text:
Interstate 285 (Georgia)

Interstate 285 (I-285) is an auxiliary Interstate Highway encircling Atlanta, Georgia, for 63.98 mi. It connects the three major Interstate Highways to Atlanta: I-20, I-75, and I-85. Colloquially referred to as the Perimeter, it also carries unsigned State Route 407 (SR 407) and is signed as Atlanta Bypass on I-20, I-75, and I-85.

Because of suburban sprawl, it is estimated that more than two million people use the highway each day, making it one of the busiest Interstates in the Atlanta metropolitan area, and one of the most heavily traveled roadways in the US. During rush hour, portions of the highway slow, sometimes to a crawl.

Route description
I-285 is 8 to 12 lanes wide, with the northern part from I-75 to SR 400 to I-85 the most heavily traveled. One segment of the highway near Tom Moreland Interchange (a large, flyover highway interchange northeast of Atlanta colloquially called Spaghetti Junction) with I-85 widens to 18 lanes, including collector–distributor lanes. Exits are numbered clockwise, starting at the southwesternmost point at I-85 and ending just east of there where it meets I-85 again near Hartsfield–Jackson Atlanta International Airport.

Between I-85 and I-20 in southwest Fulton County, I-285 is designated as the Bob A. Holmes Freeway (named after the member of the Georgia House of Representative), where I-285 heads north, and has an interchange with the Langford Parkway. Between I-20 in northwest Atlanta and I-75 near Cumberland Mall, it is designated as the James E. 'Billy' McKinney Highway (named after the member of the Georgia House of Representatives) as it continues north and starts to curve to the east just west of the I-75 interchange.

The northern portion of I-285, east of the Cobb Cloverleaf (I-75 interchange) to Spaghetti Junction (I-85 interchange), is frequently called the Top End Perimeter. This section, which includes an interchange with SR 400 at exit 27 (frequently cited as the most dangerous intersections in Atlanta), is one of the busiest freeways in the US, handling about 250,000 cars per day and crossing through Cobb, Fulton, and DeKalb counties, with several interchanges (SR 141, SR 13, and I-85) bringing additional traffic to and from Gwinnett County. Through that stretch, the freeway expands from six or eight lanes to between 10 and 14 lanes.

While I-285 does not travel through Gwinnett County, the highway travels very close to the DeKalb–Gwinnett county line, and many major highways in Gwinnett County connect to I-285, with some prominent ones being US Route 78 (US 78), I-85, and SR 141. Major Gwinnett cities near I-285 are Peachtree Corners and Norcross.

From exit 25 to exit 27, I-285 is concurrent with US 19.

Much of Atlanta's high-end commercial real estate has developed along I-285, particularly at the northwestern I-75 and the SR 400 interchanges. Notable buildings include the 35-story Concourse at Landmark Center in the Perimeter Center business district and the Cobb Galleria complex in the Cumberland area.

East of Spaghetti Junction, I-285's direction switches from east to south, as it connects with the Stone Mountain Freeway at exit 39, and has an interchange with I-20 at exit 46, where I-285 starts to curve toward the southwest. At exit 52, it has an interchange with I-675 and heads straight west after the interchange with I-75 near the Hartsfield–Jackson Atlanta International Airport.

A portion of the section between I-75 and I-85 on the south side of I-285 has been bridged with a new runway and taxiway of Hartsfield–Jackson Atlanta International Airport, one of only two Interstates in the nation (along with I-564 in Norfolk, Virginia) to have an underpass beneath a runway (underpasses for taxiways do occur elsewhere). Computer animations were developed prior to construction to simulate a jumbo jet touching down on the runway from a driver's perspective. The entire highway within the tunnels is outfitted with stopped-vehicle sensors and fire detectors. Two electronic signs on either side of the tunnel can warn drivers if the tunnel is closed in an emergency. For 1.21 mi in the southwest corner, I-85 occupies the median of I-285, yet the roadways remain separate.

Heavy trucks traveling through (but not into) Atlanta are required to bypass the city on I-285, as there is a well-signed and heavily enforced ban on through truck traffic along I-75, I-85, I-20, SR 400, and many other major Atlanta thoroughfares. As with highways just outside I-285, trucks are also prohibited from the far-left one or two lanes (except where there are left exits open to trucks).

The complete circumference of I-285 is covered by Georgia Navigator, Georgia's intelligent transportation system (ITS). There have been 153 closed-circuit television traffic cameras, 26 electronic-message signs, and traffic-detection sensors installed in phases between 1999 and 2010 by the Georgia Department of Transportation (GDOT). Additionally, ramp meters are present at nearly all entrance ramps onto I-285, with the exception of the southeast section of I-285 and the major freeway-to-freeway connection ramps.

To many residents of Atlanta, the Perimeter defines a useful boundary to separate the Atlanta metropolitan area's core from its surrounding suburbs. People distinguish a location as being inside or outside the Perimeter, sometimes abbreviated as ITP and OTP, a recent local neologism. This was also the rough boundary chosen by BellSouth for separating landline telephone exchanges in suburban area code 770 from the existing area code 404 in 1995. Generally, 404 is Atlanta itself and most suburbs inside the Perimeter, while 770 serves most of the suburbs outside the Perimeter.

The entire length of I-285 is part of the National Highway System, a system of routes determined to be the most important for the nation's economy, mobility, and defense.

Early history
The route that became I-285 was first proposed by the Metropolitan Plan Commission, the predecessor agency to the Atlanta Regional Commission, in 1952, and added to the proposal that became the Interstate Highway System in 1955. At the time, much of the area through which the freeway now passes was still rural, but beginning to suburbanize, and the Interstate was initially intended to serve as a bypass of the city.

The first contract for I-285, a 2.5 mi section in DeKalb County that included part of the then-cloverleaf interchange with I-85, was awarded in June 1958. The 7.4 mi stretch between I-20 and East Ponce De Leon Avenue on the east side opened on August 24, 1968. The 5.6 mi section between I-20 on the east side and US 23 opened in early September 1968. The last stretch of the route opened on October 15, 1969, in a ceremony officiated by then-Governor Lester Maddox. Construction of the Interstate cost $90 million (equivalent to $ in ), and the entire route was initially two lanes in each direction for its entire length.

I-285 was widened to eight lanes in multiple phases as part of the Freeing the Freeways program at a cost of $355 million (equivalent to $ in ). The first stretch to be widened was the Top End section between Paces Ferry Road directly west of the interchange with I-75 and Chamblee Tucker Road, which began in July 1976 and was completed in August 1978. The section on the south end between US 19/41 and the eastern I-20 interchange was widened between June 1978 and November 1979. The section between the eastern I-20 interchange and Chamblee Tucker road was widened between August 1980 and December 1982. Work on widening the stretch on the west side between I-85 and Paces Ferry Road began in September 1981 and was completed in August 1983. The final widening project was completed in 1989 with the completion of the reconstruction of the concurrent section with I-85.

The Top End section between I-75 and I-85 was expanded to 10 lanes in the mid-1990s by narrowing the lanes by 1 ft and narrowing parts of the shoulders.

Interchange modification projects
Since its construction, most of the system-to-system interchanges on I-285 have been modified from their original configurations. Most of these were rebuilt or expanded during the Freeing the Freeways program.

The cloverleaf interchange with I-85 in DeKalb County, which had earned the nickname "Malfunction Junction", was reconstructed into the present Tom Moreland Interchange configuration, commonly known as "Spaghetti Junction", between January 10, 1983, and July 9, 1987.

The Emory Parrish Interchange, commonly known as the Cobb Cloverleaf, has been modified on multiple occasions. The first project, which took place in the late 1970s, constructed new mainline carriageways for I-285 traffic through the interchange, eliminating lefthand exits, and repurposed the original lanes into adjacent collector–distributor ramps. The next project, which took place in the mid-1980s, constructed a new flyover ramp between I-75 southbound and I-285 eastbound, and modified the connections between the interchange and the I-75 interchange to the north with Windy Hill Road with the addition of several new collector–distributor lanes and slip ramps to eliminate weaving. The original loop ramp that the flyover replaced, however, was left in place and remains in operation in the present day. The next modification occurred between 1996 and 1999 with the construction of the Cumberland Boulevard interchange on I-75 to the south. As part of this project, new collector–distributor ramps were constructed along I-75 between the Cobb Cloverleaf and the new interchange. In addition, the grading for a new flyover ramp from I-75 north to I-285 west to replace the existing loop ramp was constructed; however, no such ramp was ever constructed. The most recent modification, which took place between 2014 and 2018, added new access points to I-285 within the interchange for the Northwest Corridor Express Lanes.

