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Green room

In show business, the green room is the space in a theatre or similar venue that functions as a waiting room and lounge for performers before, during, and after a performance or show when they are not engaged on stage. Green rooms typically have seating for the performers, such as upholstered chairs and sofas.

The origin of the term is often ascribed to such rooms historically being painted green. Modern green rooms need not necessarily adhere to a specifically green color scheme, though the theatrical tradition of the name remains.

Some English theatres contained several green rooms, each ranked according to the status, fame, and salary of the actor: one could be fined for using a green room above one's station.

Possible sources of the term

The definitive origin of the term 'green room' is lost to history, which has led to many theories and claims.

One of the oldest stories is that London's Blackfriars Theatre (1599) included a room behind the scenes, where the actors waited to go on stage, which happened to be painted green, and was called "the green room". A later renovation of London's Cockpit-in-Court theatre in 1662 included a green baize dressing room, which has also been suggested as the origin of the term. It has also been theorised that such waiting rooms were originally painted green to "relieve the eyes from the glare of the stage." On the other hand, early stage lighting was by candlelight and later by gaslight, so the "glare" might well be apocryphal, a modern reference to bright stage lighting.

Richard Southern, in his studies of medieval theatre in the round, states that in this period the acting area was referred to as 'the green'. This central space, often grass-covered, was used by the actors, while the surrounding space and circular banks were occupied by the spectators; Southern states that 'the green' has been a traditional actors' term for the stage ever since. Even in proscenium arch theatres, there was a tradition that a green stage cloth should be used for a tragedy. The green room could thus be considered the transition room on the way to the green/stage. Technical staff at some West End theatres (such as the London Coliseum) still refer to the stage as 'the green'.

It is sometimes said that the term 'green room' was a response to limelight, though the name is merely a coincidence – "limelight" refers to calcium oxide, not to the fruit or colour. Furthermore, limelight was invented in 1820 and the term "green room" was used many years prior to that. The term 'green room' is also attributed to the makeup worn by actors; long before modern makeup was invented, the actors had to apply makeup before a show and allow it to set up or cure before performing. Until the makeup was cured, it was 'green', and people were advised to sit quietly in the 'green room' until such time as the makeup was stable enough for performing.

It is possible that 'green room' might be a corruption of 'scene room', the room where scenery was stored which doubled as the actors' waiting and warm-up room. Many actors also experience nervous anxiety before a performance, and one of the symptoms of nervousness is nausea. As a person who feels nauseous is often said to look "green", suggesting that the 'green room' is the place where the nervous actors wait. Comedian and dancer Max Wall attributes the phrase to Cockney rhyming slang, where 'greengage' is 'stage', therefore 'greengage room' is 'stage room'; like most rhyming slang, the term was shortened, hence '"green" room'. Rhyming slang can be traced only as early as the 1840s, whereas the phrase "green room" predates this by several centuries, making such an etymology unlikely.

"Tiring houses"
In Shakespeare's day, the actors waited in a "tiring house" probably because actors were attired (put on or changed costumes) in this space. Here it is mentioned by Peter Quince as he plans for his acting troupe to rehearse in the woods:

"QUINCE: Pat, pat; and here's a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring-house; and we will do it in action as we will do it before the duke."

- A Midsummer Night's Dream (approx 1595) - Act 3 Scene 1

Samuel Pepys mentions these locations at the Drury Lane Theatre Royal in 1667:

"...she took us up into the Tireing-rooms and to the women's Shift, where Nell was dressing herself and...then below into the Scene-room, and...here I read the Qu's (cues) to Knepp while she answered me, through all her part of Flora's Figarys..."

