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National Portrait Gallery (United States)

The National Portrait Gallery (NPG) is a historic art museum in Washington, D.C., United States. Founded in 1962 and opened in 1968, it is part of the Smithsonian Institution. Its collections focus on images of famous Americans. Along with the Smithsonian American Art Museum, the museum is housed in the historic Old Patent Office Building.

Founding of the museum
The first portrait gallery in the United States was Charles Willson Peale's American Pantheon, also known as Peale's Collection of Portraits of American Patriots, established in 1796. It closed after two years. In 1859, the National Portrait Gallery in London opened, but few Americans took notice. The idea of a federally owned national portrait gallery can be traced back to 1886, when Robert C. Winthrope, president of the Massachusetts Historical Society, visited the National Portrait Gallery in London. Upon his return to the United States, Winthrope began pressing for the establishment of a similar museum in the United States.

In January 1919, the Smithsonian Institution entered into a cooperative endeavor with the American Federation of Arts and the American Mission to Negotiate Peace to create a National Art Committee. The committee's goal was to commission portraits of famous leaders from the various nations involved in World War I. Among the committee's members were oil company executive Herbert L. Pratt, Ethel Sperry Crocker, an art aficionado and wife of William Henry Crocker, the founder of Crocker National Bank, architect Abram Garfield, Mary Williamson Averell, wife of railway executive E. H. Harriman, financier J. P. Morgan, attorney Charles Phelps Taft, brother of President William Howard Taft, steel magnate Henry Clay Frick, and paleontologist Charles Doolittle Walcott. The portraits commissioned went on display in the National Museum of Natural History in May 1921. This formed the nucleus of what would become the National Portrait Gallery Collection.

In 1937, Andrew Mellon donated his large collection of classic and modernist art to the United States, which led to the foundation of the National Gallery of Art. The collection included a large number of portraits. Mellon asked that, should a portrait gallery be created, the portraits be transferred to it. David E. Finley, Jr., an attorney and one of Mellon's closest friends, was named the first director of the National Gallery of Art, and he pushed hard over the next several years for the establishment of a portrait gallery.

In 1957, a proposal was made by the federal government to demolish the Old Patent Office Building. After a public outcry and an agreement to save the historic structure, Congress authorized the Smithsonian Institution to use the structure as a museum in March 1958. Shortly thereafter, the Smithsonian Art Commission asked the Chancellor of the Smithsonian to appoint a committee to organize a national portrait museum and to plan for the establishment of this museum in the Old Patent Office Building. This committee was created in 1960.

The National Portrait Gallery (NPG) was authorized and founded by Congress in 1962. The enabling legislation defined its purpose as displaying portraits of "men and women who have made significant contributions to the history, development, and culture of the people of the United States." The legislation specified, however, that the museum's collection be limited to painting, prints, drawings, and engravings. Despite the Smithsonian's own extensive collection of art and Mellon's collection, there was very little for the National Portrait Gallery to display. "To found a portrait gallery in the 1960s," Smithsonian Secretary S. Dillon Ripley said, was difficult because "American portraiture has already reached the zenith in price and the nadir in supply." Ripley, whose leadership of the Smithsonian began in 1964, was a strong supporter of the new museum, however. He encouraged the museum's curators to build a collection from scratch based on individual pieces chosen through high-quality scholarship rather than buying complete collections from others. The NPG's collection was slowly built over the next five years through donations and purchases. The museum had little money at this time. Often, it located items it wanted and then asked the owner to simply donate it.

The first NPG exhibit, "Nucleus for a National Collection", went on display in the Arts and Industries Building in 1965 (the bicentennial of James Smithson's birth). The following year, the NPG completed the Catalog of American Portraits, the first inventory of portraiture held by the Smithsonian. The catalog also documented the physical characteristics of each artwork, and its provenance (author, date, ownership, etc.). The museum moved into the Old Patent Office Building with the National Fine Arts Collection in 1966. It opened to the public on October 7, 1968.

Building the collection
The Old Patent Office Building was renovated in 1969 by the architectural firm of Faulkner, Fryer and Vanderpool. The renovation won the American Institute of Architects National Honor Award in 1970. The following year, the NPG began the National Portrait Survey, an attempt to catalog and photograph all portraits in all formats held by every public and private collection and museum in the country. On July 4, 1973, the NPG opened "The Black Presence in the Era of the American Revolution, 1770–1800", the first exhibit at the museum dedicated solely to African Americans. Philanthropist Paul Mellon donated 761 portraits by French-American engraver C.B.J.F. de Saint-Mémin to the museum in 1974.

Congress passed legislation in January 1976 allowing the National Portrait Gallery to collect portraits in media other than graphic arts. This permitted the NPG to begin collecting photographs. The Library of Congress had long opposed the move in order to protect its own role in collecting photographs, but NPG Director Marvin Sadik fought hard to have the ban eliminated. The NPG rapidly expanded its photography collection, and in October 1976 established a Department of Photographs. The gallery's first photography exhibit, "Facing the Light: Historic American Portrait Daguerreotypes," opened in September 1978. It also continued to build its other collections. In February 1977, the museum acquired an 1880 self-portrait by Mary Cassatt, one of only two painted by her. Eleven months later, the museum acquired a self-portrait by John Singleton Copley. The roundel (a circular canvas), one of only four self-portraits by the celebrated early American artist, was donated to the NPG by the Cafritz Foundation.

In May 1978, Time magazine donated 850 original portraits which had graced its cover between 1928 and 1978. A major exhibit of these pieces debuted in May 1979.

The Stuarts controversy
A major controversy occurred in 1979 over the National Portrait Gallery's attempt to buy two Gilbert Stuart paintings. The famous, unfinished portraits of George and Martha Washington were owned by the Boston Athenaeum, which loaned them to the Museum of Fine Arts in Boston in 1876. But the Athenaeum, a private collection, was suffering from financial difficulties by the late 1970s. It twice offered to sell the two portraits to the Museum of Fine Arts over the previous two years, but the museum declined to purchase them. The Athenaeum began searching for another buyer, and in early 1979 the Athenaeum tentatively reached an agreement to sell the works to the NPG for $5 million. When the Athenaeum made these discussions public in April 1979, there was strong public opposition to the sale in Boston. NPG director Marvin Sadik declined to cancel the sale, arguing that the portraits were of national historic value and belonged in the Smithsonian. A campaign by prominent Bostonians tried to raise $5 million to keep the portraits in Massachusetts. Boston Mayor Kevin H. White sued to keep the portraits in Boston, naming Massachusetts Attorney General Francis X. Bellotti, whose office the Commonwealth's constitution designates "custodian of public property" in the suit. "Everybody knows Washington has no culture—they have to buy it," White said.

On April 12, the Athenaeum and NPG agreed to delay the sale until December 31, 1979, to give the Boston fund-raising effort a chance. Although not completely successful, the lawsuit had one effect: Attorney General Bellotti announced in mid-summer that the Stuart portraits could not be sold without his permission. By November 1979, the fund-raising campaign had netted only $885,631, with a pledge from the Museum of Fine Arts to match the amount if necessary. This left the campaign $4 million short of the purchase price. The Athenaeum refused to lower the price, describing the $5 million listing as a significant discount from the portraits' real value.

With public and political pressure on the Smithsonian to resolve the issue, the Museum of Fine Arts and NPG agreed on February 7, 1980, to jointly purchase the portraits. Under the agreement, the paintings would spend three years at the National Portrait Gallery (beginning in July 1980), and then three years in Boston at the Museum of Fine Arts. Attorney General Bellotti approved the plan in March. Per the agreement, the portraits went on display in Washington on July 1, 1980.

NPG director Marvin Sadik, who had expressed his dissatisfaction over the Stuart painting controversy, took a six-month-long sabbatical in January 1981. He announced his retirement from the museum in July.

Expanding the collection
Even as the Stuarts controversy occupied the attention of the press, the National Portrait Gallery continued to expand its collection. In April 1979, it obtained five other portraits by Gilbert Stuart. These five paintings — of presidents George Washington, Thomas Jefferson, James Monroe, John Adams, and James Madison — were known as the Gibbs-Coolidge set. The portraits were donated by the Coolidge family of Boston (without controversy). In December, the museum obtained a bust of Alexander Hamilton by John Trumbull (which may have been sculpted from the portrait which was later used for the $10 bill) and a Gilbert Stuart portrait of Representative Fisher Ames from the Henry Cabot Lodge family in Massachusetts. The following April, Varina Webb Stewart and Joel A.H. Webb presented important portraits of Jefferson Davis and his wife, Varina Howell Davis, to the National Portrait Gallery. (Stewart and Webb were the Davis' great-grandchildren.) In 1980, the museum obtained (through purchase and loan) a number of works by graphic artist Howard Chandler Christy for exhibit. Works displayed ranged from his "Christy girl" recruiting posters to history-based works such as Scene at the Signing of the Constitution of the United States.

By 1981, the museum had more than 2,000 items in its collection. Two major 19th-century photography collections were added by the museum that year. The first such acquisition was the Frederick Hill Meserve Collection of 5,419 glass negatives produced by the studio of famed Civil War photographer Mathew Brady and his assistants. Using historically accurate chemicals, paper, and techniques, prints were made of the negatives and the prints placed on rotating display. The Washington Post later described the importance of the acquisition by saying it made the NPG the "epicenter" for Brady scholarship. Later that year, 5,400 Civil War-era glass negatives produced by photographer Alexander Gardner were also purchased from the Meserve family. This included the famous "cracked-plate" portrait of Abraham Lincoln taken in February 1865, which was the last photographic portrait of Lincoln taken before his death in April 1865.

Two major portrait purchases were also made in the early 1980s. One was a Gilbert Stuart portrait of Thomas Jefferson, for which the museum paid $1 million to a private collector. A portion of the purchase price came from the Thomas Jefferson Foundation, which owns and operates Jefferson's historic plantation home of Monticello. The two parties agreed have the portrait spend time at both locations. The second major purchase was an Edgar Degas portrait of his friend, Mary Cassatt, for which the museum paid $1.3 million.