The approximately 1.6 mi stretch of I-285 that runs concurrent with I-85 was heavily modified in multiple projects between the early and late 1980s that included the construction of separate adjacent carriageways for I-85 and I-285 in an effort to eliminate weaving and the addition of several collector–distributor ramps serving other roads.

Recent history
Until 2000, the state of Georgia used the sequential interchange numbering system on all of its Interstate Highways. The first exit on each highway began with the number "1" and increase numerically with each exit. In 2000, GDOT switched to a mileage-based exit system, in which the exit number corresponded to the nearest milepost.

GDOT voted in September 2012 to raise the speed limit from 55 to 65 mph on the entire freeway and, by 2013, to install electronic signs for variable speed limits north of I-20, to lower the speed limit when traffic or weather conditions warrant. This is intended to keep traffic moving at a reduced but steady speed, rather than suddenly braking drivers causing traffic to "clot" simply because other drivers are also braking (which causes unnecessary stop-and-go traffic).

In 2013, there were 26 fatal accidents on I-285, giving it the highest rate of such accidents per 10 mi of any Interstate in the country.

Future
Since the 1970s, GDOT has planned an outer loop, which would be a roughly 230 mi circumferential loop around the Atlanta metropolitan area. Under Governor Sonny Perdue, the plans were dropped from the Regional Transportation Plan, in favor of the expansion of the rural state road network outside of Atlanta. The state will instead widen portions of SR 20 north of the Atlanta metropolitan area, along a similar alignment to the Northern Arc.

GDOT broke ground in November 2017 on major improvements to the I-285/SR 400 interchange. The project includes collector–distributor roads along I-285 and SR 400, the addition of a diverging diamond interchange at SR 400 and Abernathy Road, and new flyover ramps. The project has total costs of $800 million and construction is expected to be complete in late 2020.

In January 2016, Governor Nathan Deal announced the major mobility investment program (MMIP), a collection of megaprojects planned around the state. The program includes the addition of express lanes on I-285 from I-20 (exit 10) across the north end of Atlanta to I-20 (exit 46). The program also includes reconstructing the interchanges with I-20.

The MMIP will construct two express lanes in each direction between Paces Ferry Road (mile 19) and Henderson Road (mile 35). This segment includes the addition of express lanes through major interchanges with I-75, SR 400, and I-85. Other projects will construct one express lane in each direction between I-20 (exit 10) and Paces Ferry Road, and from Henderson Road to I-20 (exit 46). The completion of all express lanes is planned in 2032.

On July 31, 2012, metro-area voters rejected the T-special-purpose local-option sales tax comprehensive transportation plan that was to be funded by an additional one-percent sales tax over a 10-year period. Among the projects included in the plan was a new exit on I-285 at Greenbriar Parkway on the southwest side of Atlanta (between present exits 2 and 5), as well as major reconstruction of interchanges at exits 27 (US 19/SR 400), 10 (I-20 west of Atlanta), and 33 (I-85 northeast of Atlanta).

Exit list
The following exits are listed clockwise from the southwest: going south to north, west to east, north to south, and east to west. An exception is that heading counterclockwise, exit 33 comes before exit 34.

In popular culture
Atlanta Braves pitcher Pascual Pérez became widely associated with I-285 after he got lost on it while trying to drive to a game. On August 19, 1982, Pérez, who had just received his first US driver's license, decided to drive himself to Atlanta–Fulton County Stadium (where the Braves played their home games at the time), where he was scheduled to start that evening's game against the Montreal Expos. He was unable to find the proper exit and circled the city several times before running out of gas and calling for help. When Pérez failed to arrive at the stadium by game time, the Braves called upon veteran pitcher Phil Niekro to make the emergency start. The Braves, who had been mired in a 2–19 slump, won the game, kicking off a 13–2 winning streak that carried the team to the National League West division title. The team subsequently made for Pérez a warmup jacket with the notation "I-285" in place of his uniform number. The humor of the incident was credited for helping to improve the morale of the team and breaking the losing streak.

title: Interstate 285 (Georgia)


text:
Hillman

Hillman was a British automobile marque created by the Hillman-Coatalen Company, founded in 1907, renamed the Hillman Motor Car Company in 1910. The company was based in Ryton-on-Dunsmore, near Coventry, England. Before 1907 the company had built bicycles. Newly under the control of the Rootes brothers, the Hillman company was acquired by Humber in 1928. Hillman was used as the small car marque of Humber Limited from 1931, but until 1937 Hillman did continue to sell large cars. The Rootes brothers reached a sixty per cent holding of Humber in 1932 which they retained until 1967, when Chrysler bought Rootes and bought out the other forty per cent of shareholders in Humber. The marque continued to be used under Chrysler until 1976.

Origins
In 1857 Josiah Turner and James Starley formed the Coventry Sewing Machine Company, and recruited skilled engineers from the London area to join them, one of whom was William Hillman. In 1869 the firm changed its name to the Coventry Machinists Company, and like many other manufacturers in the area embarked on producing velocipedes. In 1870 Hillman and Starley patented a new bicycle called the "Ariel" and by 1885 Hillman was a partner of the bicycle manufacturer Hillman Herbert and Cooper, producing a bicycle called the Kangaroo. Hillman's new company soon established itself, and before the turn of the 20th century, Hillman was a millionaire. With wealth came the means to fulfil Hillman's next ambition, to become a car producer. Hillman had moved into Abingdon House in Stoke Aldermoor near Coventry and decided that a sensible plan would be to set up a car factory in its grounds. In 1907 Hillman-Coatalen was founded by William Hillman with the Breton Louis Coatalen as designer and chief engineer. They launched the 24HP Hillman-Coatalen, which was entered into that year's Tourist Trophy. The car was put out of the race by a crash, but it had made a splash. Coatalen left in 1909 to join Sunbeam and the company was re-registered as the Hillman Motor Car Company in 1910.

The first cars were large, featuring a 9.76-litre 6-cylinder engine or a 6.4-litre four. A smaller car, the 9 hp of 1913 with a 1357 cc side-valve four-cylinder engine, was the first to sell in significant numbers and was re-introduced after the First World War as the 11 hp, having grown to 1600 cc. The big seller was the 14 hp introduced in 1925, and the only model made until 1928. Following the fashion of the time a Straight Eight of 2.6 litres and Hillman's first use of overhead valves came in 1928 but soon gained a reputation for big-end problems.

Alumni
William Hillman had six daughters and no sons. A daughter married John Black, managing director of Hillman, who left at the time of the Rootes takeover and went to Standard Motor Co. Another daughter married Maurice Wilks who left Hillman in the same period and eventually went to Rover Company.

Rootes Group
In 1928, Hillman fell under the control of the Rootes brothers and then merged with Humber. The Rootes brothers obtained further backing from Prudential Assurance during 1931 and brought their holding up to 60 per cent of Humber. Then, in stages, Hillman was switched to manufacturing small cars and became the best known brand within the Rootes empire alongside Humber, Sunbeam and, in the Rootes Group's final decade, Singer.

The 1930s saw a return to side valves with a 6-cylinder Wizard first produced in April 1931 and, in 1932, inspired by the Rootes brothers, the first car to carry the Minx name. This had a 1185 cc four-cylinder engine and went through a series of updates in body style and construction until the end of the Second World War. In 1934 the Hillman Wizard "65" and "75" were replaced by the 2110 cc Hillman "16 hp" and 2810cc "20/70", which lasted until 1936 when a new body design in the form of the 2576 cc Hillman "Sixteen" and the 3181 cc "Hawk" and "80", all with side valve straight-six engines, were introduced. These later cars were also sold as Humbers.