- Samuel Pepys

Other mentions

 * Thomas Shadwell's Restoration comedy, A True Widow (1678), mentions in Act Four: Stanmore : "No madam: Selfish, this Evening, in a green Room, behind the Scenes, was before-hand with me..."
 * The term "green room" is mentioned in Colley Cibber's Love Makes a Man (1701). "I do know London pretty well, and the Side-box, Sir, and behind the Scenes; ay, and the Green-Room, and all the Girls and Women~Actresses there."
 * In his Life of Samuel Johnson (1791), James Boswell mentions visits by his subject to the Green Room at the Drury Lane Theatre.
 * In 1792, Joseph Haslewood published a collection of memoirs of the actors and actresses of the London theatres entitled The Secret History of the Green-Room, while 1796 saw the first edition of John Roach's similarly themed Authentic Memoirs of the Green-Room.
 * In the Jane Austen novel Mansfield Park (1814), when the Bertram children convert the billiard room into a theatre, Tom Bertram notes, "And my father's room will be an excellent green-room. It seems to join the billiard room on purpose."
 * In the 1853 Charlotte Brontë novel Villette the narrator refers to the green-room when preparing for a performance in an amateur play.
 * Jerome K. Jerome's first book comically describes his stint in English theatre during the late 1870s. "There was no green room. There never had been a green room. I never saw a green room, except in a play, though I was always on the lookout for it."
 * The green room is mentioned in the Sherlock Holmes short story "The Man with the Twisted Lip" by Sir Arthur Conan Doyle. "When an actor I had, of course, learned all the secrets of making up, and had been famous in the green-room for my skill."
 * Within the context of international organizations such as the World Trade Organization (WTO), the "Green Room meeting" refers to a process in which ambassadors seek consensus informally under the chairmanship of the Director-General. "Green Room meetings often run until the early hours of the morning and can stretch out for days. They can also be tense and dramatic settings in which nerves are taut and tempers evident." The Director-General meeting room at the WTO headquarters Centre William Rappard is called the Green Room since the time the building was occupied by the International Labour Office.

title: Green room


text:
Category talk:Cricket

Category tree
I put this on User talk:Securiger and thought it may be relevant here!

Cricket history \                                  --Cricket /                     /   /                    Australian cricket--\    Cricket rules  / /                 \                 /                     /                 Australia          / /                  /                /                                 /       Australian people            / /        /               \          /                 /         /               People     / /        /                   /      /           Australian cricketers                Cricketers /            \                  /    /          /             Cricketers by nation    / /                                    /           Australian batsmen - Batsmen --- Cricketers by skill /                        / Ricky Ponting --- Tasmanian batsmen ...

 * Mmm - I guess we should think about sub-categories (perhaps starting with the classifications used in list of cricket topics?), rather than dumping all cricket articles in [Category:Cricket] . -- ALoan (Talk) 17:21, 2 Jun 2004 (UTC)

 * Sounds good to me. I was thinking we should start doing this, at least for a Cricketers subcategory. But the amount of work involved was too daunting for me to start! But by all means, I'm in support of it if you want to get it off the ground. :-) -- dmmaus 22:57, 2 Jun 2004 (UTC)

 * Well it will only be a day or two until most of the subcategories are created. The good thing about specific groups, I guess, is that once someone is in "Australian batsmen" and you want to change some groups above that, you only need to change "Australian batsmen"'s category, not all the individuals.  I've already made some changes from the diagram above (eg. sportspeople between "Cricketers" and "People", "Australian cricketers" and "Australian people") --Chuq 23:11, 2 Jun 2004 (UTC)

 * Whoa! I see you've started. Before you go too far, I think splitting players by skill is going too far. Who says who qualifies as a batsman or a bowler or an all-rounder? The boundaries are a bit too subjective for my liking. And besides, I'd rather look at a list of cricketers than a list of batsmen and a list of bowlers and so on. -- dmmaus 01:01, 3 Jun 2004 (UTC)

 * Most cricketers who have existing WP entries have batsman, bowler, keeper or all-rounder in their intro paragraphs. If it's border-line, they're an all-rounder :)  If still unsure, just list directly under cricketers! Chuq 04:02, 3 Jun 2004 (UTC)

 * Hmmm, okay. I guess I'll live with it. :-) --dmmaus 08:17, 3 Jun 2004 (UTC)

I think cricketers should 'not' be included in the Category:Cricket, as they fall under it hierarchically by the above scheme (now partially implemented). If all the cricketers were to be listed here they would swamp the other cricket topics. If there are no objections, I'm going to start removing Category:Cricket from cricketer bios in a day or two. (and replace them with Category:English batsmen, etc, as appropriate) --dmmaus 06:29, 9 Jun 2004 (UTC)

 * I've added categories to all the players in List of cricketers (except Tim Curtis, who looks like a vanity article to me). I'm now waiting for Wikipedia to update the categories so I can see how they look. I'm removing "by skill" from "Australian batsmen by skill" and "English batsmen by skill" because it's a redundant intermediate category that isn't needed (see diagram above). --dmmaus 01:13, 12 Jun 2004 (UTC)

 * My mistake... Tim Curtis did play Test cricket! pretty poor record though! --dmmaus 01:15, 12 Jun 2004 (UTC)

Here's how I see Cricket being subcategorised at the moment. Note most of these categories have not yet been created.

