callas, said in an interview, "I admire Tebaldi's tone; it's beautiful – also some beautiful phrasing. Sometimes, I actually wish I had her voice."

Tebaldi herself mentioned that recording presented challenges for her, as she missed the stimulation of an audience, and her powerful voice would often cause sound engineers to insist that she turn away from the microphone at moments of climactic intensity.

Personal life
Tebaldi enjoyed a beloved relationship with her mother, who helped nurture her and was devoted to her career and well-being from an early age. Her mother's death in 1957 was a huge blow to Tebaldi, whose grief was unbearable and it took effort to go back to the stage.

Tebaldi never married. In a 1995 interview with The Times, she said she had no regrets about her single life. "I was in love many times," she said. "This is very good for a woman." But she added, "How could I have been a wife, a mother and a singer? Who takes care of the piccolini when you go around the world? Your children would not call you Mama, but Renata." She also wrote, "I started my career at 22 and finished it at 54. Thirty-two years of success, satisfaction and sacrifices. Singing was my life's scope to the point that I could never have a family." Tebaldi had a short relationship with bass Nicola Rossi-Lemeni. A longer one with conductor Arturo Basile was formed in 1958, Basile reportedly saying their plans to marry were ended by Tebaldi in 1962 due to Basile's behaviour.

Later years
By the end of her career, Tebaldi had sung in 1,262 performances: 1,048 complete operas and 214 concerts.

Tebaldi retired from the opera stage in 1973 as Desdemona in Verdi's Otello at the Metropolitan Opera, the same role she debuted there nearly 20 years previously. She gave recitals around the globe. In one recital held in Manila with frequent partner Franco Corelli, Tebaldi's voice cracked in a Manon Lescaut aria; she then massaged her throat and genuflected to great applause from the audience. In January 1976, she gave her last recital in New York's Carnegie Hall. She received six curtain calls and standing ovations from the audience. She then moved out of her New York apartment, her home for many years during her stint at the Met, and returned to Italy, where she gave her final public appearance in a vocal recital in La Scala in May 1976. Regarding her decision to retire, Tebaldi said that she stopped singing while she still had a powerful voice to avoid "the mortifying season of decline".

She spent the majority of her last days in Milan. She died on 19 December 2004 at age 82 at her home in San Marino. She is buried in the Tebaldi family chapel at Mattaleto cemetery in Langhirano. At her death, audiences at Venice's La Fenice observed a moment of silence in her memory. Luciano Pavarotti said, "Farewell, Renata, your memory and your voice will be etched on my heart forever".

Honours
Tebaldi won the first Grammy Award Best Classical Performance - Vocal Soloist in 1959 for her album Operatic Recital. Their joint recording of Puccini's Turandot, conducted by Erich Leinsdorf and starring Birgit Nilsson as Turandot, Jussi Björling as Calaf, Tebaldi as Liù and Giorgio Tozzi as Timur with the Rome Opera Orchestra won the Grammy Award for Best Opera Recording in 1961.

She became a member of the Order of Merit of the Italian Republic as a Grand Officer in 1968 and a Knight Grand Cross in 1992. She was also made a Commander of the Ordre des Arts et des Lettres from France.

Proclamation of the "Tebaldi day", announced in her honour on 11 December 1995 by Rudy Giuliani, then Mayor of New York City.

Legacy
From February 2010 until 2013, the 15th-century Castle of Torrechiara – Langhirano – hosted within its rooms an exhibition dedicated to Renata Tebaldi. This “Castle for a Queen” unveils the many sides of this great diva, whose artistic and personal life remains on display. The items showcased followed her over the arc of time as she spread the world-class tradition of Italian lyrical art, all the way from the beginning of her career and throughout her artistic achievements. The exhibition is presented by the Renata Tebaldi Committee in collaboration with the Superintendence of Environmental Heritage and Landscape of the province of Parma and Piacenza, the Regio Theatre Foundation of Parma and the Municipality of Langhirano and with the patronage of the province of Parma. On 7 June 2014, the museum dedicated to Renata Tebaldi was inaugurated in the stables of Villa Pallavicino in Busseto. Tebaldi was awarded a star for recording in 1960 in Hollywood Walk of Fame in 6628 Hollywood Boulevard, Hollywood, California.