The museum suffered a major theft in 1984 — although it was not a portrait. On December 31, 1984, a thief pried open a display case and stole four handwritten documents accompanying several portraits of Civil War generals. One of the documents was written and signed by President Abraham Lincoln. The remaining three were written and signed by Civil War generals Ulysses S. Grant, George Meade, and George Armstrong Custer. The FBI was contacted and worked with Smithsonian police to investigate the crime. Within two weeks, a historic documents dealer contacted the FBI and said he had been offered the documents for sale. On February 8, 1985, police arrested Norman James Chandler, a part-time mechanic's assistant from Maryland, for the theft. Chandler quickly pleaded guilty. He was sentenced in April 1985 to two years in jail (with all but six months suspended) and two years of probation, and required to pay a $2,000 fine. All four documents were recovered.

The late 1980s saw the collection continue to expand, although there were fewer major additions. One significant acquisition was a nude image — a self-portrait painting by Alice Neel acquired in 1985. It was the National Portrait Gallery's first nude work. Neel was 80 years old when she painted it. Two years later, noted photographer Irving Penn donated 120 platinum prints of fashion and celebrity portraits he produced over the past 50 years.

Two very important daguerreotypes (an early photographic process) were purchased in the 1990s. The first was of African American abolitionist and former slave Frederick Douglass, acquired in 1990. It is one of only four daguerreotypes of Douglass known to exist. That year, the number of images in the museum's photography collection reached 8,500 objects. Six years later, the NPG obtained for $115,000 the earliest known daguerreotype of abolitionist John Brown, whose 1859 raid on Harpers Ferry helped to spark the Civil War. The portrait was created by African American photographer Augustus Washington.

Purchasing the Lansdowne portrait
In the fall of 2000, Neil Primrose, 7th Earl of Rosebery, offered to sell Gilbert Stuart's Lansdowne portrait of George Washington to the National Portrait Gallery. The painting was commissioned in April 1796 by Senator William Bingham of Pennsylvania—one of the wealthiest men in America at the time. The 8 by portrait was given as a gift to British Prime Minister William Petty FitzMaurice. FitzMaurice was the 2nd Earl of Shelburne, and later became the first Marquess of Lansdowne (hence the name of the portrait). Lansdowne died in 1805, and in 1890 the painting was purchased by the 5th Earl of Rosebery. The Lansdowne portrait was displayed only three times in the United States (although several copies remained in America). On its third trip in 1968, it was exhibited by the National Portrait Gallery, and it remained there on indefinite loan. Lord Rosebery offered to sell the painting for $20 million, a price at the low end of estimates. But the offer came with a deadline of April 1, 2001. A search for a donor, personally led by Smithsonian Secretary Lawrence Small and the Smithsonian's Board of Regents, proved fruitless after three months. Worried Smithsonian officials then went public in February 2001 with a plea for a donor to come forth.

On March 13, just two weeks before the sale deadline, the Donald W. Reynolds Foundation donated $30 million to buy the Lansdowne portrait. Foundation chairman Fred W. Smith read about failing donor effort in the Wall Street Journal on February 26. Although the Reynolds Foundation generally only made grants in the areas of elder care, cardiovascular research, and journalism, assisting with the Lansdowne purchase fell within the foundation's "special projects" area of responsibility. NPG Director Marc Pachter flew to Nevada to meet with foundation officials on March 3, and the foundation approved the donation the following day. The $30 million donation included $6 million to put the portrait on a national tour for three years (the NPG was closed for renovations until 2006), and $4 million to construct a new area in the Old Patent Office Building to display it. NPG said it would name this display area for Donald W. Reynolds, the media baron who created the foundation.

Post-renovation activities
The National Portrait Gallery closed in January 2000 for a renovation of the Old Patent Office Building. Intended to take two years and cost $42 million, the renovation took seven years and cost $283 million. Inflation, delays in obtaining approval for the renovation design, the addition of a glass canopy over the open courtyard, and other issues led to increases in both time and costs. During this period, most of the NPG's collection went on tour around the United States.

In March 2007, a multi-year study of leadership at eight Smithsonian museums made recommendations about the National Portrait Gallery. The report concluded that the museum needed stronger, more visionary leadership intent on creating a truly national museum. The report also called for "administrative consolidation" of the National Portrait Gallery and the Smithsonian American Art Museum.

After the 2008 presidential election, the National Portrait Gallery obtained graphic artist Shepard Fairey's ubiquitous "Hope" poster of Barack Obama. Obama supporter Tony Podesta and his wife, Heather, donated it to the museum.

Hide/Seek controversy
In November 2010, the National Portrait Gallery hosted a major new exhibit, "Hide/Seek: Difference and Desire in American Portraiture", curated by David C. Ward and Jonathan Katz. The exhibit focused on depictions of homosexual love through history, and was the first exhibit hosted by a museum of national stature to address the topic. It was also the largest and most expensive exhibit in the NPG's history, and more private donors contributed to it than to any prior NPG exhibit. Included in the 105 pieces in the exhibit was a four-minute, edited version of artist David Wojnarowicz's short silent film A Fire in My Belly. Eleven seconds of the video depicted a crucifix covered in ants.

The exhibit was scheduled to run from October 30, 2010, to February 13, 2011. Within days of its opening, Catholic League president William A. Donohue labeled A Fire in My Belly hate speech, anti-Catholic, and anti-Christian. A spokesperson for Representative John Boehner, incoming Speaker of the United States House of Representatives, called it an "arrogant" abuse of the public trust and a misuse of taxpayer money, although it was funded by private donations. House Majority Leader Representative Eric Cantor threatened to reduce the Smithsonian's budget if the film remained on view. After consulting with National Portrait Gallery director Martin Sullivan, co-curator David C. Ward (but not with co-curator Jonathan David Katz), Smithsonian Undersecretary Richard Kurin, and the Smithsonian's government affairs and public relations offices, Smithsonian Secretary G. Wayne Clough ordered A Fire in My Belly removed from the exhibit on November 30.

Clough's decision led to extensive accusations of censorship and claims that the Smithsonian was caving in to pressure from a small group of vocal activists. Smithsonian officials strongly defended the video's removal. "The decision wasn't caving in," said Sullivan. "We don't want to shy away from anything that is controversial, but we want to focus on the museum's and this show's strengths." Kurin expressed the Smithsonian's desire to be responsive to public opinion, but also emphasized the remaining exhibit's importance. "We are sensitive to what the public thinks about our shows and programs," he said. "We stand behind the show. It has strong scholarship with great pieces by artists who are recognized by a whole panoply of experts. It represents a segment of America." On December 13, the Andy Warhol Foundation for the Visual Arts, one of the principal sponsors of the exhibit, said it would ask for its $100,000 donation back if the film was not restored. Clough replied, "...the Smithsonian's decision to remove the video was a difficult one and we stand by it." The donation was returned, and the Warhol Foundation ceased to support National Portrait Gallery exhibits. The Robert Mapplethorpe Foundation, which donated $10,000 to support the exhibit, also ended all funding for future Smithsonian exhibitions. Both decisions drew criticism from some gay rights supporters, who felt the funding cuts were too draconian since the remainder of the pieces continued to be exhibited.

The controversy lasted through the exhibit's scheduled run. In late January 2011, the Smithsonian Board of Regents unanimously gave Clough a vote of confidence, saying his accomplishments in improving the Smithsonian's administration, finances, governance, and maintenance in the past 19 months far outweighed the damage done by the "Hide/Seek" controversy. Clough admitted, however, that he may have acted too hastily in the matter (although he continued to say he made the right decision), and the regents asked for Smithsonian staff to study the controversy and report back on how to handle such events in the future. Not everyone in the Smithsonian agreed with the regents. The Washington Post reported that some (unnamed) Smithsonian museum directors and curators felt there would be a chilling effect from Clough's decision. The Board of Directors of the Hirshhorn Museum and Sculpture Garden wrote an open letter to Clough in which they said they were "deeply troubled by the precedent" to remove the film.

Outwin Boochever Portrait Competition
In 2006, the museum began hosting a triennial, juried contemporary portrait exhibition called the Outwin Boochever Portrait Competition. Named after long time docent and volunteer Virginia Outwin Boochever, this competition is widely regarded as the most prestigious portrait competition in the United States. Artists working in the fields of painting, drawing, sculpture, photography, and other media are allowed to enter. Works must be created through a face-to-face encounter with the subject. The inaugural competition in 2006 drew more than 4000 entries, from which 51 finalists were chosen. For the 2013 competition the total prize money of $42,000 was awarded to the top eight commended artists, and the winner received $25,000 and a commission to make a portrait for the museum's permanent collection. The subject of the commission is decided jointly by the artist and the NPG curators. The 2006 winner was David Lenz of Milwaukee, Wisconsin, and he was commissioned to paint a portrait of Eunice Kennedy Shriver, the founder of Special Olympics. It was the first portrait commissioned of an individual who has not served as a president or first lady. The 2009 winner, Dave Woody of Fort Collins, Colorado, was commissioned to photograph food pioneer Alice Waters, founder of the Chez Panisse Restaurant and Cafe, the Edible Schoolyard and champion of the Slow Food movement. The 2013 winner was Bo Gehring of Beacon, New York, who was commissioned to direct a video portrait of jazz musician Esperanza Spalding.

Post-2010 exhibits of note
In 2012, the National Portrait Gallery sponsored a new temporary exhibit, "Poetic Likeness: Modern American Poets," which focused on images of great American poets. The NPG collection had grown so large that the exhibit drew its images almost entirely from the museum's own collection.

Collection
As of 2011, the National Portrait Gallery was the only museum in the United States dedicated solely to portraiture. The museum had 65 employees and a $9 million annual budget in 2013. By February 2013, it housed 21,200 works of art, which had been seen by 1,069,932 visitors in 2012.

Portrait addition procedure
By 1977, the National Portrait Gallery had three curatorial divisions: Painting and sculpture, prints and drawings, and photography.