My one concern is over Category:Bowlers. At the moment, nobody else is using it, but it could potentially conflict with non-cricket usage. I'm wondering if we should use Category:Cricket bowlers instead. If we didn't already have just Category:Batsmen I might suggest we precede all the skill names with "Cricket", but it's non-trivial to change it now. So before we create any more, what do people think? --dmmaus 02:33, 12 Jun 2004 (UTC)

 * I'm not going to argue if you have time to sort it all out (!) but surely we also think we need some sub-categories to deal with things other than cricketers. I think we could sensibly organise articles in sub-categories for, for example, bowling, types of cricket, cricket teams, and so on - as I said above, the classifications used in list of cricket topics would be a reasonable place to start, but amending the existing categorisations is non-trivial. -- ALoan (Talk) 22:12, 12 Jun 2004 (UTC)

 * I'm not convinced there's enough material to warrant further subcategorisation like that. Personally, I'd rather see 100 links in one category about cricket than links to 15 subcategories, each containing 6 or 7 items. If the number gets much bigger, sure, splitting them up could be useful to make it manageable, but I don't think it's too big just yet, although I'll concede much beyond 100 will start to get unwieldy. That's my opinion of course. Maybe we can tackle it in a few weeks/months when there's more articles (and we have more time)? --dmmaus 01:30, 13 Jun 2004 (UTC)

Structure of cricket categorisation
[comments copied from User talk:ALoan and User talk:Duncharris ]

No rush here, but I have some issues with your categorisation of cricketers. Firstly, I think they ought to be in the top level, e.g. Secondly, I find the terms such as "English bowlers" ambiguous as I think that should be reserved for somebody who plays bowls. If we look at what happens elsewhere, it might be an idea to put Steve Harmison in category:English cricketers and category:bowlers (cricket) say. What do you think? Dunc_Harris|☺ 22:25, 27 Aug 2004 (UTC)

 * Thanks for your comment on the categorisation of cricketers. Although I helped to implement it, it's not actually my categorisation, but was developed by dmmaus and others - see Category_talk:Cricket.

 * I see what you mean about a category being needed for English people who play bowls. However, given that (i) Category:English bowlers is already set up and populated by cricket players (and reflects the same categories that were set up for the other major cricket-playing nations), and (ii) (not denigrating bowls) I expect that the cricket category would have more entries than a bowls category, my preference would be for the cricket categorisation to stay the same and a bowls categorisation structure to be set up separately, say Category:English bowls players.

 * I'll copy the above (and your initial comment) to Category_talk:Cricket.

-- ALoan (Talk) 12:48, 31 Aug 2004 (UTC)

Cricket Categories
Here is a statement which was inserted on the category page. It wasn't appropriate to put so much text there, and now User:Jack has announced his departure. [...] —Preceding unsigned comment added by Chicheley (talk • contribs) 2006-06-24T19:02:00

 * And now he announces his return! ;-) --Jack 04:11, 27 June 2006 (UTC)

 * Fixed username confusion in above comments per diff. -- Jeandré, 2008-07-10t08:56z

Purpose
The essential purpose of this category is to act as the root for the entire cricket hierarchical structure within WP. Using a methodical, structured, top-down approach, it should be relatively easy for any reader or contributor to locate a relevant sub-category at the appropriate level of the structure.

Ideally, there should never be more than about a dozen sub-categories under one category at any level (in cricket terms, the limit is the XI with perhaps a 12th man added on!). That being so, the ideal position in this folder is to have a reduced number of categories by means of merger or relegation.

It is very important to appreciate the difference between the generic and the specific. This folder is very much generic and so it should not contain pages that are appropriate to specific categories. This principle applies throughout the structure. So, whereas it is entirely appropriate to find the generic article Cricket in this root folder, it is not appropriate to find Ian Botham here: try category:Cricket people for starters.

The proposed structure, as described in the various discussion pages is as follows and this will be implemented from Sat 1 July 2006 subject to feedback received.

3 proposed pages:
 * Cricket
 * Portal:Cricket
 * WikiProject Cricket

10 proposed main categories (level 2):
 * Cricket by country (1) – each country has own cat at level 3 (status quo except that level 3 is for holding cats only)
 * Cricket culture (2) – standalone repository to capture the miscellany, the peripherals, the trivials, the wider picture, etc.
 * Forms of cricket (3) – first-class, Test, local clubs, under-19, etc. – histories of each to be in sub-cats
 * Cricket images (4) – standalone repository to be stored directly under root for reference purposes
 * Cricket (in the) media (5) – anything re books, broadcasting, journalism, film, computers, etc. Currently proposed for renaming.
 * Cricket organisation and governance (6) – admin, scoring, venues, comps, equipment, awards, Laws, records, stats, etc.
 * Cricket people (7) – players, umpires, writers, administrators, etc – every article to be re an individual
 * Cricket skills (8) – batting, bowling, fielding, keeping, captaincy, umpiring – onfield activities only
 * Cricket stubs (9) – standalone repository to be stored directly under root for reference purposes
 * Cricket terminology (10) – standalone repository to be stored directly under root for reference purposes

The page List of cricket topics is to be considered for proposed deletion, as is List of cricketers in the people category.