Discography

 * Lohengrin (Richard Wagner): conducted by Franco Capuana, with Giacinto Prandelli and Elena Nicolai. (1947). Performed in Italian.
 * Andrea Chénier (Umberto Giordano): Victor de Sabata conducting the Teatro alla Scala, with Mario Del Monaco and Paolo Silveri. (1949)
 * Giulio Cesare (George Frideric Handel): Herbert Albert conducting the Orchestra del Teatro San Carlo, with Cesare Siepi and Elena Nicolai. (1950)
 * Tannhäuser (Richard Wagner): Karl Boehm conducting the Orchestra del Teatro San Carlo, with Hans Beirer and Carlo Tagliabue. (1950). Performed in Italian.
 * La traviata (Giuseppe Verdi): Antonino Votto conducting the Orchestra-Theatro Municipal do Rio de Janeiro, with Giuseppe Campora and Paolo Silveri. (1950) (Gramophone Company)
 * Andrea Chénier (Umberto Giordano): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Mario Filippeschi and Carlo Tagliabue. (1951)
 * La bohème (Giacomo Puccini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Giacomo Lauri-Volpi and Tito Gobbi. (1951)
 * Falstaff (opera) (Giuseppe Verdi): Victor de Sabata conducting the Teatro alla Scala, with Mariano Stabile and Cesare Valletti. (1951) (Urania Records)
 * Fernand Cortez (Gaspare Spontini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gino Penno and Italo Tajo. (1951). Performed in Italian.
 * Giovanna d'Arco (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gino Penno and Ugo Savarese. (1951)
 * Giovanna d'Arco (Giuseppe Verdi): Alfredo Simonetto conducting the RAI Milano Orchestra, with Carlo Bergonzi and Rolando Panerai. (1951)
 * La bohème (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Giacinto Prandelli and Fernando Corena. (1951) (Decca Records)
 * Madama Butterfly (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Giuseppe Campora, Giovanni Inghilleri and Nell Rankin. (1951) (London Records)
 * Adriana Lecouvreur (Francesco Cilea): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gianni Poggi and Augosto Romani. (1952)
 * Falstaff (opera) (Giuseppe Verdi): Victor de Sabata conducting the Teatro alla Scala, with Mariano Stabile and Cesare Valletti. (1952)
 * Otello (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Ramón Vinay and Gino Bechi. (1952)
 * Le siège de Corinthe (Gioachino Rossini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Miriam Pirazzini and Mario Petri. (1952). Performed in Italian.
 * La traviata (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Giuseppe Campora and Pina Angelici. (1952)
 * La traviata (Giuseppe Verdi): Carlo Maria Giulini conducting the RAI Milano Orchestra, with Giacinto Prandelli and Liliana Pellegrino. (1952)
 * Aida (Giuseppe Verdi): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario del Monaco and Ebe Stignani. (1952) (Decca Records)
 * Tosca (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Giuseppe Campora and Enzo Mascherini. (1952) (Decca Records)
 * Aida (Giuseppe Verdi): Giuseppe Morelli conducting the RAI Milano Orchestra, with Giuseppe Campora and Ebe Stignani. (1953)
 * Aida (Giuseppe Verdi): Tullio Serafin conducting the Orchestra del Teatro San Carlo, with Gino Penno and Ebe Stignani. (1953)
 * Cecilia (Licinio Refice): Licinio Refice conducting the Orchestra del Teatro San Carlo, with Pina Ulisse and Alvino Misciano. (1953)
 * La forza del destino (Giuseppe Verdi): Dimitri Mitropoulos conducting the Teatro Comunale Orchestra, with Mario Del Monaco, Silvio Maionica and Giorgio Tozzi. (1953)
 * La Wally (Alfredo Catalani): Carlo Maria Giulini conducting the Teatro alla Scala, with Mario Del Monaco and Giangiacomo Guelfi. (1953)