After the war, the Minx was reintroduced with the same 1185 cc engine. It went through a series of models given Phase numbers and the Phase VIII of 1955 saw the arrival of an overhead-valve engine 1390cc, the Mk 8. The later 1956 Two Tone version of this model, the Mark 8A, was called the "Gay Look" and led to the advertising slogan "As Gay as a Mardi Gras". A smaller car, the Husky with van like body and using the old side-valve engine, was also new for 1954. The floor pan of this model was later to form the basis for the Sunbeam Alpine, Sunbeam also being part of the Rootes empire. A complete departure in 1963 was the Hillman Imp using a Coventry Climax derived all alloy, 875 cc rear engine and built in a brand new factory in Linwood, Scotland. The location was chosen under government influence to bring employment to a depressed area. A fastback version, the Californian, and an estate re-using the Husky name were also made. A new car called the Hunter was introduced in 1966 with, in 1967, a smaller-engined standard version using the old Minx name. These are frequently given their factory code of "Arrow", but this name was never officially used in marketing.

Chrysler
Chrysler had assumed complete control of Rootes by 1967, and the first new Hillman model whose development was financed by the American giant was the Avenger of 1970.

Peugeot
The Avenger and Hunter ranges were badged as Chryslers from 1976 until 1979, when Chrysler sold its European division to Peugeot. At this point, Hunter production was shelved and the Avenger was rebadged as a Talbot until it was finally withdrawn from sale at the end of 1981.

Hillman's Ryton factory, which had assembled various Peugeot models for the European market, closed in 2007. The French company still owns the rights to the Hillman name.

Car models
Cars introduced after 1930 were a new range to the specification of the Rootes brothers Cars to the specification of the Rootes brothers
 * Hillman 40 hp 1907–1911 (also known as 40/60)
 * Hillman 25 hp 1909–1913 (also known as 25/40)
 * Hillman 12/15 1908–1913
 * Hillman 9 hp 1913–1915
 * Hillman 10 hp 1910
 * Hillman 13/25 1914
 * Hillman 11 1915–1926
 * Hillman 10 hp Super Sports 1920–1922
 * Hillman 14 1925–1930
 * Hillman 20 range:
 * Straight Eight 1929
 * Vortic 1930
 * Wizard 75 1931–1933
 * Twenty 70 1934–1935
 * Hawk 1936–1937
 * Long wheelbase Hillman 20s:
 * Seven-Seater LWB 1934–1935
 * Hillman 80 LWB 1936–1938

 * Hillman 16 range:
 * Wizard 65 1931–1933
 * Sixteen 1934–1937

 * Hillman Minx 1932–1970 (various models)
 * Hillman 14 1938–1940
 * Hillman Husky 1954–1963
 * Hillman Super Minx 1961–1967
 * Hillman Imp 1963–1976
 * Hillman Gazelle 1966–1967 (Australia)
 * Hillman Hunter 1966–1979
 * Hillman Arrow 1967–1968 (Australia)
 * Hillman Avenger 1970–1981
 * Hillman Hustler 1971–1972 (Australia)

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

title: Hillman


text:
1936 Quebec general election

The 1936 Quebec general election was held on August 17, 1936, to elect members of the Legislative Assembly of the Province of Quebec, Canada. The Union Nationale, led by Maurice Duplessis, defeated the incumbent Quebec Liberal Party, led by Adélard Godbout.

This marked the end of slightly more than 39 consecutive years in power for the Liberals, who had governed Quebec since the 1897 election.

This 1936 election had been called less than one year after the 1935 election after Liberal premier Louis-Alexandre Taschereau resigned because of a scandal. He was replaced by Godbout as Liberal leader and premier.

This was Duplessis's first term in office. After losing the subsequent 1939 election, he later won four more general elections in a row, and became the dominant politician of his time. It was also the Union Nationale's first election, having been formed from a merger between the Action libérale nationale and the Quebec Conservative Party.

Results
! colspan=2 rowspan=2 | Political party ! rowspan=2 | Party leader ! colspan=4 | MPPs ! colspan=4 | Votes ! Candidates !1935 !1936 !± !# ! ± !% ! ± (pp) ! colspan="3" style="text-align:left;" | Total ! " colspan="3"| 90 ! " colspan="2"| 569,325 ! " colspan="2"| 100%
 * style="text-align:left;" |Union Nationale
 * style="text-align:left;"|Maurice Duplessis
 * 90
 * 42
 * 76
 * 34
 * 323,812
 * 61,138
 * 56.88
 * 8.47
 * rowspan="3" |
 * style="text-align:left;" colspan="10"|Liberals and allies
 * style="text-align:left;" |
 * style="text-align:left;"|Adélard Godbout
 * 88
 * 47
 * 14
 * 33
 * 224,374
 * 25,212
 * 39.41
 * 7.12
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 2
 * 3,765
 * 3,150
 * 0.66
 * 0.55
 * rowspan="9" |
 * style="text-align:left;" colspan="10"|Other candidates
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 11
 * 1
 * 1
 * 9,746
 * 11,841
 * 1.71
 * 2.31
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 3
 * 1,928
 * New
 * 0.34
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 3
 * 1,870
 * 1,833
 * 0.33
 * 0..33
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 1
 * 1,469
 * New
 * 0.26
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 3
 * 1,045
 * New
 * 0.18
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 2
 * 767
 * New
 * 0.13
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 1
 * 470
 * New
 * 0.08
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 1
 * 79
 * 2,159
 * 0.01
 * 0.41
 * 1,045
 * New
 * 0.18
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 2
 * 767
 * New
 * 0.13
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 1
 * 470
 * New
 * 0.08
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 1
 * 79
 * 2,159
 * 0.01
 * 0.41
 * New
 * 0.08
 * New
 * style="text-align:left;" |
 * style="text-align:left;"|–
 * 1
 * 79
 * 2,159
 * 0.01
 * 0.41
 * 79
 * 2,159
 * 0.01
 * 0.41
 * 205
 * colspan="7" style="text-align:left;" | Rejected ballots
 * 4,930
 * 10,302
 * colspan="2"|
 * colspan="7" style="text-align:left;" | Voter turnout
 * 574,255
 * 22,662
 * 76.94
 * 0.78
 * colspan="7" style="text-align:left;" | Registered electors (contested ridings only)
 * 746,414
 * 22,154
 * colspan="2"|
 * colspan="5" style="text-align:left;" | Candidates returned by acclamation
 * 3
 * colspan="4"|
 * }
 * colspan="5" style="text-align:left;" | Candidates returned by acclamation
 * 3
 * colspan="4"|
 * }
 * }

Synopsis of results

 * = open seat
 * = turnout is above provincial average
 * = winning candidate was in previous Legislature
 * = winning candidate was ALN or Conservative incumbent
 * = incumbent had switched allegiance
 * = not incumbent; was previously elected to the Legislature
 * = incumbency arose from byelection gain
 * = previously incumbent in another riding
 * = other incumbents renominated
 * = previously an MP in the House of Commons of Canada
 * = multiple candidates

title: 1936 Quebec general election


text:
Talk:Penalty kick (association football)

Run up to a penalty kick
Hi, I just want to inform you, of the new changes in law 14 from the International Football Association Board for this !!

Sometimes you see the kicker changing speed ( and occasionally direction) or swaying with his body ( to indicate where he will kick) during the run up - sometimes almost stopping, and then speeding up - and occasionally the kicker stops, when he reaches the ball, and waits a second before he kicks - hoping that the goalie will jump to one side, and then kicks to the other side. The above is called

1) feigning during run, and 2) feigning when you reach the ball.

Since june 1.st 2010, it is LEGAL to feign during the run - but feigning when you reach the ball is ILLEGAL - which means , that you have to kick immediately , when you reach the ball.

http://www.proreferee.com/article/4189

http://asktheref.com/Soccer%20Rules/Question/23331/

understandable science (talk) 22:59, 24 June 2010 (UTC)

Hi - the word is "feinting", not "feigning". — Preceding unsigned comment added by 99.73.93.117 (talk) 06:14, 30 October 2014 (UTC)

Changes
Hello again,

Thank you to whoever contributed to this page - there was soem great information!