Initially, the National Portrait Gallery had fairly strict rules regarding which images could enter its collection. The person depicted had to be historically significant. An individual also needed to be dead at least 10 years before their portrait could be displayed (although some images of obviously important living people were acquired while they still lived). After an initial affirmative determination by curators at a monthly curatorial meeting, the National Portrait Gallery Commission (the museum's board of directors) approved the person's inclusion. The commission was initially quite conservative in its assessment of "historically significant," although this position began to be more relaxed by 1969. As of 2006, the definition of "historically significant" had become quite loose, although "some kind of fame or notoriety remains a prerequisite". Portraits of living individuals or those dead less than 10 years are also now allowed to be displayed in the museum, as long as their inclusion is clearly important (such as presidents or generals).

The process for choosing which images the museum acquires is simple but can be contentious. Potential acquisitions are vigorously and informally discussed at length by researchers, historians, and the curatorial departments. Some of the criteria used in the decision-making process are: The number of existing portraits of the individual already in the collection, the quality of the potential portrait, the uniqueness of the potential portrait, the reputation of the portrait's author, and the cost of the portrait. Formal decisions to acquire a portrait are made at monthly curatorial meetings, then ratified by the National Portrait Gallery Commission.

Key exhibits and programs of the museum
A hallmark of the National Portrait Gallery's permanent collection is the Hall of Presidents, which contains portraits of nearly all American presidents. It is the largest and most complete collection in the world, except for the White House collection itself. The centerpiece of the Hall of Presidents is the famous Lansdowne portrait of George Washington. How the museum obtains presidential images has changed over the years. Presidential portraits from 1962 to 1987 were usually obtained through purchase or donation. Beginning in 1998, NPG began commissioning portraits of presidents, starting with George H. W. Bush. In 2000, NPG began commissioning portraits of First Ladies as well, beginning with Hillary Clinton. Funds for these commissions are privately raised, and each portrait costs about $150,000 to $200,000. Former president Trump has used his Save America PAC to pay $650,000 for portraits of him and the former first lady that will one day hang in the National Portrait Gallery.

The museum's more notable art pieces include:
 * "Abraham Lincoln" (glass plate, cracked; 1865) by Alexander Gardner
 * "Alexander Hamilton" (bust, 1789) by John Trumbull
 * "Beauford Delaney" (1940) by Georgia O'Keeffe
 * "Benjamin Franklin" (c. 1785) by Joseph Duplessis
 * "Charlie Chaplin" (1925) by Edward Steichen
 * "Colin Powell" (2012) by Ron Sherr
 * "Donald Trump" (photo, 1989) by Michael O'Brien
 * "Ethel Waters" (1940) by Beauford Delaney
 * "Eunice Kennedy Shriver" (2009) by David Lenz
 * "Frederick Douglass" (daguerreotype, 1856) by unknown artist
 * "George Washington" (unfinished, 1796) by Gilbert Stuart
 * "Henry Cabot Lodge" (1890) by John Singer Sargent
 * "Hope" (Barack Obama) (2008) by Shepard Fairey
 * "Jefferson Davis" (1849) by George Lethbridge Saunders
 * "John Adams" (1800–1815) by Gilbert Stuart
 * "John Brown" (daguerreotype, 1846–1847) by Augustus Washington
 * Lansdowne portrait (George Washington) (1796) by Gilbert Stuart
 * "Martha Washington" (unfinished, 1796) by Gilbert Stuart
 * "Mary Cassatt" (1880–1884) by Edgar Degas
 * "Osceola" (1804–1838) by George Catlin
 * "Self-Portrait" (1880) by Mary Cassatt
 * "Self-Portrait" (1880–1881) by Paul Cézanne
 * "Self-Portrait" (1780–1784) by John Singleton Copley
 * "Thomas Jefferson" (1805) by Gilbert Stuart
 * "Varina Howell Davis" (1849) by John Wood Dodge
 * "Barack Obama" (2018) by Kehinde Wiley

Among the museum's more prominent collections are:
 * Alexander Gardner (photography)
 * Howard Chandler Christy (graphic arts)
 * Irving Penn (photography)
 * Mathew Brady (photography)
 * Time magazine covers (graphic arts)

Building
The National Portrait Gallery occupies a portion of the Old Patent Office Building, a National Historic Landmark. The building is located just south of Chinatown in downtown Washington. Constructed between 1836 and 1867, the building has a sandstone and marble façade, and porticoes modeled after the Parthenon.

The building was used as a hospital during the American Civil War, and both Clara Barton and Walt Whitman worked as nurses there. The Bureau of Indian Affairs, the United States General Land Office, and the Bureau of Pensions jointly occupied the building with the Patent Office through the Civil War and into the post-war period. The massive increase in pension processing required by the Civil War led to the construction of a new Pension Bureau Building into which the Bureau of Pensions moved in 1887. The General Land Office and the Bureau of Indian Affairs vacated the building in 1898. The United States Civil Service Commission and the Government Accounting Office occupied the building after the Patent Office vacated it in 1932. The Government Accounting Office vacated the structure in 1942, after its new headquarters nearby was complete. The Civil Service Commission began constructing its own headquarters, and planned to vacate the building in 1962.

Local D.C. businessmen asked the General Services Administration (GSA) to tear down the building and sell the land so a private parking garage could be built on the centrally located site. Legislation for this purpose was introduced in Congress in the waning days of the 82nd United States Congress in 1952, but did not pass. The legislation encountered resistance from a few members of Congress, architects, and the influential Committee of 100 on the Federal City (a non-profit advocate for responsible planning and land use). GSA reversed course and said in June 1956 it no longer wanted to demolish the building. However, the agency said it would continue to use it for federal office space (which was in short supply) until the Civil Service Commission vacated the structure. On March 21, 1958, Congress unanimously passed legislation authorizing the transfer of the building to the Smithsonian for a national art museum. President Dwight Eisenhower signed the legislation a few days later.

Congress passed legislation establishing the National Portrait Gallery in 1962, and the Civil Service Commission moved out of the structure in November 1963. Preparations for the renovation began in November 1964, and the Grunley, Walsh Construction Co. began demolition of non-historic interior structures by May 1965. The $6 million renovation was complete by April 1968, and the National Portrait Gallery opened on October 7.

2000 to 2007 renovation
In 1995, the Smithsonian revealed that the Old Patent Office Building was in serious disrepair. The Smithsonian announced in January 1997 that the building would close in January 2000 for a two-year, $42 million renovation. Hartman-Cox Architects was hired to oversee the conservation and repair. But just three years later, as the renovation was about to begin, the cost of repairs had risen to $110 million to $120 million.

Prior to the building's closure in January 2000, a decision was reached to allot about one-third of the building's total space to the National Portrait Gallery while simultaneously eliminating the informal north–south division between the NPG and American Art Museum. This led to acrimony between the two museums, and a public debate about which collection deserved more space. The Smithsonian resolved the dispute practically: Art that best fit an exhibition space got it. (For example, since modern art often tends toward large canvases, this art is on the high-ceilinged third floor.)

The cost of the renovation rose to $180 million by March 2001. That month, Nan Tucker McEvoy (a California newspaper heiress and arts patron) donated $10 million for the renovation. The Henry Luce Foundation gave another $10 million later that year. Costs continued to rise. Although Congress appropriated $33.5 million for the renovation, reconstruction costs were estimated at $214 million in June 2001 and the museum not scheduled to reopen until 2005. Just a month later, the reopening was pushed back even further to July 2006.

In 2003, the government increased its contribution to $166 million. Smithsonian officials subsequently began discussing a major change to the renovation design: Adding a glass roof to the open courtyard in the center of the Old Patent Office Building. Congress approved the change in August 2003. In March 2004, the Smithsonian announced that architect Norman Foster, would design the glass canopy. In November, Robert Kogod (a real estate development executive) and his wife, Arlene (heiress to Charles E. Smith Construction fortune) donated $25 million to complete the canopy. By then, costs had risen to $298 million. $60 million in private funds still needed to be raised. Today, the Kogod Courtyard is a popular meeting place in DC. There is plenty of seating, free wifi, and a cafe with snacks for museum visitors open from 11:30 am until 6:30 pm.

Design approval for the canopy proved difficult. The design had to be approved by the National Capital Planning Commission (NCPC), which has statutory authority to approve all buildings and renovations in the D.C. metropolitan area. Although the NCPC approved the preliminary design, the Advisory Council on Historic Preservation (ACHP), the United States Department of the Interior, the D.C. State Preservation Office, and the National Trust for Historic Preservation all opposed the enclosure of the courtyard. The NCPC reversed its preliminary approval on June 2, 2005. Unwilling to lose the canopy, the Smithsonian brought five alternatives to the NCPC on August 4. On September 8, 2005, the NCPC reversed itself yet again, and approved one of the revised designs. The delay cost the Smithsonian $10 million. In October 2005, the Donald W. Reynolds Foundation made a $45 million donation to the NPG to finish both the building renovation and the canopy. The Smithsonian agreed to call the two museums, the conservation center, courtyard, storage facility, and other operations within the Old Patent Office complex the "Donald W. Reynolds Center for American Art and Portraiture" in appreciation for the gift. The National Portrait Gallery reopened on July 1, 2006. The total cost of the building's renovation was $283 million.

Attendance at the renovated building rose significantly to 214,495 in just two months. In the past, both museums had drawn just 450,000 over 12 months. The achievement was even more impressive in the face of flat or declining attendance at all other Smithsonian museums. The higher attendance was not all positive. Some patrons spit on art they did not like, while others kissed or touched some paintings. Video security cameras were hastily installed in September 2007 to stop the vandalism. By the end of the year, more than 786,000 people had visited the two museums.