 * Andrea Chénier (Umberto Giordano): Arturo Basile conducting the RAI Torino Orchestra, with José Soler and Ugo Savarese. (1953) (Cetra Records)
 * Tosca (Giacomo Puccini): Oliviero De Fabritiis conducting the Orchestra-Theatro Municipal do Rio de Janeiro, with Giuseppe Di Stefano and Tito Gobbi. (1953) (Decca Records)
 * Le nozze di Figaro (Wolfgang Amadeus Mozart): Ionel Perlea conducting the Orchestra del Teatro San Carlo, with Giulietta Simionato, Italo Tajo and Alda Noni. (1954). Performed in Italian.
 * Manon Lescaut (Giacomo Puccini): Francesco Molinari-Pradelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Mario Boriello, Fernando Corena. Coro dell'Accademia Nazionale di Santa Cecilia. (1954) (Decca Records).
 * La traviata (Giuseppe Verdi): Francesco Molinari-Pradelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Gianni Poggi and Angela Vercelli. (1954) (Decca)
 * Turandot (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Inge Borkh, Mario del Monaco and Nicola Zaccaria. (1955) (Decca Records)
 * Tosca (Giacomo Puccini): Dimitri Mitropoulos conducting, with Leonard Warren, Fernando Corena, Richard Tucker. 7 January 1956 Metropolitan Opera Historic Broadcast Recording.
 * Il trovatore (Giuseppe Verdi): Alberto Erede conducting the Grand Théâtre de Genève Orchestra, with Mario Del Monaco and Giulietta Simionato. (1956) (Decca)
 * La traviata (Giuseppe Verdi): Fausto Cleva conducting the Metropolitan Opera Orchestra in 1957, with Giuseppe Campora and Leonard Warren.
 * Cavalleria rusticana (Pietro Mascagni): Alberto Erede conducting the Orchestra and Chorus of the Maggio Musicale Fiorentino in 1957, with Jussi Björling and Ettore Bastianini. (RCA/London Records)
 * Andrea Chénier (Umberto Giordano): Gianandrea Gavazzeni conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Fiorenza Cossotto, Ettore Bastianini. Coro dell'Accademia Nazionale di Santa Cecilia. (1957) (Decca).
 * Madama Butterfly (Giacomo Puccini): Angelo Questa conducting the Orchestra del Teatro San Carlo, with Gianni Raimondi, Giuseppe Valdengo, Anna Di Stasio. (1958)
 * La fanciulla del West (Giacomo Puccini): Franco Capuana conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Cornell MacNeil, Giorgio Tozzi. Coro dell'Accademia Nazionale di Santa Cecilia. (1958) (Decca Import).
 * Madama Butterfly (Giacomo Puccini): Tullio Serafin conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Fiorenza Cossotto, Enzo Sordello. Coro dell'Accademia Nazionale di Santa Cecilia. (1958) (Decca Records).
 * Mefistofele (Arrigo Boito): Tullio Serafin conducting the Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Cesare Siepi. (1958) (Decca).
 * La bohème (Giacomo Puccini): Tullio Serafin conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Gianna D'Angelo, Ettore Bastianini. Coro dell'Accademia Nazionale di Santa Cecilia. (1959) (Decca Records).
 * Tosca (Giacomo Puccini): Francesco Molinari-Pradelli conducting the Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco and George London. (1959) (Decca Records).
 * Tosca (Giacomo Puccini): Gianandrea Gavazzeni conducting the La Scala Theatre Orchestra, with Giuseppe di Stefano and Tito Gobbi. La Scala Theatre Chorus. Recorded live at La Scala in 1959. Opera d'Oro.
 * Aida (Giuseppe Verdi): Herbert von Karajan conducting the Vienna Philharmonic Orchestra, with Carlo Bergonzi, Giulietta Simionato, Cornell MacNeil. Singverein der Gesellschaft der Musikfreunde. (1959) (Decca Legends).
 * Turandot (Giacomo Puccini): Erich Leinsdorf conducting the Rome Opera Orchestra, with Birgit Nilsson, Jussi Bjoerling and Giorgio Tozzi. Rome Opera Chorus. (1960) (RCA).