I have made major changes to the text, to:

 * Give more technically information regarding the kick (rather than the often incorrect popular understanding of it);
 * Remove information specific to certain types of game (eg games as 90mins; whilst this is correct for most adult matches it is not so for all games);
 * Remove incorrect info regarding the kicker "stuttering" etc (whilst this may constitute unsporting behaviour in a caution (yellow card) sense, there is no mention of it being prohibited in the Laws.
 * Clarify the difference between kicks from the penalty mark (ie shootout) and penalty kicks.

Cheers! --DaveB 00:55, 10 Mar 2004 (UTC)

New name?
I think it would be a good idea to rename this page Penalty Kick (Football), as it would thereby be consistent with other related pages (eg Referee (Football), Offside law (football)). --DaveB 00:07, 10 Mar 2004 (UTC)

Merge?
I do not think the proposed merge with Kicks from the penalty mark should be performed, as the two articles cover similar but subtly different aspects of the game - one the act performed in normal play, the other as a tiebreaker. As the procedure for each is different, with different rules governing them, a single merged article would only be confusing, IMHO. I have edited each article, moving the clarification about the difference to the top of the page, to make the distinction more clear. Qwghlm 19:44, 22 Dec 2004 (UTC)

 * I agree they should not be merged: see my comments on the disputed-merge page. --Daveb 18:00, 13 Jan 2005 (UTC)

 * Since no-one has leapt to the defence of the proposed merge, I have removed the merge notices. Qwghlm 00:00, Jan 14, 2005 (UTC)

Strategy
Added a portion on strategy. I thought it was useful to note the difficulties involved for the goalie and to emphasize that most PKs result in goals. Some additional information from the shooter's side would be useful here. Pimlottc 00:26, 3 July 2006 (UTC)

All goalies follow the same rule, because all players necesarily do the same, players look at the place they are going to try to shoot the ball at the time they place the ball on the ground. If they dont look trying to trick the keeper, they will shoot to the center or out. Strategies off shooters try to evoid this, Panenka shot, "paradiña" (full stop off run-off), hard strait shot ( even if the goal keeper dives correctly he wont have time to reach the ball), inside foot shot ( slow launch but on the opisite direction off fist look),passing to a partner, and even backwords ( with out looking at the goalkeeper at the time off kick). —Preceding unsigned comment added by Elloza (talk • contribs) 08:55, 26 May 2010 (UTC)

Questionable statement
This sentence: Goalkeepers are usually not expected to save these kicks, but goalkeepers such as Pepe Reina, Oliver Kahn, Ricardo, Brad Friedel, Artur Boruc, Jens Lehmann, Edwin van der Sar and Mark Schwarzer are noted for their penalty-saving capabilities

needs wiping, having no statistical basis whatsoever. It's just amateurish. Any members of the Ass of Football Stat'ans available?

88.110.16.179 (talk) 10:09, 25 February 2008 (UTC)

Merger
For the discussion on the proposed merger please see here

Lucy-marie (talk) 00:16, 4 April 2008 (UTC)

Taker stopping during the run-up
I thought this was illegal, under the rules, but there is no mention of it in the article. I am sure it used to be. Perhaps someone could look into it. —Preceding unsigned comment added by 137.213.252.3 (talk) 13:12, 22 May 2008 (UTC)

Not true, there are players that dont even run-up at all. And many others launch the penalty kick using the "Paradiña" they stop completle before shooting, this last form is extremely comon. —Preceding unsigned comment added by Elloza (talk • contribs) 08:29, 26 May 2010 (UTC)

Most penalties in a game
Does anyone know what the record is most penalties in a game a. in normal (90 minutes time) and b. in a penalty shoot out. IIRC there was a match inthe 1970s involving Ipswich which had 8 penalties given but Google hasn't been much use. yorkshiresky (talk) 09:47, 30 September 2008 (UTC)

"See also" section
I think it would be useful if there was a "See also" section linking to other "kicks" and football laws.symbolt (talk) 07:19, 23 January 2009 (UTC)

Paradinha
I recently came across this term for stuttering before kicking the ball. It is illegal but the word seems common enough. It might be worth mentioning here or on its own page. — Preceding unsigned comment added by 193.254.175.5 (talk) 07:07, 8 September 2011 (UTC)

Confusing statements in Procedure Section
"Sometimes, however, the ball will rebound from the saving keeper or the woodwork;" gives the connotation that a goal can be scored from rebounding from the woodwork but this is denied in the following statement, "Thus the kicker may play the ball a second time (possibly scoring a goal) if the ball rebounds off the keeper; but not if the ball rebounds directly off the posts without having touched the keeper or any other player." I am not sure as to the correct rule but there is a discrepancy.183.78.60.173 (talk) 12:36, 9 September 2011 (UTC)

 * I have addressed that problem in the the update I just did. DudsBro (talk) 20:15, 22 January 2012 (UTC)

The above problem is still extant in the "Infringements" section, to wit "if the ball rebounds from the goal frame or goalkeeper and such an incident occurs, it is dealt with as in normal play." is not correct as it's not the exact same situation as for normal play. — Preceding unsigned comment added by 99.73.93.117 (talk) 06:20, 30 October 2014 (UTC)

Ball becomes defective
Dear Sir: Laws of the game also do regard to situationes if the ball becomes defective. Do an expert know how to handle? In the past there, in the most part, it was an unluck for kick takers, because the kick was forfeit. The intention in the latest laws of the game is to repeat the kick but I would like to ask: Is there always to decide a repait, or are there other decisions possible (f.e. the ball will rebound from the saving goalkeeper to the kick-taker or a team mate of the kick-taker)? Thank you for your answer! --213.225.5.125 (talk) 11:28, 27 November 2016 (UTC).

Requested move 1 December 2016

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: move to Penalty kick (association football). Clear consensus that Penalty kick should be a disambiguation page. (non-admin closure) Bradv  04:45, 11 December 2016 (UTC)

Penalty kick → Penalty kick (football) – This page should be moved, and penalty kick (disambiguation) moved here. Not sure if the football (soccer) version of penalty kick is the priority topic. Natg 19 (talk) 23:10, 1 December 2016 (UTC)
 * Support Penalty kick could mean such a kick in any one of a number of sports and so the DAB should reside there. The football type is probably the most frequent use of the term but does not meet WP:COMMONNAME. Perhaps Penalty kick (association football) might be a better place for the article to reside, though? --MrStoofer (talk) 11:15, 2 December 2016 (UTC)
 * The position should be the same as for penalty shoot-outs. Penalty shoot-out is a DAB page and then there is a separate page for Penalty shoot-out (association football). --MrStoofer (talk) 11:17, 2 December 2016 (UTC)

*Oppose. The penalty kick in association football/soccer is the clear WP:PRIMARYTOPIC. Zarcadia (talk) 07:27, 3 December 2016 (UTC) In hindsight I accept it's probably not. Zarcadia (talk) 13:26, 10 December 2016 (UTC)
 * Support per nom and MrStoofer. Dicklyon (talk) 06:29, 3 December 2016 (UTC)
 * With the greatest of respect, it just isn't. Penalty kicks are used in rugby (both codes) and are referred to as such in a vast number of reliable sources. Football/soccer obviously gets more coverage than rugby, but not enough to swamp rugby and make football penalties the WP:PRIMARYTOPIC. --MrStoofer (talk) 11:58, 7 December 2016 (UTC)

 * Support. In fact, I would go so far as to create a WP:DABCONCEPT article that provides a general overview of a "penalty kick", or maybe merge it to the similar concept of "penalty shot". Zzyzx11 (talk) 07:25, 6 December 2016 (UTC)
 * Support move to penalty kick (association football) as suggested above by User:MrStoofer, noting that the article at football covers all codes. The idea that this should be the primary topic certainly has its supporters, just as does the idea that football should always mean soccer (or whatever else their favourite and/or local code happens to be). But we take a global perspective. Andrewa (talk) 23:15, 10 December 2016 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

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Possible throw-in after goalkeeper's save
The table (a wonderful one, by the way) now says that Deflected out of bounds by goalkeeper => Corner kick if no rules are broken. However, if the goalkeeper deflects the ball across the side line, the result is a throw-in rather than a corner. Could that be reflected in the table, in an intelligent way? Fomalhaut76 (talk) 14:44, 20 June 2018 (UTC)