Governance and directors
The National Portrait Gallery is governed by a board of directors known as the National Portrait Gallery Commission. The commission members are appointed by the Regents of the Smithsonian Institution. The museum is led by a Director, who oversees its day-to-day activities. Directors of the museum include:

 * Charles Nagel – July 1, 1964 – 1969
 * Marvin Sadik – 1969 – July 1981
 * Alan M. Fern – June 1982 – 2000
 * Marc Pachter – 2000–2007
 * Martin E. Sullivan – 2008–2012
 * Wendy Wick Reaves – 2012–2013 (interim)
 * Kim Sajet – April 2013–


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Pseudometric

Pseudometric may refer to:

 * The metric of a pseudo-Riemannian manifold, a non-degenerate, smooth, symmetric tensor field of arbitrary signature
 * Pseudometric space, a generalization of a metric that does not necessarily distinguish points (and so typically used to study certain non-Hausdorff spaces)

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

title: Pseudometric


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Talk:Laser (dinghy)

Older comments
Couldn't this be more simply placed at Laser (boat)? Rmhermen 15:38, Mar 19, 2004 (UTC)

Originally, I was looking for Laser (sailboat) but it didn't exist. Some more searching led me to Laser (dinghy), which I did a little work on. I created a redirect form Laser (sailboat) to it. As for where it should be placed, I don't know if a sort of convention has been set up with other (dinghy) pages or not. I think most logically it should be under Laser (sailboat). k-links 10:48, Mar 19, 2004

I think it should be Laser (dinghy), to conform with the other dinghies on wikipedia. Etnoy 10:25, 12 Dec 2004 (UTC)

I wonder if the Laser (dinghy) and Laser Radial really should be merged. I think they are distinguised enough to have two different articles, especially now when they are two different olympic classes. Laser 4.7 should also stay. Etnoy 11:15, 13 Dec 2004 (UTC)

Agreed: The laser 4.7 and radial articles are so short. Minnesota1 03:23, 7 April 2006 (UTC)

Any chance this could be merged with Laser II? They are essentially the same boat, but the Laser II has two sails (mainsail and jib). --Asulca593 01:44, 9 June 2006 (UTC)
 * The Laser 2 has a similar brand name, but is a quite different boat. Unlike the original, the Laser 2 has a stayed rig, 2 man crew, trapeze and spinaker.Paulgush 18:41, 24 September 2006 (UTC)

The laser II also has a spinnaker with a launcher tube. It is a completely different boat. Terrillja (talk) 16:34, 30 June 2008 (UTC)

Trapeze?
Does the laser have a trapeze? A friend mentioned that it did, but this article makes no mention of such. linas 04:18, 22 May 2006 (UTC)
 * The Laser II has a trapeze, but I'm not sure about the regular Laser. --Asulca593 01:29, 9 June 2006 (UTC)
 * The standard Laser has no trapeze.Paulgush 18:41, 24 September 2006 (UTC)

Parts of Boat
I think that the parts of the boat has to be cleaned up. I'll start, but I'm not sure how much I can do. Thanks T c p e k i n  23:44, 2 January 2007 (UTC)

Did it. T c p e k i n 21:55, 16 January 2007 (UTC)

Knot section
Can someone delete the knot section as it is useless in this article. I'm sure there is a link that could easily sum up all of this writing. T c p e k i n 02:36, 6 January 2007 (UTC)

Parts section
I've modified the section where the centreboard was described as "preventing capsizing". Only weighted centreboards and keels do this. In any dinghy such as the laser, the centreboard function is to minimize side-slip when the boat is subjected to lateral forces, expecially when beating up-wind. Simon Purser 19/2/07

Correct name?
This edit seems to be indirectly proposing a renaming of the article. Does this edit have consensus? If so, a discussion should begin on moving the article to a new name. If not, the edit should be adjusted. Perhaps some disambiguation is needed as well, to ease confusion between different "laser" boats?--Srleffler 02:38, 13 March 2007 (UTC)

Image
Would the image depicting the parts of a sail (Image:Parts of a sail.png]) be better if it was replaced by Image:Parts of a Sail.png))? --Dave the Rave (DTR) talk 19:33, 10 July 2007 (UTC)

Popular culture
In the movie "Jaws 2" are any Lasers part of the small flotilla on which the teenagers make a final stand against the monster shark? —Preceding unsigned comment added by 63.226.104.225 (talk) 17:19, 26 November 2007 (UTC)

Planing
I changed the section on handling. The boat planes very easily. I am not a great sailor.. I am good but not great, and even just bearing off on a windy day is usually enough to get the boat to mount its own wave and start to haul. I added a picture of me planing by on a reach with the usual spray of water getting everywhere. Craigblock (talk) 02:39, 21 December 2007 (UTC)

Rigging details
Well, after looking at the huge blanking that took place, I went over the article again, and I do agree that there is some stuff that does not belong. Things about learning to play the violin, or the long-winded detail of the function of each sail control shouldn't be in the article. On the other hand, the characteristics of the boat, such as how is behaves because of its unstayed rig, and the fact that the boat is damn fast for a singlehanded cat rigged non-trap boat should be mentioned. It would be better to have a couple of unreferenced statements than to just blank out the whole article and leave it with just a single picture and the numerical specs. And before anyone goes there, no, I do not care to plug the picture I posted. If someone has a clearer, better, faster one, go ahead and post it. The performance of the boat should be mentioned in at least some way though. Craigblock (talk) 17:53, 21 December 2007 (UTC)

ideal weight / height for various wind conditions
do they have a chart anywhere with ideal weight and height for different wind speeds (for racing of course). —Preceding unsigned comment added by 75.43.192.141 (talk) 20:42, 14 September 2008 (UTC)

21st century rigging update
This section should be improved, but removing it without comment is not an option. Maybe a picture wuld be nice here. Andreas (T) 12:00, 22 August 2009 (UTC)

Proposal to delete photo captioned Sailor hiking out
I propose that this photograph is deleted from the article for two reasons. Firstly the boat is not sailing hard upwind and does not show a true hiking position/profile. Secondly the article content has to conform to the strict rules of accuracy for an encyclopedia and a poor quality picture of a boat with a sail showing the letter V is not showing an accurate picture of a Laser dinghy which would be appropriate for an encyclopedia. Boatman (talk) 17:11, 25 March 2010 (UTC)

History Section
The end of the History section references Mark Mendelblatt. I can't actually figure out why he's referenced. The article doesn't reference anyone else who finished in the Pan American Games or the Laser World Championships, including those people who finished in First Place (Mark finished 2nd) and Mark Mendelblatt doesn't seem to have made any other great contributions to the Laser or the sport of Laser racing. Is there a reason he is referenced on the page, while others who finished better than him are not? ETomeny (talk) 19:37, 20 July 2011 (UTC)
 * Agreed. Recommend you go ahead and delete. Boatman (talk) 18:11, 22 July 2011 (UTC)

Litigation
The litigation section seems to contain a lot of material from http://en.wikipedia.org/wiki/Special:Contributions/Sailnfish123 which is not otherwise known to be in the public domain. Posts from said id don't really look like a diinterested third party to me. Might one suspect Conflict of Interest? 212.159.44.170 (talk) 10:12, 2 November 2014 (UTC)

External links modified
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Identification
The statement "The Laser is unusual in this aspect, since almost every other sailing craft has the numbers assigned by the national organization." "almost every" isn't accurate. There are a good number of other classes that have a single number series globally. Its quite common amongst the more recent classes that have a single manufacturer. 212.159.44.170 (talk) 17:20, 24 July 2019 (UTC)

New page for Laser standard
I have split the Laser standard content of into another page as this page is pretty general to the three sub types. This was mostly the racing history of the type. I will spend some time redirecting links that should go to the laser standard, but not immediately.Mozzie (talk) 05:31, 11 October 2019 (UTC)

Cleanup
It is way past time that all the unsourced text here should be either sourced or cleaned-up, see WP:V. Does anyone want to tackle this? If not I will. - Ahunt (talk) 00:02, 8 April 2021 (UTC)
 * ✅ - deleted unsourced claims can be reinstated with proper refs cited, see WP:PROVEIT. - Ahunt (talk) 13:53, 11 April 2021 (UTC)

title: Talk:Laser (dinghy)


text: Template:James Madison class submarine

title: Template:James Madison class submarine


text: Template:Benjamin Franklin class submarine


text:
Ace Ventura: When Nature Calls

Ace Ventura: When Nature Calls (also known as Ace Ventura 2: When Nature Calls) is a 1995 American detective comedy film and the sequel to Ace Ventura: Pet Detective (1994), and the second installment of the Ace Ventura franchise. Jim Carrey reprises his role as the title character Ace Ventura, a detective who specializes in retrieval of tame and captive animals, and has been summoned to Africa to locate a missing bat. Ian McNeice, Simon Callow, and Sophie Okonedo co-star. Tommy Davidson, who co-starred with Carrey on the show In Living Color, makes a cameo appearance in the film. The film was written and directed by Carrey's close friend Steve Oedekerk, who had also collaborated in the production and as a character consultant for the first film.

Plot
In the Himalayas, after a failed rescue mission results in a raccoon falling to its death, Ace Ventura succumbs to severe depression and joins a Tibetan monastery. Once he has recovered, he is approached by Fulton Greenwall, a British correspondent working for the consulate of Bonai Province in the fictional African country of Nibia. Because Ace is a liability for the monastery, the Grand Abbot gives Ace excuses to justify his departure, and sends him off with Greenwall.

Greenwall is subjected to Ventura's eccentric behavior when he starts mimicking different mating calls, and his reckless driving when they head along to Africa, warning him about the hostility of eastern lowland gorillas, as it is mating season. Greenwall wants Ventura to find the Great White bat Shikaka, a sacred animal of the native Wachati tribe, which disappeared shortly after being offered as dowry of the Wachati Princess, who is set to wed the Wachootoo Prince in a marriage of state. After arriving in Nibia and meeting with consul Vincent Cadby, Ace begins his investigation, but must overcome his fear of bats in order to succeed.