 * Otello (Giuseppe Verdi): Herbert von Karajan conducting the Vienna Philharmonic Orchestra, with Mario Del Monaco, Aldo Protti, Nello Romanato. Singverein der Gesellschaft der Musikfreunde. (1961) (Decca Legends).
 * Adriana Lecouvreur (Francesco Cilea): Franco Capuana conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Giulietta Simionato, Giulio Fioravanti. Coro dell'Accademia Nazionale di Santa Cecilia. (1961) (Decca).
 * Il trittico (Giacomo Puccini): Lamberto Gardelli conducting Chorus and Orchestra of the Maggio Musicale Fiorentino, with Giulietta Simionato, Mario del Monaco, Robert Merrill, Fernando Corena (1962) (London Records)
 * Adriana Lecouvreur (Francesco Cilea): Silvio Varviso conducting the Metropolitan Opera Orchestra, with Franco Corelli and William Wilderman. (1963)
 * Tosca (Giacomo Puccini): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli and Tito Gobbi. (1964)
 * Don Carlos (opera) (Giuseppe Verdi): Georg Solti conducting Orchestra of the Royal Opera House, with Carlo Bergonzi, Nicolai Ghiaurov, Dietrich Fischer-Dieskau, Grace Bumbry (1965) (Decca)
 * La Gioconda (opera) (Amilcare Ponchielli): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli, Cornell MacNeil, Biserka Cvejić and Cesare Siepi. (1966). (Stradivarius Records)
 * Otello (Giuseppe Verdi): Alberto Erede conducting the Teatro Regio Orchestra, with Mario Del Monaco and Tito Gobbi. (1966)
 * Otello (Giuseppe Verdi): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Jon Vickers and Louis Quilico. (1967)
 * La Gioconda (opera) (Amilcare Ponchielli): Lamberto Gardelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Robert Merrill, Marilyn Horne and Oralia Domínguez. (1968). (Decca Records)
 * La Gioconda (opera) (Amilcare Ponchielli): Fausto Cleva conducting Metropolitan Opera Orchestra, with Carlo Bergonzi, Cornell MacNeil and Fiorenza Cossotto. (1968).
 * La Wally (Alfredo Catalani): Fausto Cleva conducting Orchestra of the American Opera Society, with Carlo Bergonzi, Peter Glossop. (1968).
 * La Wally (Alfredo Catalani): Fausto Cleva conducting L'Orchestre National de l'Opéra de Monte-Carlo, with Mario Del Monaco, Piero Cappuccilli, Justino Diaz. Coro Lirico di Torino. (1968) (Decca Records).
 * Adriana Lecouvreur (Francesco Cilea): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli and Morley Meredith. (1969)
 * La bohème (Giacomo Puccini): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Franco Corelli and Seymour Schwartzman. (1969)
 * La bohème (Giacomo Puccini): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Franco Corelli and Alan Wagner. (1969)
 * La bohème (Giacomo Puccini): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Richard Tucker and Gene Boucher. (1970)
 * La fanciulla del west (Giacomo Puccini): Jan Behr conducting the Metropolitan Opera Orchestra, with Sándor Kónya and Anselmo Colzani. (1970)
 * Simon Boccanegra (Giuseppe Verdi): James Levine conducting the Cleveland Orchestra, with Cornell MacNeil and Ezio Flagello. (1970) (Legato Classics)
 * Un ballo in maschera (Giuseppe Verdi): Bruno Bartoletti conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Luciano Pavarotti and Sherrill Milnes. (1970) (Decca Records)
 * Otello (Giuseppe Verdi): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Jon Vickers and Peter Glossop. (1972)
 * Falstaff (opera) (Giuseppe Verdi): Christoph von Dohnányi conducting the Metropolitan Opera Orchestra. with Tito Gobbi and Luigi Alva. (1972)
 * Otello (Giuseppe Verdi): James Levine conducting the Metropolitan Opera Orchestra. with James McCracken and Sherrill Milnes. (1973)