Summary -- "position of the goal keeper"
I have deleted an unsourced and incorrect statement in the "Summary" table that the goal keeper could move up to 6 yards off their line between 1937-2010. It has long been the rule that goalkeepers have had to remain on their line until the ball is kicked -- all that has changed over the years is the degree to which they could move around on their line during the kicker's run-up. I have seen this table being quoted on social media so it should be right and properly sourced (or deleted). MrStoofer (talk) 09:49, 26 May 2022 (UTC)


text:
Rhum

Rhum can mean:

 * Rùm, a Scottish island also known as "Rhum"
 * Rhum agricole, French for sugarcane juice rum
 * MV Rhum island class ferry
 * Rhum gasfield, North Sea, UK sector
 * Rhum (actor), in the French short film Gai dimanche

title: Rhum


text:
Talk:German hip hop

Untitled
A couple of points about this page:

 * It's awful - it should be a history, not a list. This is much more important than adding your favorite rappers to the list. This is an encyclopedia, not a fan page.
 * People can't just go around deleting groups they dislike (as was just done with Kool Savas) - as this page is unfortunately currenctly nothing but a list, I'd like to remind of the rules currently agreed on in the list of rappers

 * "Anybody that meets the following criteria is definitely eligible:

Has released a recording on a major label Has worked with a performer already on the list Has recorded for a minor/indie label if that label is reasonably well-established or prominent Has had any kind of hit, even a relatively minor or regional one Has gone on tours that cover a large region or an entire country"

These rules by Tuf-Kat sound reasonable and should be adhered to. Furthermore:

 * This list should be in alphabetical order
 * only groups that fit the gerne should be included (Seeed is a reggae/dancehall group)
 * A brief description of newly added artists would be nice - and why not write about the artist while you're at it...

--Pteron 00:15, 10 Mar 2004 (UTC)

 * Fettes Brot is not underground anymore. They appear on MTV and VIVA (mainstream music television) and sell a lot of records. For example: They won the "Comet" for best act and best song ("Emanuela“) in 2005. The "Comet" is VIVA's maintream award.

Major Overhaul Announcement
As Pteron points out above, the current version of this article is awful. I am in the process of translating the German article into English. I will update this talk page accordingly when I'm done. Acone 06:58, 24 June 2006 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 05:01, 10 November 2007 (UTC)

cleanup needed
this article is way too long. it's full of original research, much of which is awkwardly translated. it's kind of embarrassing to read in parts.. i propose a thorough edit. a lot of it should just be cut, really.Markeilz (talk) 03:24, 8 May 2010 (UTC)

Wrong sources and a wrong view of german rap
You have really not much knowledge of german hip hop in general. I am a german citizen with migration background but i have my A-level graduation and i am listening to german rap for years, mostly to streetrap or however you want to call it in English. The historical part of your article is generally right, there are a lot of details, names and year dates which i not know personally of course. But the way you talk about german rap, like it would be a copy of american rap is totally wrong. You talk like rap would be just a translation of your american rap and that this so called new school gangsterrap would not fit with germany. But you do not know that here live a lot of immigrants, more then in any other european country and that a huge number of them have a complicated life. They live in suburban regions and of course when you live in those housing developments you rap about your environment. But you have your sources and information from articles about groups like puppetmasters or how they are called and groups like them. But really not 5 percent of my generation, the people who are born in the nineties, do know who these rappers are. In the past the rappers copied the americans but today the atmosphere in the german rap scene is mostly anglophobia, that means there is a huge averse to americans. The most young people with migration background and that are 20 million in germany, listen to rappers which are foreigners. And it is totally wrong that we use anglizisms or american slang in our rap texts. Sometimes rappers use some words of arabic or subsaharan languages but never american words or slang. We talk only german in our rap and if there are rappers who would sympathize with american language or the country itself, he would never be taken serious any more. Of course rap comes from america and some parts are in every language assumed but german rap is not copying american rap. German rap is often politically for example against America and the american politic and talks about problem in the social system. It would be good if you would use some actual and sources for your article which represant the general opinion and attitude of the majority of german rap listeners and not the opinion of some old school rappers whith american background of the eighties or nineties who really nobody know any more of the young people today and who nobody interests. That are some advices from a person who live in Frankfurt, a large german town, who is interested only in german rap and its history and who has some knowledge about it. — Preceding unsigned comment added by 217.232.177.121 (talk) 15:13, 10 June 2012 (UTC)

unproven questionable statement
"German Hip-hop artists are predominantly of Turkish-German descent" - i doubt that ! are there many turkish-german hip hop artists, yes are they predominant ? i am not conviced this is true — Preceding unsigned comment added by 46.5.184.243 (talk) 19:38, 23 June 2012 (UTC)

an other unproven questionable statement
"By using a German form of Ebonics[clarification needed] to rap, Turkish-German Hip hop artists display the common need for minorities, when using rap as a vehicle of protest, to use language that is somewhat vulgar and improper to express their outrage towards the wrongs society has done upon them.[8] In other words, Hip-Hop, no matter what the language, demands a specific dialect that is controversial to speak in public, but understood, in order for Hip-Hop to deliver the minority artists' message of rebellion, powerfully." - rappers using 'German Ebonics' or 'kanak sprak' (political correctness alert!) are a minority even when it comes to Turkish-German (or other 'migrant background') rappers/hiphop artist — Preceding unsigned comment added by 46.5.184.243 (talk) 19:43, 23 June 2012 (UTC)

missing point - influence of US armed forces stotioned in Germany
while the article mentiones films as Wild Style and Beat Street it lacks to even mention the influence of members of US armed forces (and their families) stationed in Germany in bringing hip hop to Germany — Preceding unsigned comment added by 46.5.184.243 (talk) 19:47, 23 June 2012 (UTC)

Bad! Article is just shit
“Because German Hip-hop artists are predominantly of Turkish-German descent (which is the largest minority group in Germany) and are constantly marginalized, they embrace Hip-hop as a music for all minorities to use and create a German "ghetto-style" of rapping when not rapping in English”. Maybe today most of all german rap artists are arabic or turkish desencent but the first hip hop formations in the 90s were not. Actually this arcticle is missing nearly all big german hip hop acts: de:Fettes Brot, de:Absolute Beginner, de:Blumentopf, de:Freundeskreis, de:Tobi und das Bo, de:Samy Deluxe, de:Eins Zwo, de:Massive Töne, de:Deichkind etc. In the beginning the major hip hop centers were Stuttgart, Hamburg and Munich. The “ghetto-style“ hip hop emerged later (about 2003 and on). Here the major center ist probably Berlin (de:Sido, de:Bushido, de:Bass Sultan Hengzt, de:Fler, de:KIZ etc.) In the beginning the german hip hop bands were nearly all sons of “upper class“/ “middle class“ families. Today this has changed and there are many many rappers from lower class families / “ghettos” (actually there are no real ghettos in germany...) (or they are turning their image in this direction)--84.175.68.52 (talk) 01:56, 23 February 2013 (UTC)
 * Ranting won't improve the article. Wikipedia is the encyclopedia anyone can edit. Ich901 (talk) 15:05, 23 February 2013 (UTC)

Terrible, biased article
Hello!

This article was clearly written by a German (conclusions based on my experience as a German-English translator, editing German-native's English writing on a regular basis, the word choice and various grammatical/ punctuation errors/peculiarities point to a German-native speaker) with little understanding of hiphop. Moreover, there is a strong possibly that the author holds controversial right-leaning political opinions. The article is ridden with "original research" and flat out opinions.

I do not have time at the moment to go through and replace these errors with good information, but I am going to pare this article down so that only actual facts remain. I am also going to edit it to read more smoothly in English.