Accompanied by his pet capuchin monkey Spike, Ace begins his search for the missing bat. He eventually befriends the tribe's princess, who tries to seduce Ace. However, Ace admits his oath to clerical celibacy. Ace also befriends the tribal prince, Ouda, who assists Ace. Ace's investigation involves eliminating obvious suspects—animal traders, poachers, and a safari park owner among others—and enduring the growing escalations of threat between the Wachati and the Wachootoo. After being tranquilized by drugged blow-darts, Ace suspects the medicine-man of the Wachootoo of taking the bat, as he is vehemently opposed to the wedding.

He and Ouda sneak into the Wachootoo tribal village with hopes of finding the bat, and are soon captured. The Wachootoo mistake Ace as the "White Devil", and after Ouda poorly translates Ace's words, they are convinced he wants to fight them and have him go through many painful and humiliating challenges to gain their trust. He creatively passes them all, and his final challenge is a "Circle of Death" fight with their toughest warrior—who, although short in stature, easily defeats Ace. Ace's antics entertain the Wachootoo, who grant Ace their trust and release him.

Despite this, the Wachootoo declare that if the bat is not returned in time, they will declare war on the Wachati tribe and kill Ace. As a parting joke, Ace is shot in the buttock by a non-drugged blow-dart by the Chief to make his people laugh again. As he and Ouda walk back to the village, Ace realizes the dart he was shot with earlier is not the same as the one he was just shot with, meaning that the Wachootoo did not take Shikaka. He also determines that the dart which shot him earlier was carved from a rare red fungus-bearing acala. This leads him to find two Australian poachers with the bat, and he distracts them by mimicking a Silverback mating call. They find Ace and shoot the initial darts into him, take him away and attempt to kill him by tying him to a raft which is sent over a waterfall.

Ace survives and continues to investigate how the poachers are involved with the war between the tribes, concluding there is something valuable in it. Stressed by the case, Ace consults the Grand Abbot via astral projection. Advised by the Abbot, Ace deduces that Cadby has taken the bat, having planned to let the tribes destroy each other so that he can then take possession of the numerous bat caves containing guano to sell as fertilizer worth billions. When Ace confronts Cadby, he learns he was hired as Cadby's alibi once an investigation takes place, and is arrested by tribal security chief Hitu. Ace escapes with help from an elephant who joins him and more jungle animals to raid Cadby's house. Cadby tries to shoot Ace, but is stopped by Greenwall when he punches him in the face. Cadby escapes with the bat in a Land Rover, but Ace follows him in a monster truck. Ace destroys Cadby's car, leaving the bat cage lodged in a tree.

Ace, despite his chronic fear of bats, courageously yet dramatically grabs the bat with his bare hands and returns it just as the tribes are about to fight each other on the battlefield. Cadby, watching nearby, is noticed by Ouda, who calls him the "White Devil" and incites both tribes to pursue him, giving Ace more time. After escaping, Cadby encounters an amorous Silverback eastern lowland gorilla, who mistakes him for a mate. The Wachati Princess is married to the Wachootoo Prince, who is revealed to be the tiny warrior who defeated Ace during the "Circle of Death" tribal challenge earlier. Moments later, it is discovered that the young bride is no longer a virgin, on Ace's account. Despite this, peace between the once-separate tribes is achieved when the two tribes join together and chase after Ace.

Cast

 * Jim Carrey as Ace Ventura
 * Ian McNeice as Fulton Greenwall
 * Simon Callow as Vincent Cadby
 * Maynard Eziashi as Prince Ouda
 * Bob Gunton as Burton Quinn
 * Sophie Okonedo as the Wachati princess
 * Tommy Davidson as Tiny Warrior / Wachootoo prince
 * Adewalé as Hitu
 * Damon Standifer as the Wachati chief
 * Arsenio 'Sonny' Trinidad as Ashram monk / Grand abbot
 * Danny Daniels as Wachootoo shaman
 * Andrew Steel as Mick Katie
 * Bruce Spence as Gahjii
 * Michael Reid McKay as Skinny husband / Monopoly guy
 * Kristin Norton as Pompous woman

Filming
Filming began under Tom DeCerchio, who later directed Celtic Pride (1996). Because of the success of the first film, Morgan Creek Entertainment Group gave lead-actor Jim Carrey the power to decide the director. In April 1995, Carrey had DeCerchio replaced with Steve Oedekerk, who had worked on the film's predecessor as a script consultant and wrote the screenplay for this film, but had no previous experience with directing feature films. Spike Jonze wanted to direct the film, but Carrey turned him down as he also had no experience but he mainly did not know him well enough. Carrey claims this to be one of his biggest regrets. However, Carrey reiterated he does not regret enlisting Oedekerk to direct as they were friends with creative similarities, which included improvising, changing scenes during filming, and had a vast understanding of the main character. Carrey was sometimes absent from the set which caused the production to go behind schedule. In June 1995, scenes were shot in South Carolina. The following month, filming took place outside Hondo, near San Antonio, Texas.

Part of the film was also shot in British Columbia, Canada. The film was shot in Super 35. Carrey was paid $10 million for his role due to Oedekerk's authority as director.

Soundtrack
Ace Ventura: When Nature Calls is a 1995 soundtrack on this film by composer Robert Folk.

 * 1) "Africa (What Made You So Strong)" - 3:28 (Johnny Clegg and Savuka)
 * 2) "Spirits in the Material World" – 4:41 (Sting and Pato Banton)
 * 3) "Secret Agent Man" – 2:16 (Blues Traveler)
 * 4) "Don't Change" – 3:41 (Goo Goo Dolls)
 * 5) "Burnin' Rubber" – 3:18 (Mr. Mirainga)
 * 6) "Boll Weevil" – 3:17 (The Presidents of the United States of America)
 * 7) "Blur the Technicolor" – 4:09 (White Zombie)
 * 8) "Watusi Rodeo" – 2:35 (The Reverend Horton Heat)
 * 9) "Here Comes the Night" – 3:28 (Native)
 * 10) "Jungle Groove" – 5:13 (Montell Jordan)
 * 11) "Ife" – 4:23 (Angélique Kidjo)
 * 12) "My Pet" – 2:47 (Matthew Sweet)
 * 13) "It's Aliright" – 4:54 (Blessid Union of Souls)
 * 14) "Ace in Africa" – 4:40 (Robert Folk)

Theatrical
Ace Ventura: When Nature Calls was released on November 10, 1995.

Home media
Ace Ventura: When Nature Calls was released on Blu-ray by Warner Home Video on September 3, 2013, and on April 23, 2019 by Sony Pictures Home Entertainment.

Box office
The film grossed $37,804,076 during its opening weekend, taking the #1 spot. In the U.S. and Canada, the film grossed $108.3 million, and in other territories, it grossed $104 million. The worldwide gross was $212.3 million. Against its $30 million budget, Ace Ventura: When Nature Calls was a major financial success, surpassing its predecessor.

Critical response
On Rotten Tomatoes, the film has an approval rating of 21% based on 28 reviews, with an average rating of 4/10. The site's critical consensus reads: "Nature Calls in this Ace Ventura sequel, and it's answered by the law of diminishing returns". On Metacritic, the film received a weighted average score of 45 out of 100, based on 17 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade B+ on scale of A to F.

Accolades
1996 ASCAP Award
 * Top Box Office Films – Robert Folk (Won)

1996 American Comedy Award
 * Funniest Actor in a Motion Picture (Leading Role) – Jim Carrey (Nominated)

1996 Kid's Choice Awards
 * Favorite Movie – (Won)
 * Favorite Movie Actor – Jim Carrey (Won)

1996 MTV Movie Awards
 * Best Male Performance – Jim Carrey (Won)
 * Best Comedic Performance – Jim Carrey (Won)
 * Best Kiss – Jim Carrey and Sophie Okonedo (Nominated)

1996 Razzie Awards
 * Worst Remake or Sequel – James G. Robinson (Nominated)

 1996 Stinkers Bad Movie Awards
 * Worst Picture – James G. Robinson (Nominated)
 * Worst Actor – Jim Carrey (Nominated)
 * Most Painfully Unfunny Comedy – James G. Robinson (Won)
 * Worst Sequel – James G. Robinson (Won)
 * The Sequel Nobody Was Clamoring For – James G. Robinson (Nominated)

Sequel
A standalone made-for-TV sequel, titled Ace Ventura Jr.: Pet Detective, was released in 2009 to poor reception.

In March 2021, there were reports that a direct sequel under the working title Ace Ventura 3 is in development at Amazon Studios. Pat Casey and Josh Miller, writers of Sonic the Hedgehog, were attached as writers for the film. Although there are no official plans for the film, Jim Carrey joked that he would star in the movie if Christopher Nolan were to direct the film. Jim Carrey himself would also take to his Instagram in August 2021, posting a picture of Ace and writing on the post, "More than ready for the next chapter."

title: Ace Ventura: When Nature Calls


text:
Northampton County

Northampton County is the name of several counties in the United States:

 * Northampton County, North Carolina
 * Northampton County, Pennsylvania
 * Northampton County, Virginia

title: Northampton County


text:
University of Maryland Biotechnology Institute

Formed in 1985, the University of Maryland Biotechnology Institute (UMBI) is part of the University System of Maryland. It was created to provide a unified focus for Maryland's biotechnology research and education.

About UMBI
The University of Maryland Biotechnology Institute is a hub of intensive study into the applied science of biotechnology and its application to human health, the marine environment, agriculture, and protein engineering/structural biology.

UMBI's four centers conduct research and training that provide a core of expertise and facilities to advance the state's scientific and economic development.

UMBI emphasizes collaboration with industry, other research institutions, and federal laboratories; and sponsors training workshops, short courses, symposia, and seminars throughout the year.

Centers
It comprises four centers:

 * Center for Advanced Research in Biotechnology (CARB)
 * Center for Biosystems Research (CBR)
 * Center of Marine Biotechnology (COMB)
 * Medical Biotechnology Center (MBC)

UMBI Central Administration is currently located in the Columbus Center in the Inner Harbor, Baltimore, Maryland. The Columbus Center's Hall of Exploration was used at the home for a short-lived marine biotechnology museum from May through December 1997.


text:
National Electrical Code

The National Electrical Code (NEC), or NFPA 70, is a regionally adoptable standard for the safe installation of electrical wiring and equipment in the United States. It is part of the National Fire Code series published by the National Fire Protection Association (NFPA), a private trade association. Despite the use of the term "national," it is not a federal law. It is typically adopted by states and municipalities in an effort to standardize their enforcement of safe electrical practices. In some cases, the NEC is amended, altered and may even be rejected in lieu of regional regulations as voted on by local governing bodies.