title: Renata Tebaldi


text:
T33

T33 or T-33 may refer to:

Automobiles

 * Alfa Romeo Tipo 33, an Italian racing car
 * Bestune T33, a Chinese SUV
 * Cooper T33, a British sports car

Aviation

 * Canadair T-33, a Canadian jet trainer
 * Flader T33, an American turbojet engine
 * Lockheed T-33, an American jet trainer

Other uses

 * T33 (classification), a disability sport classification
 * GERMAN TORPEDO BOAT T33
 * Kire-Uriwari Station, Osaka, Japan
 * London Buses route T33
 * SOVIET MINESWEEPER T-33
 * T-37A tank, a Soviet light tank

title: T33


text:
Directive 2005/36/EC

Directive 2005/36/EC on the recognition of professional qualifications provides for a system of recognition of professional experience and promotes automatic recognition of professional experience across the European Union (EU). It covers the European Economic Area and has been amended several times.

The qualifications of some professions, such as doctors and architects, have been extensively harmonised; in addition, it offers more general guidelines for other professions, that have not been specifically regulated this directive, or other specific rules. Any form of work that would normally be restricted in a member state to people who had gained a professional qualification in that member state are also open to nationals of the EU (and member states of the European Economic Area) who have gained a similar professional qualification in another member state.

Professions regulated in most or all EU states include:
 * Accountancy : British-qualified accountants (Chartered Certified Accountant (ACCA) or Chartered Accountant (ACA or CA) or International Accountant (AIA) in the United Kingdom (UK)
 * Engineering : Chartered Engineer or EUR ING (European Engineer), Incorporated Engineer (UK), corporate membership of a UK professional engineering institution such as Member of the Institution of Engineering and Technology
 * Teaching : Teachers (qualified teacher status in the UK)
 * Law : Lawyers (barristers, solicitors and advocates in the UK).

title: Directive 2005/36/EC


text:
Air Atlantic

Air Atlantic was a Canadian airline, operating a fleet of BAe 146-200, BAe 4100 and Dash 8-100 aircraft.

Founded and majority owned by Craig Dobbin, Air Atlantic was established in 1986 and operated Dash 7 aircraft as an interim solution until delivery of their first Dash 8's. Air Atlantic functioned as a feeder airline for Canadian Pacific Airlines and later Canadian Airlines International throughout Atlantic Canada and offered limited service from that region to Quebec, Ontario and New England. It ceased operations in October 1998.

Canada

 * New Brunswick
 * Charlo - Charlo Airport
 * Fredericton - Fredericton International Airport
 * Miramichi - Miramichi Airport
 * Moncton - Greater Moncton International Airport
 * Saint John - Saint John Airport
 * Newfoundland and Labrador
 * Churchill Falls - Churchill Falls Airport
 * Deer Lake - Deer Lake Regional Airport
 * Gander - Gander International Airport
 * Goose Bay - CFB Goose Bay
 * Stephenville - Stephenville International Airport
 * St. John's - St. John's International Airport
 * Wabush - Wabush Airport
 * Nova Scotia
 * Halifax - Halifax Stanfield International Airport
 * Sydney - Sydney/J.A. Douglas McCurdy Airport
 * Yarmouth - Yarmouth Airport
 * Ontario
 * Ottawa - Ottawa Macdonald–Cartier International Airport
 * Toronto - Toronto Pearson International Airport and Buttonville Municipal Airport
 * Prince Edward Island
 * Charlottetown - Charlottetown Airport
 * Québec
 * Montréal - Montréal–Dorval International Airport
 * Québec City - Québec City Jean Lesage International Airport
 * Iles-de-Madeleine - Îles-de-la-Madeleine Airport

United States

 * Bangor - Bangor International Airport
 * Boston - Logan International Airport
 * Portland - Portland International Jetport

title: Air Atlantic


text:
4th World Scout Jamboree

The 4th World Scout Jamboree (Hungarian: 4. Cserkész Világdzsembori), a gathering of Boy Scouts from all over the world, was hosted by Hungary and held from 2 to 13 August 1933. It was attended by 25,792 Scouts, representing 46 different nations and additional territories. They encamped around the Royal Palace in the Royal Forest of Gödöllő, about 11 mi from the capital of Budapest.

In attendance
It was the second-to-last Jamboree for the founder of Scouting, Robert Baden-Powell. Baden-Powell and Hungarian head of state, Regent Horthy, addressed the Scouts from the grandstand built to accommodate over 5000 guests during an opening ceremony at the rally ground. Regent Horthy told the Scouts,

"Scouts! You have come to Hungary from all parts of the world to testify to the magnificent and uplifting powers of brotherhood represented by Scouting. The noble ties of friendship will, I believe, become even stronger among you through this Fourth World Jamboree. I am convinced that the Jamboree will do much toward the promotion of good-will and peaceful cooperation, for the general good of humanity. The Hungarian nation offers you with love these wood-girt fields for your camping. The Hungarian nation welcomes you and your leader, the founder of the World Scout Movement, Lord Baden Powell. Welcome to you all! I hope you will feel at home!"

The Jamboree Camp Chief was the Chief Scout of Hungary, Count Teleki Pál, a member of the International Committee who had previously been and would later once again become Prime Minister of Hungary. The General Camp Manager was Vitez Kisbarnaki Ferenc Farkas, a general staff officer of the Hungarian Royal Army, who was later appointed the Chief Scout of Hungary upon Teleki Pál's death in 1941.