I hope that someone who has experience with both American studies and German studies, who hopefully first-hand experience with German pop culture, and who does not hold the cultural-protectionist views of the original author, will have a chance to expand on this article soon. — Preceding unsigned comment added by 217.91.148.123 (talk) 13:36, 19 February 2015 (UTC)

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Turkish-German hiphop
I do not understand why rappers of turkish descant have a special role in this wikipedia article because most German rappers are not of turkish descant. And there are even more rappers of arab origin than turkish in german rap scene. If you mention how rappers with turkish roots influeces the german rap scene than you should also mention how rappers with russian, greek, african, yugoslavian, arab, kurdish and persian roots influence german rap. I have a better suggestion. I would replace „Turkish“ and write „people with a muslim background“ or use the term “Orient“ (https://en.m.wikipedia.org/wiki/Orient) like it is used in Germany (namely for the North African countries and Middle Eastern countries inkl. Afghanistan) because most german Street rappers have roots in these countries. And if you will look at the Spotify Charts the last two years in Germany you will also see that most of rappers have roots in the Orient there. And of these people I would say 40% are arab, 20% kurdish, 20% turkish and 20% persian (Iran and Afghanistan). Also when I think of rappers who have a legend status and influence german rap scene a lot I think of Bushido, Farid Bang, Xatar, Azad, Kurdo, Abdi, Hanybal, Massiv, Motrip, Fard, PA Sports, SSIO or KC Rebell - all of them have an oriental background, but not not a turkish one. And turkish? Only Summer Cem, Kool Savas, Capo, Haftbefehl and Eko Fresh come to my mind. And three of these five rappers are half-kurdish. Jnnc19 (talk) 22:22, 21 March 2019 (UTC) — Preceding unsigned comment added by 2A02:908:1394:C8E0:C1E2:3E93:664:BB5F (talk)

title: Talk:German hip hop


text: User talk:128.59.171.155

title: User talk:128.59.171.155


text:
Robert Pastorelli

Robert Joseph Pastorelli (June 21, 1954 – March 8, 2004) was an American actor.

After he acquired a reputation as a skilled character actor in the 1980s and 1990s, Pastorelli's career went into decline after the death of his girlfriend under mysterious circumstances at his home in 1999. He died of a narcotic overdose in 2004. He was best known as Eldin in Murphy Brown (1988–1994), Johnny C. in Eraser (1996), and Hughey in Michael (1996).

Early life
Pastorelli was born in New Brunswick, New Jersey, the son of Ledo ("Tally") Pastorelli, an insurance salesman and Dorothy ("Dottie"), an artist. His sister, Gwen Pastorelli, is an opera singer and a real estate agent.

He spent his childhood years in Edison, New Jersey, graduating from Edison High School in 1972. He initially intended a career as a professional boxer, but had to abandon the sport due to injuries sustained in a near-fatal high-speed car crash at the age of 19 (he later claimed that he had a "near death" incident at this time, and that he had experienced himself looking down from above upon his body in the hospital bed with his father at the bedside overcome with grief). He acquired a narcotic habit in his early twenties prior to his acting career that he overcame, but he would relapse throughout his later life.

Theater career
He entered the acting profession via New York City theater in the late 1970s after studying at the New York Academy of Theatrical Arts and the Actors Studio, financially maintaining himself by working as a bartender and a male exotic dancer. In 1977 he made his stage debut in a production of Rebel Without a Cause. He also performed in productions of The Rainmaker, and Death of a Salesman. Later in his career he performed at London's South Bank theater in A Streetcar Named Desire in 2002.

Hollywood
In 1982 Pastorelli headed west to Los Angeles seeking opportunities in Hollywood. Spending the early 1980s employed in television bit-part appearances, he found a niche playing streetwise characters, appearing also in supporting roles in the cinema films Outrageous Fortune (1987) and Beverly Hills Cop II (1987). His first substantial cinematic role came with Dances with Wolves (1990). His big break in television came with the role of the gruff but lovable house painter Eldin Bernecky on the series Murphy Brown, which was a ratings hit, and he stayed with the show for seven seasons from 1988 to 1994. Murphy Brown producer Diane English was sufficiently impressed with his abilities that she worked with him to produce his first starring vehicle, the television sitcom Double Rush which lasted one season in 1995. Two years later, he starred in the American adaptation of the British detective series Cracker (1997–1999).

As his television career gained momentum Pastorelli's opportunities in cinema roles increased: Sister Act 2: Back in the Habit (1993); a career defining performance playing a demented serial killer in the 1993 murder mystery thriller Striking Distance; Eraser (1996), Michael (1996), and Modern Vampires (1998).

Charemon Jonovich shooting
On the evening of March 15, 1999, during an incident at his Hollywood home, Pastorelli's 25-year-old girlfriend, Charemon Jonovich, was killed by a gunshot to the head. During the authorities' investigation that followed, Pastorelli testified that in the midst of an argument between the two of them, she suddenly produced a handgun and killed herself. The incident was investigated as an accident or suicide, and the Los Angeles Department of Coroner declared the cause of death undetermined.

Final years
Pastorelli was exonerated of responsibility for Charemon Jonovich's death and received public expressions of sympathy within Hollywood and from the Los Angeles media, but his career went into noticeable decline afterwards. He appeared in two more cinema productions in small roles in the early 2000s as well as some minor supporting roles in television productions. He developed a friendship with Glenn Close towards the end of his career, and appeared alongside her in the television films The Ballad of Lucy Whipple, and in South Pacific in 2001. In 2002 he again appeared alongside her at London's Royal National Theatre in a performance of Tennessee Williams' A Streetcar Named Desire. In 2002 he co-founded the Garden State Film Festival. His posthumous final screen appearance was in the film Be Cool (2005).

Death
Pastorelli was found dead at the age of 49 at his home in the Hollywood Hills on March 8, 2004, from a narcotics overdose. The Coroner's Office reported Pastorelli died of a "fatal blood concentration of morphine". Pastorelli's body was interred in the mausoleum at Saint Catharine's Cemetery in Sea Girt, New Jersey.

Personal life
Pastorelli had two daughters, Gianna Li Pastorelli (born February 6, 1998) with Charemon Jonovich, and Giannina Marie Pastorelli (born March 6, 2000) with his then-girlfriend, Jalee Carder.

title: Robert Pastorelli


text:
New Brunswick Route 15

Route 15 is 79 km long and is in the southeastern corner of the province of New Brunswick. Starting at the north end of the Petitcodiac River Causeway, it loops around the city of Moncton on Wheeler Boulevard, then turns northeast from Dieppe to Shediac. From there, it turns east and bypasses Cap-Pelé crossing the Scoudouc River, then southeast to meet the Trans-Canada Highway at Port Elgin. The highway is a divided freeway from Moncton to just east of Shediac, where it remains a controlled-access highway until east of Cap-Pele.

History
Route 15 only extended from Shediac to Strait Shores until the early 1970s, when the Shediac Four-Lane Highway (the first rural expressway in New Brunswick) was built from Dieppe to Shediac. Its construction was controversial, with critics alleging that it was only built to give Moncton-area politicians better access to their summer cottages in the Shediac area. A two-lane bypass of Shediac itself was built shortly afterward.

The Wheeler Boulevard was developed and constructed through the 1970s and 1980s, and was fully complete by 1989.

A two-lane bypass of Cap-Pele opened to traffic in 1998.

In 2012, a section of this highway between Moncton and Shediac was designated "Veteran's Memorial Highway".

title: New Brunswick Route 15


text:
Richard Hoagland

Richard Hoagland may refer to:

 * Richard C. Hoagland (born 1945), fringe researcher, famous for his theories on the Face on Mars
 * Richard E. Hoagland (born 1950), U.S. diplomat

title: Richard Hoagland


text:
Minced oath

A minced oath is a euphemistic expression formed by deliberately misspelling, mispronouncing, or replacing a part of a profane, blasphemous, or taboo word or phrase to reduce the original term's objectionable characteristics. An example is "gosh" for "God", or fudge for fuck.

Many languages have such expressions. In the English language, nearly all profanities have minced variants.

Formation
Common methods of forming a minced oath are rhyme and alliteration. Thus the word bloody can become blooming, or ruddy. Alliterative minced oaths such as darn for damn allow a speaker to begin to say the prohibited word and then change to a more acceptable expression. In rhyming slang, rhyming euphemisms are often truncated so that the rhyme is eliminated; prick became Hampton Wick and then simply Hampton. Another well-known example is "cunt" rhyming with "Berkeley Hunt", which was subsequently abbreviated to "berk". Alliteration can be combined with metrical equivalence, as in the pseudo-blasphemous "Judas Priest", substituted for the blasphemous use of "Jesus Christ".