The "authority having jurisdiction" inspects for compliance with the standards.

The NEC should not be confused with the National Electrical Safety Code (NESC), published by the Institute of Electrical and Electronics Engineers (IEEE). The NESC is used for electric power and communication utility systems including overhead lines, underground lines, and power substations.

Background
The NEC is developed by NFPA's Committee on the National Electrical Code, which consists of twenty code-making panels and a technical correlating committee. Work on the NEC is sponsored by the National Fire Protection Association. The NEC is approved as an American national standard by the American National Standards Institute (ANSI). It is formally identified as ANSI/NFPA 70.

First published in 1897, the NEC is updated and published every three years, with the 2023 edition being the most current. Most states adopt the most recent edition within a few of years of its publication. As with any "uniform" code, jurisdictions may regularly omit or modify some sections, or add their own requirements (sometimes based upon earlier versions of the NEC, or locally accepted practices). However, no court has faulted anyone for using the latest version of the NEC, even when the local code was not updated.

In the United States, anyone, including the city issuing building permits, may face a civil liability lawsuit for negligently creating a situation that results in loss of life or property. Those who fail to adhere to well known best practices for safety have been held negligent. This liability and the desire to protect residents has motivated cities to adopt and enforce building codes that specify standards and practices for electrical systems (as well as other departments such as water and fuel-gas systems). That creates a system whereby a city can best avoid lawsuits by adopting a single standard set of building code laws. This has led to the NEC becoming the de facto standard set of electrical requirements. A licensed electrician will have spent years of apprenticeship studying and practicing the NEC requirements prior to obtaining their license.

The Deactivation and Decommissioning (D&D) customized extension of the electrical code standard defined by National Electrical Code was developed since current engineering standards and code requirements do not adequately address the unique situations arising during D&D activities at U.S. Department of Energy (DOE) facilities. The additional guidance is needed to clarify the current electrical code for these situations. The guidance document provides guidance on how to interpret selected articles of NFPA 70, “National Electrical Code” (NEC), in particular certain articles within Article 590, “Temporary Power,” for D&D electrical activities at DOE sites.

The NEC also contains information about the official definition of HAZLOC and the related standards given by the Occupational Safety and Health Administration and dealing with hazardous locations such as explosive atmospheres.

Public access
The NEC is available as a bound book containing approximately 1000 pages. It has been available in electronic form since the 1993 edition. Although the code is updated every three years, some jurisdictions do not immediately adopt the new edition.

The NEC is also available as a restricted, digitized coding model that can be read online free of charge on certain computing platforms that support the restricted viewer software; however this digital version cannot be saved, copied, or printed.

In the United States, statutory law cannot be copyrighted and is freely accessible and copyable by anyone. When a standards organization develops a new coding model and it is not yet accepted by any jurisdiction as law, it is still the private property of the standards organization and the reader may be restricted from downloading or printing the text for offline viewing. For that privilege, the coding model must still be purchased as either printed media or electronic format (e.g. PDF.) Once the coding model has been accepted as law, it loses copyright protection and may be freely obtained at no cost.

Structure
The NEC is composed of an introduction, nine chapters, annexes A through J, and the index. The introduction sets forth the purpose, scope, enforcement, and rules or information that are general in nature. The first four chapters cover definitions and rules for installations (voltages, connections, markings, etc.), circuits and circuit protection, methods and materials for wiring (wiring devices, conductors, cables, etc.), and general-purpose equipment (cords, receptacles, switches, heaters, etc.). The next three chapters deal with special occupancies (high risk to multiple persons), special equipment (signs, machinery, etc.) and special conditions (emergency systems, alarms, etc.). Chapter 8 is specific to additional requirements for communications systems (telephone, radio/TV, etc.) and chapter 9 is composed of tables regarding conductor, cable and conduit properties, among other things. Annexes A-J relate to referenced standards, calculations, examples, additional tables for proper implementation of various code articles (for example, how many wires fit in a conduit) and a model adoption ordinance.

The introduction and the first 8 chapters contain numbered parts, articles, sections (or lists or tables), item, specifics, inclusions/exclusions, precise inclusion/exclusion, italicized exceptions, and explanatory material – explanations that are not part of the rules. Articles are coded with numerals and letters, as ###.###(A)(#)(a). For example, 805.133(A)(1)(a)(1), would be read as "article 805, section 133, item (A) Separation from Other Conductors, specific (1) In Raceways, cable Trays, Boxes,... inclusion (a) Other Circuits, precise inclusion (1) Class 2 and Class 3...." and would be found in Chapter 8, Part IV Installation Methods Within Buildings. For internal references, some lengthy articles are further broken into "parts" with Roman-numerals (parts I, II, III, etc.).

Each code article is numbered based on the chapter it is in. Those wiring methods acceptable by the NEC are found in chapter 3, thus all approved wiring method code articles are in the 300s. Efforts have been underway for some time to make the code easier to use. Some of those efforts include using the same extension for both code articles and for the support of wiring methods.

The NFPA also publishes a 1,497-page NEC Handbook (for each new NEC edition) that contains the entire code, plus additional illustrations and explanations, and helpful cross-references within the code and to earlier versions of the code. The explanations are only for reference and are not enforceable. Many NEC requirements refer to "listed" or "labeled" devices and appliances, and this means that the item has been designed, manufactured, tested or inspected, and marked in accordance with requirements of the listing agency. To be listed, the device must meet testing and other requirements set by a listing agency such as Underwriters Laboratories (UL), SGS North America, Intertek (Formerly ETL), Canadian Standards Association (CSA), or FM Approvals (FM). These are examples of "national recognized testing laboratories" (NRTL) approved by the U.S. Department of Labor's Occupational Safety and Health Administration (OSHA) under the requirements of 29 CFR 1910.7. Only a listed device can carry the listing brand (or "mark") of the listing agency. Upon payment of an investigation fee to determine suitability, an investigation is started. To be labeled as fit for a particular purpose (for example "wet locations", "domestic range") a device must be tested for that specific use by the listing agency and then the appropriate label applied to the device. A fee is paid to the listing agency for each item so labeled, that is, for each label. Most NRTLs will also require that the manufacturer's facilities and processes be inspected as evidence that a product will be manufactured reliably and with the same qualities as the sample or samples submitted for evaluation. An NRTL may also conduct periodic sample testing of off-the-shelf products to confirm that safety design criteria are being upheld during production. Because of the reputation of these listing agencies, the "authority having jurisdiction" ( or "AHJ" – as they are commonly known) usually will quickly accept any device, appliance, or piece of equipment having such a label, provided that an end user or installer uses the product in accordance with manufacturer's instructions and the limitations of the listing standard. However, an AHJ, under the National Electrical Code provisions, has the authority to deny approval for even listed and labeled products. Likewise, an AHJ may make a written approval of an installation or product that does not meet either NEC or listing requirements, although this is normally done only after an appropriate review of the specific conditions of a particular case or location.

Requirements
Article 210 addresses "branch circuits" (as opposed to service or feeder circuits) and receptacles and fixtures on branch circuits.Electrical Construction and Maintenance Magazine, Branch Circuits, Part 2. There are requirements for the minimum number of branches, and placement of receptacles, according to the location and purpose of the receptacle outlet. Ten important items in Article 210 have been summarized in a codebook.

Feeder and branch circuit wiring systems are designed primarily for copper conductors. Aluminum wiring is listed by Underwriters Laboratories for interior wiring applications and became increasingly used around 1966 due to its lower cost. Prior to 1972, however, the aluminum wire used was manufactured to conform to the 1350 series aluminum alloy, but this alloy was eventually deemed unsuitable for branch circuits due to galvanic corrosion where the copper and aluminum touched, resulting in poor contact and resistance to current flow, connector overheating problems, and potential fire risk. Today, a new aluminum wire (AA-8000) has been approved for branch circuits that does not cause corrosion where it contacts copper, but it is not readily available and is not manufactured below size #8 AWG. Hence, copper wire is used almost exclusively in branch circuitry.

A ground fault circuit interrupter (GFCI) is required for all receptacles in wet locations defined in the Code. The NEC also has rules about how many circuits and receptacles should be placed in a given residential dwelling, and how far apart they can be in a given type of room, based upon the typical cord length of small appliances.

As of 1962, the NEC required that new 120 Volt household receptacle outlets, for general purpose use, be both grounded and polarized. NEMA connectors implement these requirements.

The NEC also permits grounding-type receptacles in non-grounded wiring protected by a GFCI; this only applies when old non-grounded receptacles are replaced with grounded receptacles, and the new receptacles must be marked with 'No equipment ground' and 'GFCI Protected'. The 1999 Code required that new 120/240 volt receptacles, such as those for electric ranges and dryers, be grounded also, which necessitates a fourth slot in their faces. Changes in standards often create problems for new work in old buildings. Unlike circuit breakers and fuses, which only open the circuit when the current exceeds a fixed value for a fixed time, a GFCI device will interrupt electrical service when more than 4 to 6 milliamperes of current in either conductor leaks to ground. A GFCI detects an imbalance between the current in the "hot" side and the current in the "neutral" side. One GFCI receptacle can serve as protection for several downstream conventional receptacles. GFCI devices come in many configurations including circuit-breakers, portable devices and receptacles.

Another safety device introduced with the 1999 code is the arc-fault circuit interrupter (AFCI). This device detects arcs from hot to neutral that can develop when insulation between wires becomes frayed or damaged. While arcs from hot to neutral would not trip a GFCI device since current is still balanced, circuitry in an AFCI device detects those arcs and will shut down a circuit. AFCI devices generally replace the circuit breaker in the circuit. As of the 1999 National Electrical Code, AFCI protection is required in new construction on all 15- and 20-amp, 125-volt circuits to bedrooms.