This event was notable as the first international gathering where Air Scouts were represented, including the famous pilots, László Almásy and Robert Kronfeld. A meeting of Skolta Esperanto Ligo took also place at the Jamboree.

Countries and territories with contingents of Scouts present included Hungary, Scotland, Wales, Northern Ireland, the Irish Free State, England, Jamaica, Trinidad, Switzerland, Sweden, Armenia, the Netherlands, Poland, Finland, Czechoslovakia, Estonia, Australia, New Zealand, British Guiana, Canada, Newfoundland, Ceylon, South Africa, Austria, Romania, Norway, Portugal, Siam, Spain, Haiti, Greece, France, Gibraltar, India, Philippines, United States, Bulgaria, Liechtenstein, Belgium, Syria, Denmark, Iceland, Egypt, Iran, Japan, Malta, Palestine, Rhodesia, the Duchy of Luxemburg, and Russian Emigrant Scouts. They lived in ten sub-camps. The overall encampment was serviced by its own post office, ambulance station, hospital, a steam railroad and station, an electric local streetcar line with four stations, radio service, 14 km water supply with 9 wells and an air-service.

The Jamboree daily paper, Magyar Cserkész, was printed in Hungarian, English, French and German, with contributions in other languages. Every foreign group at the Jamboree was assigned a "cousin"—a Hungarian Scout who spoke their language and served as translator and guide. They wore on their right arm a white band displaying two interlocked hands embroidered in red. Over their shirt pocket they wore an embroidered patch stating their language specialty, for example, Parle Français, Spricht Deutsch or Speaks English.

During the Jamboree, about 365,000 people including 100,000 from the nearby city of Gödöllő and the surrounding districts visited the Scouts from many nations, seeking "autograms"—autographs—and "change," or to trade clothing, patches, and more. The total expenditure was 1,660,000 Pengő (~ 332,000 US dollar), total income was 1,668,000 Pengő (~ 333,600 US dollar).

Jamboree symbol: the White Stag
The white stag of Hungarian mythology was the national symbol of Hungary and the official badge of the Jamboree. During the Jamboree, Scouts from the American contingent learned from their Hungarian "cousin" the meaning of the White Stag on their jamboree patch:

"One day, many years ago, Hunor and Magor, the two sons of King Nimrod of the Orient, were out hunting with a number of their men. Suddenly, from a thicket, jumped the most beautiful deer they had ever seen. Immediately they started in pursuit. Over mountain sides, through valleys and forests, across rivers, they followed the magnificent animal, until, with darkness, they lost track of it. There was nothing for them to do except make camp right where they were and await the coming of morning.

When they awoke the next morning, a gorgeous sight greeted their eyes. In their wild ride, they had crossed the borders of their own country and had arrived in another of which they had never heard, a country richly endowed with good soil, beautiful forest, fruits, flowers, game and fish. Hunor and Magyar, decided that this was the land of their choice. They went back for their father's blessing and then returned with their wives to their new rich country.

Through the ages they prospered.

The descendants of Hunor became the Huns and of Magor, the Magyars, who now form the Hungarian nation."

Baden-Powell also referred to the symbol of the Hungarian people in his farewell address to the assembled Scouts:

"Each one of you wears the badge of the White Stag of Hungary. I want you to treasure that badge when you go from here and to remember that, like the Golden Arrow, it also has its message and its meaning for you.

The Hungarian hunters of old pursued the miraculous Stag, not because they expected to kill it, but because it led them on in the joy of the chase to new trails and fresh adventures, and so to capture happiness. You may look on that White Stag as the pure spirit of Scouting, springing forward and upward, ever leading you onward and upward to leap over difficulties, to face new adventures in your active pursuit of the higher aims of Scouting—aims which bring you happiness.

These aims are to do your duty wholeheartedly to God, to your country, and to your fellow man by carrying out the Scout Law. In that way you will, each one of you, help to bring about God's kingdom upon earth—the reign of peace and goodwill.

Therefore, before leaving you, I ask you Scouts this question—Will you do your best to make friendship with others and peace in the world?"