Minced oaths can also be formed by shortening: e.g., b for bloody or f for fuck. Sometimes words borrowed from other languages become minced oaths; for example, poppycock comes from the Dutch pappe kak, meaning 'soft dung'. The minced oath blank is an ironic reference to the dashes that are sometimes used to replace profanities in print. It goes back at least to 1854, when Cuthbert Bede wrote "I wouldn't give a blank for such a blank blank. I'm blank, if he doesn't look as if he'd swallowed a blank codfish." By the 1880s, it had given rise to the derived forms blanked and blankety, which combined gave the name of the long-running British TV quiz show Blankety Blank. In the same way, bleep arose from the use of a tone to mask profanities on radio.

History
The Cretan king Rhadamanthus is said to have forbidden his subjects to swear by the gods, suggesting that they instead swear by the ram, the goose or the plane tree. Socrates favored the "Rhadamanthine" oath "by the dog", with "the dog" often interpreted as referring to the bright "Dog Star", i.e., Sirius. Aristophanes mentions that people used to swear by birds instead of by the gods, adding that the soothsayer Lampon still swears by the goose "whenever he's going to cheat you". Since no god was called upon, Lampon may have considered this oath safe to break.

Michael V. Fox says there are minced oaths in the Bible: the Hebrew words ṣᵉba’ot 'gazelles' and ’aylot haśśadeh 'wild does' are circumlocutions for titles of God, the first for either (’elohey) ṣᵉba’ot '(God of) Hosts' or (YHWH) ṣᵉba’ot '(Yahweh is) Armies' and the second for ’el šadday 'El Shaddai'. The New English Translation footnotes dispute this interpretation of the Hebrew.

The use of minced oaths in English dates back at least to the 14th century, when "gog" and "kokk", both euphemisms for God, were in use. Other early minced oaths include "Gis" or "Jis" for Jesus (1528).

Late Elizabethan drama contains a profusion of minced oaths, probably due to Puritan opposition to swearing. Seven new minced oaths are first recorded between 1598 and 1602, including 'sblood for "By God's blood" from Shakespeare,  'slight  for "God's light" from Ben Jonson, and  'snails  for "God's nails" from the historian John Hayward. Swearing on stage was officially banned by the Act to Restrain Abuses of Players in 1606, and a general ban on swearing followed in 1623. Other examples from the 1650s included  'slid for "By God's eyelid" (1598), 'sfoot for "By God's foot" (1602), and gadzooks for "By God's hooks" (referring to the nails on Christ's cross). In the late 17th century, egad meant oh God, and ods bodikins for "By God's bodkins [i.e. nail]s" in 1709.

In some cases the original meanings of these minced oaths were forgotten; the oath 'struth (By God's truth) came to be spelled strewth. The oath Zounds and related Wounds changed pronunciation in the Great Vowel Shift, but the normal word wound did not (at least not in RP), so that they no longer sound like their original meaning of "By God's wounds".

Acceptability
Although minced oaths are not as strong as the expressions from which they derive, some audiences may still find them offensive. One writer in 1550 considered "idle oaths" like "by cocke" (by God), "by the cross of the mouse foot", and "by Saint Chicken" to be "most abominable blasphemy". The minced oaths "'sblood" and "zounds" were omitted from the Folio edition of Shakespeare's play Othello, probably as a result of Puritan-influenced censorship. In 1941, a United States federal judge threatened a lawyer with contempt of court for using the word "darn". Zounds may sound amusing and archaic to the modern ear, yet as late as 1984 the columnist James J. Kilpatrick recalled that "some years ago", after using it in print, he had received complaints that it was blasphemous because of its origin as "God's wounds". (He had written an article entitled "Zounds! Is Reagan Mad?" in the Spartanburg Herald for 12 June 1973, and also used "zounds" in June 1970.)

Literature and censorship
It is common to find minced oaths in literature and media. Writers sometimes face the problem of portraying characters who swear and often include minced oaths instead of profanity in their writing so that they will not offend audiences or incur censorship. One example is The Naked and the Dead, where publishers required author Norman Mailer to use the minced oath "fug" over his objections. Somerset Maugham referred to this problem in his novel The Moon and Sixpence (1919), in which the narrator explained that "Strickland, according to Captain Nichols, did not use exactly the words I have given, but since this book is meant for family reading, I thought it better—at the expense of truth—to put into his mouth language familiar to the domestic circle".

J. R. R. Tolkien pretends a similar mincing of profanity in The Lord of the Rings, stating in Appendix F of the novel: "But Orcs and Trolls spoke as they would, without love of words or things; and their language was actually more degraded and filthy than I have shown it. I do not suppose that any will wish for a closer rendering, though models are easy to find."

title: Minced oath


text:
Michael Snow

Michael James Aleck Snow (December 10, 1928 – January 5, 2023) was a Canadian artist who worked in a range of media including film, installation, sculpture, photography, and music. His best-known films are Wavelength (1967) and La Région Centrale (1971), with the former regarded as a milestone in avant-garde cinema.

Life
Michael James Aleck Snow was born in Toronto on December 10, 1928. He studied at Upper Canada College and the Ontario College of Art. He had his first solo exhibition in 1957. Snow exhibited with the Isaacs Gallery in Toronto throughout the 1960s, becoming even more involved with the gallery upon his return to Toronto in 1971. In the early 1960s Snow moved to New York with his wife, artist Joyce Wieland, where they remained for nearly a decade. For Snow this move resulted in a proliferation of creative ideas and connections and his work increasingly gained recognition. He returned to Canada in the early 1970s "an established figure, multiply defined as a visual artist, a filmmaker, and a musician."

His work has appeared at exhibitions across Europe, North America and South America. Snow's works were included in the shows marking the reopening of both the Centre Pompidou in Paris in 2000 and the MoMA in New York in 2005. In March 2006, his works were included in the Whitney Biennial.

Snow's first wife was fellow artist Joyce Wieland, whom he married in 1956. The couple moved to New York City in 1963, but they moved back to Toronto about a decade later and divorced in 1976. In 1990, he married curator and writer Peggy Gale, and they had one son. He was the uncle of filmmaker and video artist Su Rynard.

Snow died from pneumonia in Toronto on January 5, 2023, at the age of 94.

Films
Snow is considered one of the most influential experimental filmmakers of all time. Annette Michelson, in writing about Snow, his 1967 film Wavelength, and his films in general, speaks of the impact of Snow's films, placing viewers in a "position to more fully understand the particular impact of Snow's filmic work from 1967 on, to discern the reasons for the large consensus given" to Wavelength when it was honoured with the Grand Prize at the 1967 Experimental Film Festival EXPRMNTL 4 in Knokke, Belgium, and that "Wavelength, [appears] as a celebration of the 'apparatus' and a confirmation of the status of the subject, and it is in those terms that we may begin to comprehend the profound effect it had upon the broadest spectrum of viewers...." Wavelength has been the subject of numerous retrospectives internationally. Film scholar Scott MacDonald says of Snow that "[f]ew filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow, whose Wavelength is probably the most frequently discussed 'structural' film."

Wavelength has been designated and preserved as a masterwork by the Audio-Visual Preservation Trust of Canada and was named #85 in the 2001 Village Voice critics' list of the 100 Best Films of the 20th Century.

Snow's films have premiered in film festivals worldwide and five of his films have premiered at the Toronto International Film Festival (TIFF). In 2000, TIFF commissioned Snow, along with Atom Egoyan and David Cronenberg, to make a series of short films collectively titled Preludes, for the 25th Anniversary of the festival.

In his Village Voice review of Snow's 2002 film *Corpus Callosum, J. Hoberman writes that Snow's films are "[r]igorously predicated on irreducible cinematic facts [and] Snow's structuralist epics—Wavelength and La Région Centrale—[announce] the imminent passing of the film era. Rich with new possibilities, *Corpus Callosum heralds the advent of the next. Whatever it is, it cannot be too highly praised." *Corpus Callossum was screened at the Toronto, Berlin, Rotterdam, and Los Angeles film festivals amongst others. In January 2003, Snow won the Los Angeles Film Critics Association's Douglas Edwards Experimental/Independent Film/Video Award for *Corpus Callosum.