Conduit and cable protection
The NEC requires that conductors of a circuit must be inside a raceway, cable, trench, cord, or cable tray. Additional protection such as NM cable inside raceway is needed if the installation method is subjected to physical damage as determined by the authority having jurisdiction.

Temperature rating
The temperature rating of a wire or cable is generally the maximum safe ambient temperature that the wire can carry full-load power without the cable insulation melting, oxidizing, or self-igniting. A full-load wire does heat up slightly due to the metallic resistance of the wire, but this wire heating is factored into the cable's temperature rating. (NEC 310.10)

The NEC specifies acceptable numbers of conductors in crowded areas such as inside conduit, referred to as the fill rating. If the accepted fill rating is exceeded, then all the cables in the conduit are derated, lowering their acceptable maximum ambient operating temperature. Derating is necessary because multiple conductors carrying full-load power generate heat that may exceed the normal insulation temperature rating. (NEC 310.16)

The NEC also specifies adjustments of the ampacity for wires in circular raceways exposed to sunlight on rooftops, due to the heating effects of solar radiation. Electrical Construction and Maintenance Magazine, Conductors for General Use, Chapter 3 Articles in NEC, starting with Article 342 This section is expected to be modified to include cables in future editions.

In certain situations, temperature rating can be higher than normal, such as for knob-and-tube wiring where two or more load-carrying wires are never likely to be in close proximity. A knob-and-tube installation uses wires suspended in air. This gives them a greater heat dissipation rating than standard three-wire NM-2 cable, which includes two tightly bundled load and return wires.

Copyright Status
NEC, like many NFPA standards, relies on sales of its copyrighted standards to fund its development. In 2016, the group PUBLIC.RESOURCE.ORG, INC published copies of the code online free of cost, arguing that as a standard adopted as law, it should be publicly available. The case challenges the nature of funding sources for development of the standards, which are often adopted as law, but created without taxpayer dollars. NFPA in response has pointed to its making a free version of its standards available online, albeit in a less convenient forum than the standard that is available for purchase.

Restricted access code models

 * Free, restricted access to the NEC online, 1968 through 2023 versions (Must register with the NFPA to access these documents)

title: National Electrical Code


text:
Norfolk County

Norfolk County may refer to:

 * Norfolk County, Massachusetts, United States
 * Norfolk County, Ontario, Canada
 * Norfolk County, Virginia, (defunct)
 * Norfolk, a county in England
 * Norfolk, Virginia, an independent city and county-equivalent in Virginia, United States
 * "Old" Norfolk County, Massachusetts Colony (extinct)

title: Norfolk County


text: User talk:213.38.213.226

title: User talk:213.38.213.226


text:
Nicholas County

Nicholas County is the name of two counties in the United States:

 * Nicholas County, Kentucky
 * Nicholas County, West Virginia

title: Nicholas County


text:
Talk:Kim Wilde

Biography assessment rating comment
WikiProject Biography Assessment

Needs references, and preferably an infobox, to earn a B.

The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- Yamara 20:21, 31 May 2007 (UTC)

Copyvio
Almost the entire text of this page is a copvio from this site. Removed offending text. —Frecklefoot 15:50, Mar 19, 2004 (UTC)

Response
I am the copywrite holder of this page. I freely contribute it to Wikipedia, with some additions. You can verify by mailing kimwilde.com's webmaster if needed. Please restore the page! — mfgr at kimwilde d o t c o m 15:50, Mar 20, 2004 (GMT)

Additional info
Image used is promotional picture from RAK records 1982.

Edited
August 2005: Deleted several singles from the discography: they were only released as postcards in Poland or as promotional singles in other territories.

Kim Smith?
Where do you guys take that from? I think Marty Wilde is Marty's real name, so she should be a Wilde too. pretty confused, andy

 * Yep, it's right. Marty Wilde's real name is Reginald Smith. This info wasn't included on his entry, so i've just updated it. Crisso 17:45, 12 October 2005 (UTC)
 * Thanks!! This'll make everything clearer by about 50 percent. :) -andy 80.129.88.61 15:04, 27 October 2005 (UTC)

More info
Added detailed descriptions of albums, books and impact. Rearranged and edited the page and added images, too. mfgr

Young heroes
Hi to all user! Do you know, was there ever realised the single "Young heroes" from Kim Wilde? I thought, I read about it somewhere. (Sorry for my bad english) Thanks!!! Greatings, "Reinhard"

 * No single, check http://www.kimwilde.com/encyclopedia/songs/00010/ for more info. mfgr

Formatting notice
Per Manual of Style (titles), songs should be in quotes, not italics. They should also be written in title case. The article as a whole needs to be cleaned up as well.--FuriousFreddy

Notice removed
Article cleaned up. Songs in quotes, album and single titles in italics. Article is formal in tone with possible exception of album reviews. I'd like to see an album review that is formal in tone. :-] mfgr

Gardener?
I don't think so. She might do it in her personal time, but WP is not the place for what she does every single second of her life when she is awake. Iola k ana |T 20:01, 13 August 2006 (UTC)
 * I would think making TV shows about it (As this article says she has), and writing about it might make it something slightly more than "personal time". --Kiand 20:08, 13 August 2006 (UTC)

Stacey Q cover
As an avid SQ listener and collector, I do not have any knowledge of her covering Dancing in the Dark. Source, please? goodnightjack

 * I'm not sure when this question was posted but Stacey Q covered "Dancing in the Dark" for her debut EP Stacey Q (1985). Joe Vitale 5 (talk) 19:57, 23 October 2022 (UTC)

Kim Wilde related to Oscar Wilde?
I read a 1987 Paris Match magazine article of Kim Wilde and from my memory, it stated her great-granduncle is Oscar Wilde, the famous 19th century Irish poet. Can anyone find the magazine article on the web and confirm it a fact or my misinterpretation of French...my mistake. 207.200.116.10 02:31, 20 August 2006 (UTC)

 * I'm unable to find the claim on her great-granduncle was Oscar Wilde, one of those fans' speculations that goes nowhere. The article clearly stated her father, Marty Smith took the name "Wilde" for business purposes in his rock band. I don't know Marty Smith is related to Oscar or this is his middle or nickname used in the family. Kim Wilde isn't only a singer, it turns out she's a garden expert (that's cool to have hobbies aside a job), and the hobby is quite popular in England, you'll find some celebrity garden enthuasists, like Prince Charles with his own organic food farm. + 207.200.116.135 13:55, 10 November 2006 (UTC)

 * I seriously doubt that they'd be related, "Wilde" is supposedly strictly a stage name. As for Kim's gardening career, it's been a just that - a career, not simply a hobby ;) Calanor 09:56, 6 December 2006 (UTC)

Update
I've just updated the information for my own site, kimwildecentral. As you can see from the link, we now have a domain name and a substantial fansite attatched to the forum. Also, kim-wilde.co.uk seems to have bitten the dust -can anyone verify? I know that Maksim hadn't updated for a long time, but I can't seem to access the site at all now. Simon Robinson Oct 31 2006

Best-selling UK female pop star?
MassassiUK 15:49, 19 December 2006 (UTC) I find this claim to be extremely unlikely when you compare Kim's career to that of Annie Lennox, Kate Bush, or Dido (all of whom have had multiple no.1 albums and considerable singles chart success both at home and abroad). Lennox's "Diva" album alone has more than likely outsold all of Kim's albums put together, as has either of Dido's albums. I imagine Dusty Springfield would probably also edge out Kim's sales record. Petula Clark certainly does (worldwide sales of around 70 million records), but it's debateable as to whether she could be mainly considered "pop" (as opposed to easy listening).

This entire entry lacks a neytral tone. And there's way too much editorializing throughout. Keep opinions out, facts in. —Preceding unsigned comment added by 159.142.232.104 (talk) 19:35, 12 October 2007 (UTC)

Studio albums section
I think the infomation on the studio albums should be merged into the album articles. It would make sense. Salavat 05:43, 30 June 2007 (UTC)

More cleanup needed
I've cleaned up the first part of this article and also the discography tables. I also removed the decorative copyrighted images per WP:FU.... still a lot needs to be done here. I second the comment above about removing all of the individual album sections. This article reeks of POV, informal tone and fangush - it really reads like a Kim Wilde fansite and a lot of formatting errors remain. - eo (talk) 17:56, 8 December 2007 (UTC)

Specifically, it still reads like it was written by her publicist in wide swaths. Since a large part seems to have been lifted from her official website(although apparently with permission) this isn't surprising.24.6.198.12 (talk) 09:49, 11 March 2008 (UTC)

Albums
I can't bear to see all those budget (and unofficial) compilation albums listed here - they have no real place in the article (and certainly don't deserve a page each). As far as I can work out the only true 'official' compilation is The Singles 1981-1993 and perhaps the 2001 Very Best of (since it was on EMI and included new material). Even the 1985 compilation was released by RAK after Wilde had left the label - therefore not an official release by her. I'm going to clean this up, but if there's anyone who disagrees, you can always revert, but I think it would lead to a better understanding of her output.--Tuzapicabit (talk) 04:02, 10 August 2008 (UTC)

 * Anyway, while I was at it, I added in loads of single covers for the appropriate pages. Phew! For example...--Tuzapicabit (talk) 05:47, 10 August 2008 (UTC)

Richard Lucas
There is a link to Richard Lucas which is not right. It points to a rower from the 1920s. The right Richard Lucas certainly isn't that old: Richard Lucas. —Preceding unsigned comment added by 82.16.56.184 (talk) 07:48, 26 October 2008 (UTC)

Semi-protection
I have semiprotected this BLP as no-one appears to be watching it. I am not fussed if unprotected and someone else promises to watch it or IP edit it. Casliber (talk · contribs) 08:43, 15 February 2010 (UTC)