- From Baden-Powell's farewell speech

title: 4th World Scout Jamboree


text:
Nishan-e-Haider

Nishan-e-Haider (NH; or 'Emblem of the Lion'), is the highest military gallantry award of Pakistan. The Nishan-e-Haider is awarded posthumously and only to members of the Pakistan Armed Forces. It recognises the highest acts of extraordinary bravery in the face of the enemy in air, land, or sea. It has been awarded only 11 times since Pakistan's independence in 1947.

Nishan-e-Haider literally means "Emblem of the Lion" in the Urdu language. The word "Haider" is also the epithet of Ali, who is referred to as the 'Lion of Allah', a valiant warrior and leader. Ali was the fourth Caliph of Islam and declared bravest person by Muhammad. He is known by his courage, bravery and power in Islam.

History
The Nishan-e-Haider was established by the Government of Pakistan and named after Ali on 14 August 1947, the year that Pakistan became a republic. It was applied retrospectively from the date of Pakistan's independence on 14 August 1947. It is Pakistan's highest award and takes precedence over all military and civil awards. Of the eleven Nishan-e-Haider recipients to date, ten have been from the Army and one from the Air Force.

Although some consider it equivalent to the British Victoria Cross and the United States Medal of Honor, it is unique in that it has so far been awarded only posthumously. At one point in time the Chief of Army Staff of Pakistan was asked why it was only awarded posthumously, his response reportedly that if it is awarded to a living person he may be involved in dishonourable conduct in the future which may disgrace the Award.

Criterion
The Nishan-e-Haider can be awarded to all ranks of the Armed Forces for showing feats of extraordinary courage in confronting the enemy. As a matter of practice and precedent, it has only been awarded where it has been established that the recipient acted despite high risks and was martyred (shaheed) in the act.

Manufacturing
The Nishan-e-Haider is manufactured by Pakistan Mint on the order of the Ministry of Defence. It is forged from captured enemy equipment and consists of 88% copper, 10% gold, and 2% zinc.

Legacy
Monuments or places named after recipients of Nishan-E-Haider include:
 * Captain Raja Muhammad Sarwar Bhatti Shaheed Monument, Sanghori
 * Major Raja Aziz Bhatti Shaheed Memorial, Lahore
 * Shrine of Major Raja Aziz Bhatti Shaheed, Gujrat
 * Rashid Minhas Boulevard, E-9 Islamabad
 * Rashid Minhas Road, Gulberg Town Karachi
 * Major Akram Shaheed Memorial, Jhelum
 * Major Shabbir Sharif Shaheed Monument & Park, DHA Lahore
 * Sawar Muhammad Hussain Stadium, Gujar Khan
 * Karnal Sher Khan Stadium, Peshawar
 * Karnal Sher Khan Cadet College, Swabi
 * Karnal Sher Interchange, Mardan
 * Lalak Jan Park, Multan
 * Karnal Sher Khan Shaheed Road, Islamabad

title: Nishan-e-Haider


text:
User talk:Sndrsn

Hello, welcome to Wikipedia. Here are some useful links in case you haven't already found them;

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snoyes 15:25, 24 Nov 2003 (UTC)

Unverified images
Hi! Thanks for uploading the following image:

 * Image:George_eliot.jpg

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GNU Free Documentation License,  if you wish to release your own work to the public domain,  if you claim fair use, etc.) If you don't know what any of this means, just let me know at my talk page where you got the images and I'll tag them for you. Thanks so much. [[User:Poccil|Peter O. (Talk, automation script)]] 22:39, Dec 20, 2004 (UTC)

P.S. You can help tag other images at User:Yann/Untagged_Images. Thanks again.

Collaboration of the Week
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Mystery meat navigation
I have added a "" template to the article Mystery meat navigation, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but I don't believe it satisfies Wikipedia's criteria for inclusion, and I've explained why in the deletion notice (see also "What Wikipedia is not" and Wikipedia's deletion policy). Please either work to improve the article if the topic is worthy of inclusion in Wikipedia, or, if you disagree with the notice, discuss the issues at its talk page. Removing the deletion notice will prevent deletion through the proposed deletion process, but the article may still be sent to Articles for Deletion, where it may be deleted if consensus to delete is reached, or if it matches any of the speedy deletion criteria. Mathmo Talk 01:20, 29 January 2007 (UTC)

title: User talk:Sndrsn