Music
Originally a professional jazz musician, Snow has a long-standing interest in improvised music, as indicated by the soundtrack to his film New York Eye and Ear Control. As a pianist, he has performed solo and with other musicians in North America, Europe and Japan. Snow performed regularly in Canada and internationally, often with the improvisational music ensemble CCMC and has released more than a half dozen albums since the mid-1970s. In 1987, Snow issued The Last LP (Art Metropole), which purported to be a documentary recording of the dying gasps of ethnic musical cultures from around the globe including Tibet, Syria, India, China, Brazil, Finland and elsewhere, with thousands of words of pseudo-scholarly supplementary notes, but was, in fact, a series of multi-tracked recordings of Snow himself, who gave the joke away only in a single column of text in the disc's gatefold jacket, printed backwards and readable in a mirror. One track, purported to be a document of a coming-of-age ritual from Niger, is a pastiche of Whitney Houston's song "How Will I Know."

Snow, with Richard Serra, James Tenney and Bruce Nauman, performed Steve Reich's Pendulum Music on May 27, 1969 at the Whitney Museum of American Art.

Other media

Before Snow moved to New York in 1963, he began a long-term project that for six years would be his trademark: the Walking Woman. Martha Langford in Michael Snow: Life & Work describes this work as employing a single form that offered an infinite number of creative possibilities, the figure itself perceived variably as "a positive (a presence to be looked at) and a negative (an absence to be looked through)." His 1962 work Four to Five consisted of a grid of photographs of the Walking Woman placed in Toronto streets and subway stations, inviting the viewer to consider how public space transforms the sculpture.

Langford identifies duality as a guiding principle in Snow’s work. By combining materials and methods Snow creates hybrid objects that often defy classification. A work which exemplifies Snow's testing of stylistic boundaries is his 1979 installation Flight Stop (also titled Flightstop), a site-specific work in Toronto's Eaton Centre mall, which looks like a sculptural representation of sixty geese, but is in fact an intricate combination of fibreglass forms and photographs of a single goose.

In 1982, Snow sued the corporate owner of the Toronto Eaton Centre for violating his moral rights by altering Flight Stop. In the landmark case Snow v Eaton Centre Ltd, the Ontario High Court of Justice affirmed the artist's right to the integrity of their work. The operator of the Toronto Eaton Centre was found liable for violating Michael Snow's moral rights by putting Christmas bows on the work.

Snow's works have been in Canadian pavilion at world fairs since his Walking Women sculpture was exhibited at Expo 67 in Montréal. He was chosen to represent Canada at the Venice Biennale in 1970; this was the first solo exhibition held at the Biennale's Canadian Pavilion. His bookwork BIOGRAPHIE of the Walking Woman / de la femme qui marche 1961-1967 (2004) was published in Brussels by La Lettre vole. It consists of images of the public appearances of his globally famous icon.

Anarchive2: Digital Snow describes Michael Snow as "one of the most significant artists in contemporary art and cinema of the past 50 years." This 2002 DVD was initiated by Paris’ Centre Pompidou and was produced with the support of la foundation Daniel Langlois, Université de Paris, Heritage Canada, the Canada Council, Téléfilm Canada and Montreal’s Époxy. It is an encyclopedia of Snow's works across media, browsed in a manner inimitably and artfully created by Snow. Its 4,685 entries include film clips, sculpture, photographs, audio and musical clips, and interviews.

Retrospectives and honours

In 1993, The Michael Snow Project, lasting several months, was a multivenue retrospective of Snow’s works in Toronto exhibited at several public venues and at the Art Gallery of Ontario and The Power Plant. Concurrently his works were the subjects of four books published by Alfred A. Knopf Canada. Snow has shown internationally in both galleries and cinemas, including a retrospective of his work at the British Film Institute, London where his celluloid works were shown in the cinemas and his digital works in the gallery (The BFI Gallery). The project, titled 'Yes Snow Show', took place in 2009 and was co-curated by Elisabetta Fabrizi and Chris Meigh-Andrew.

In 1981, he was made an Officer of the Order of Canada and was promoted to Companion in 2007 "for his contributions to international visual arts as one of Canada’s greatest multidisciplinary contemporary artists". In 2000 he was one of the seven first winners of the Governor General’s Award in Visual and Media Arts.

In 2004, the Université de Paris I, Panthéon-Sorbonne awarded him an honorary doctorate. The last artist so awarded was Pablo Picasso. In 2006, Lima's Museum of Art (MALI) held a selective retrospective exhibition as well as a screening of his films in Peru, as part of the Vide/Art/Electronic Festival.

Honorary degrees
Université de Paris I, Panthéon-Sorbonne (2004), Emily Carr Institute, Vancouver (2004) Nova Scotia College of Art and Design, Halifax (1990), University of Toronto (1999), University of Victoria (1997), Brock University (1975).

Academic appointments

 * Visiting Artist/Professor at MAPS (Master of Art in Public Sphere), Ecole Cantonale d’Art du Valais, Sierre, Switzerland (February 2005, January 2006)
 * Visiting Artist/Professor at L’école Nationale Supérieure d’Art de Bourges, France. (December 2004, May 2005)
 * Visiting Artist/Professor, École nationale supérieure des Beaux-Arts, Paris, 2001
 * Visiting Artist/Professor, le Fresnoy, Tourcoing France, 1997-8
 * Visiting Professor, l'Ecole Nationale de la Photographie, Arles France, 1996
 * Visiting Professor, Princeton University, 1988
 * Professor of Advanced Film, Yale University, 1970
 * CCMC artists in residence, La Chartreuse, Avignon Festival, France, 1981

Other awards

 * Gershon Iskowitz Prize, 2011
 * Los Angeles Film Critics Association Award for Independent/Experimental Film and Video Award for "*Corpus Callosum", 2002
 * Queen’s Golden Jubilee Medal, 2002
 * Governor General’s Award in Visual and Media Arts, 2000
 * Chevalier de l'ordre des arts et des lettres, France, 1995
 * Los Angeles Film Critics Association Award for Independent/Experimental Film and Video Award for "So Is This", 1983
 * Guggenheim Fellowship, 1972
 * Grand Pix of the Knokke Experimental Film Festival for "Wavelength", 1967
 * Member, Royal Canadian Academy of Arts

Major installations

 * "The Windows Suite" is a permanent installation consisting of 32 varied sequences of images, which are presented on 65" plasma screens in 7 of the windows of the façade of the Toronto Pantages Hotel and Spa and related condo buildings facing Victoria Street in central Toronto. Some of these sequences one might possibly glimpse in the windows of a sophisticated hotel, condo, spa and parking garage building, but many sequences are "impossible," e.g. in one sequence fish swim from window to window. This installation was opened as an official event of the Toronto International Film Festival September 2006.
 * Flight Stop - Toronto Eaton Centre a collection of life sized Canada geese in flight hanging over the main section of the mall. In 1982, the installation was the subject of a leading Canadian court decision on moral rights, Snow v. The Eaton Centre Ltd.
 * The Audience (1989) - SkyDome (now Rogers Centre in Toronto) is a collection of larger than life depictions of fans located above the northeast and northwest entrances. Painted gold, the sculptures show fans in various acts of celebration.

Filmography

 * A to Z (1956)
 * New York Eye and Ear Control (1964)
 * Short Shave (1965)
 * Wavelength (1967)
 * Standard Time (1967)
 * One Second in Montreal (1969)
 * Dripping Water (with Joyce Wieland, 1969)
 * <> or Back and Forth (1969)
 * Side Seat Paintings Slides Sound Film (1970)
 * La Région Centrale (1971)
 * Two Sides to Every Story (double 16mm installation, 1974)
 * "Rameau's Nephew" by Diderot (Thanx to Dennis Young) by Wilma Schoen (1974)
 * Breakfast (Table Top Dolly) (1976)
 * Presents (1981)
 * So Is This (1982)
 * Seated Figures (1988)
 * See You Later (1990)
 * To Lavoisier, Who Died in the Reign of Terror (1991)
 * Prelude (2000)
 * The Living Room (2000)
 * Solar Breath (2002)
 * *Corpus Callosum (2002)
 * WVLNT ("Wavelength For Those Who Don't Have the Time") (2003)
 * Triage (2004), with Carl Brown
 * SSHTOORRTY (2005)
 * Reverberlin (2006)
 * Puccini Conservato (2008)
 * Cityscape (2019)

title: Michael Snow