I wouldn't mind watching this page if it is protected. I notice some uninformed people have added and deleted stuff on this page and it does not really make it better. Mfgr —Preceding undated comment added 12:41, 1 June 2012 (UTC)

Kim Wilde's best friend Cath Dickerson? — Preceding unsigned comment added by 92.16.17.242 (talk) 18:51, 4 November 2011 (UTC)

Record sales?
It does not say how many records she had sold, how many didi she sell? Beggsie221 (talk) 05:45, 26 May 2012 (UTC)

Kim Wilde (The MCA years
in the sentence, "On Teases and Dares, she penning two songs", the word should be "penned"

LittleMissDragnet (talk) 21:06, 30 January 2013 (UTC)
 * Yes check.svg Done RudolfRed (talk) 21:57, 30 January 2013 (UTC)

Can she play piano?
As a different biography says, Kim Wilde studied how to play piano. 5.174.177.224 (talk) 21:54, 5 August 2015 (UTC)

In 1986 she performed her song "Don't Say Nothing's Changed" in the French TV programme. She was singing and playing piano. 5.60.226.55 (talk) 21:03, 20 November 2016 (UTC)

Assessment comment
Substituted at 21:14, 29 April 2016 (UTC)

Semi-protected edit request on 4 September 2018
Please add this to the 'Here Come The Aliens' section in the 'Return To Pop' section:

The debut single from 'Here Come The Aliens' was 'Pop Don't Stop',(https://www.bbc.co.uk/music/tracks/n4q4hx) which was made 'Record Of The Week' on BBC Radio 2. It went on to be playlisted all over Europe and has become a staple of the Kim's live shows in 2018. The second single, 'Kandy Krush'(https://www.bbc.co.uk/music/tracks/n4mfc4) was also made 'Record Of The Week' on BBC Radio 2 and the video has notched up an impressive 450,000 views on YouTube. The 'WideBoys Remix' of 'Kandy Krush'(https://www.discogs.com/Kim-Wilde-Kandy-Krush-Wideboys-Remix/release/12090887) was Wilde's first entry into the Billboard Chart in the United States in over 25 years. (https://www.billboard.com/music/kim-wilde/chart-history/dance-club-play-songs/song/1073238) The third single from the album, entitled 'Birthday' also made the BBC Radio 2 playlist (https://www.bbc.co.uk/music/tracks/n4mhx4) and was well received all over European radio during the summer of 2018, making the run of three singles a high point in the latest stage of Wilde's career.

Autumn 2018 see's Wilde embarking on a 25 date European Tour in support of the 'Here Come The Aliens' album. Charlyf101 (talk) 11:22, 4 September 2018 (UTC)
 * Red information icon with gradient background.svg Not done: please establish a consensus for this alteration before using the template. -  FlightTime  ( open channel ) 22:13, 12 September 2018 (UTC)

Largest tree transplanted?
According to GBOWR, A 750 year old gingko tree moved in 1994 at nearly 100' tall was moved in Korea. That's considerably larger and much,much,older than the Oak moved by the Wilde team. — Preceding unsigned comment added by 23.120.254.61 (talk) 16:51, 15 July 2019 (UTC)

Missing link for the song 'Hey Mr. Heartache'
As this article is protected I cannot edit it. In the paragraph starting with 'In 1988, Wilde released her biggest selling album ...', the link for the song titled 'Hey Mr. Heartache' leading to an existing wikipedia article is missing. Please add it. Thanks. Col.Trauma (talk) 17:53, 6 May 2020 (UTC)
 * ✅.-- Laun chba ller 18:13, 6 May 2020 (UTC)

Semi-protected edit request on 11 November 2021
Consider adding under the ‘Radio’ section that as of 2021 Kim Wilde has joined Classic Hits, an Irish radio station, as a DJ with the new ‘The Kim Wilde 80’s Show’ which airs in the evenings, four days a week. See link for citation here; https://www.irishexaminer.com/lifestyle/people/arid-40725660.html 212.129.79.72 (talk) 21:42, 11 November 2021 (UTC)
 * ✅ @Itcouldbepossible has answered the request. DigitalChutney (talk) 20:11, 18 November 2021 (UTC)
 * @DigitalChutneyI had already answered the request. Did I do something wrong??Please assist me, as I am completely new in answering edit requests. Itcouldbepossible (talk) 02:43, 19 November 2021 (UTC)
 * Hi, you had completed the request on Kim Wilde but did not respond to the request on the talk page by changing the answered parameter to yes. You may like to read WP:ERREQ which gives details on how to respond to edit requests. Also, enabling the edit protected helper tool can be helpful when responding to requests. Thanks, DigitalChutney (talk) 08:30, 19 November 2021 (UTC)
 * @DigitalChutney Actually you see, I had answered many edit requests that day, but since I am new, I forgot to change the answer parameter to 'yes'. Yes I know all the steps to answer edit requests, you can see in my contributions. But I thanks a bunch for giving me link to that tool. It is because of you elder Wikipedians, that I am learning Wikipedia so fast. Thanks again, for all your help. Itcouldbepossible (talk) 12:51, 19 November 2021 (UTC)

Semi-protected edit request on 2 July 2023
Add Spouse/Children sections to summary 146.200.84.165 (talk) 08:55, 2 July 2023 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate.  — Paper9oll  (🔔 • 📝)  14:22, 2 July 2023 (UTC)

title: Talk:Kim Wilde


text:
User:Madw

My main interest is Chinese history...but I like writing about football too.

title: User:Madw


text:
Talk:Seamanship

Edit
removed "a knoghmfhgh" from first sentence 137.155.255.254 (talk) 22:29, 17 December 2012 (UTC)

Seafaring
Can someone define Seafaring ?

From the Dutch
Can someone add a reference to the supposed origins of the word seamanship pls Frelke 21:27, 8 February 2006 (UTC)

 * is what you need. Do not confuse the suffix -ship with the noun or verb ship  Fiddle Faddle 21:18, 2 December 2006 (UTC)

Typical Jobs
Can anyone add some definitions of the types of typical jobs crew would perform on a ship? pls —Preceding unsigned comment added by 69.232.186.116 (talk • contribs)

 * This is a huge list. A typical job on a ship can be anything from the mundane (pumping the bilges) to the esoteric (find an obscure job and name it!).  Formal manuals of seamanship are your best source here.  Fiddle Faddle 21:15, 2 December 2006 (UTC)

Communication
This article could benefit from a section (or a separate article) on maritime communication. Morganfitzp (talk) 00:12, 8 July 2013 (UTC)

title: Talk:Seamanship


text:
SRV record

A Service record (SRV record) is a specification of data in the Domain Name System defining the location, i.e., the hostname and port number, of servers for specified services. It is defined in RFC 2782, and its type code is 33. Some Internet protocols such as the Session Initiation Protocol (SIP) and the Extensible Messaging and Presence Protocol (XMPP) often require SRV support by network elements.

Record format
A SRV record has the form:

 * service: the symbolic name of the desired service.
 * proto: the transport protocol of the desired service; this is usually either TCP or UDP.
 * name: the domain name for which this record is valid, ending in a dot.
 * ttl: standard DNS time to live field.
 * IN: standard DNS class field (this is always IN).
 * SRV: Type of Record (this is always SRV).
 * priority: the priority of the target host, lower value means more preferred.
 * weight: A relative weight for records with the same priority, higher value means higher chance of getting picked.
 * port: the TCP or UDP port on which the service is to be found.
 * target: the canonical hostname of the machine providing the service, ending in a dot.

An example SRV record in textual form that might be found in a zone file might be the following:

This points to a server named  listening on TCP port 5060 for Session Initiation Protocol (SIP) protocol services. The priority given here is 0, and the weight is 5.

As in MX records, the target in SRV records must point to hostname with an address record (A or AAAA record). Pointing to a hostname with a CNAME record is not a valid configuration.

Provisioning for high service availability
The priority field determines the precedence of the use of the record's data. Clients should use the SRV records with the lowest-numbered priority value first, and fall back to records of higher value if the connection fails. If a service has multiple SRV records with the same priority value, clients should load balance them in proportion to the values of their weight fields. In the following example, both the priority and weight fields are used to provide a combination of load balancing and backup service.

The first three records share a priority of 10, so the weight field's value will be used by clients to determine which server (host and port combination) to contact. The sum of all three values is 100, so  will be used 60% of the time. The two hosts,  and   will be used for 40% of requests total, with half of them sent to , and the other half to. If  is unavailable, these two remaining machines will share the load equally, since they will each be selected 50% of the time.

If all three servers with priority 10 are unavailable, the record with the next lowest priority value will be chosen, which is. This might be a machine in another physical location, presumably not vulnerable to anything that would cause the first three hosts to become unavailable.

The load balancing provided by SRV records is inherently limited since the information is essentially static. The current load of servers is not taken into account unless TTL values are low enough (around a minute or lower) that the priority (or weight) values can be quickly updated.

Usage
SRV records are common in conjunction with the following standardized communications protocols:
 * APT
 * CalDAV and CardDAV
 * Ceph
 * DANE
 * DNS Service Discovery (DNS-SD)
 * Factorio
 * Host Identity Protocol
 * Kerberos
 * LDAP
 * SMTP submission, POP, and IMAP
 * Matrix.org
 * Minecraft
 * MongoDB
 * Mumble
 * IMPS
 * Puppet
 * Session Initiation Protocol
 * STUN
 * Teamspeak 3
 * XMPP

In Microsoft Windows 2000 clients query for SRV records to determine the domain controller for a given service. SRV records are also used by Outlook 2007, 2010 and Macintosh 10.6 mail to locate the Exchange Autodiscover service. In Microsoft Windows networks domain controllers register their network service types for Active Directory in the DNS.

An older version of the Internet Draft for OpenPGP Web Key Directory uses SRV records for discovering OpenPGP keys through web servers. Usages of SRV records are no longer part of the Internet Draft in later versions.

A registry of service names for SRV records & protocols is maintained by the Internet Assigned Numbers Authority (IANA) as defined in RFC 6335.

title: SRV record