The history category is currently under comprehensive review and most if not all articles and sub-cats will be redeployed at more appropriate or relevant locations in the structure, especially under country, people and competition categories. This is subject to handling of the generic history items.

This has become something like Topsy that has "just growed".

It has been evident to me for some time that there is no structure to the categories; that there are stray articles all over the place; that categories that were designed for generic items and as "holding categories" for relevant sub-categories are simply being used as additional bases for specific articles; and that what we have here is another fine mess.

What makes it worse is that I have been trying to get other cricket people interested in using WP for cricket reference and their feedback has been critical to say the least.

We MUST have a top-down structure to categories and we must stop piling things ad hoc into useless lists. If we have a structured categorisation, the lists will be redundant (they are anyway) and readers will easily be able to navigate.

I have identified 28 categories under Cricket and there should only be 10! As a rule of thumb, I would say that the number of sub-cats in one category should be a cricket team (plus perhaps an umpire) and that an XI (or a dozen) is the limit.

Here are my proposed level 2 categories under the level 1 Cricket "root":

 * Cricket by country (1) – each country has own cat at level 3 (status quo except that level 3 is for holding cats only)
 * Cricket culture (2) – one-off to capture the miscellany, the peripherals, the trivials, the wider picture, etc.
 * Forms of cricket (3) – first-class, Test, local clubs, under-19, etc. – histories of each to be in sub-cats
 * Cricket images (4) – repository to be stored directly under root for reference purpose
 * Cricket (in the) media (5) – anything re books, broadcasting, journalism, film, computers, etc. Currently renaming this category.
 * Cricket organisation and governance (6) – admin, scoring, venues, comps, equipment, awards, Laws, records, stats, etc.
 * Cricket people (7) – players, umpires, writers, administrators, etc – every article to be re an individual
 * Cricket skills (8) – batting, bowling, fielding, keeping, captaincy, umpiring – onfield activities only
 * Cricket stubs (9) – repository to be stored directly under root for reference purpose
 * Cricket terminology (10) – repository to be stored directly under root for reference purpose

Apart from the two in bold, all the above are existing categories. Apart from the generic article Cricket, the portal and the WikiProject, there should be no articles or pages held under the root category.

Level 3 should be the main sub-categories. For example, under skills at level 2 the level 3 cats would be batting, bowling, umpiring, etc. as above. Generally, there should be no pages at level 2 except for the standalone categories like culture, images and stubs. A couple of the level 2 cats like country and people should not have pages on level 3 either as level 3 is where they split up into countries and occupations respectively.

The worst categories of all are history, teams and Tests which frankly need completely restructuring or demolishing. They are a disgrace and I am especially embarrassed by history as I started it and put most of the original effort into it. History is carrying surplus articles that should be reassigned or else have sufficient specific categories already and should not be in a generic category like history. History had eight sub-cats and six of them were cross-cats that were already adequately located elsewhere, especially under the country or competition headings. The other two history cats were small specific items that should both be elsewhere: Olympics under competitions and Years under first-class cricket.

'''I have already started sorting out much of this mess but I will not change the root category's sub-cats until members have had chance to read this and respond to it. Pending any feedback, I will change the root cat on Sat 1 July'''. --Jack 05:28, 24 June 2006 (UTC)

 * See the discussion at Wikipedia talk:WikiProject Cricket to which contributions on this page have been moved.--Jack 04:10, 27 June 2006 (UTC)

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

title: Category talk:Cricket


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Chinese knotting

Chinese knotting, also known as , is a Chinese folk art with ties to Buddhism and Taoism. A Chinese knot is made from a single length of cord that is woven into different shapes, with each shape having a symbolic meaning. The most common color used in Chinese knotting is red, a color associated with luck in Chinese culture, although any color can be used. Charms, beads, and jade are sometimes incorporated into a Chinese knot. It is believed that Chinese knotting originated for recording information and exchanging messages before writing was commonplace. Traditionally, Chinese knots acted as good-luck charms to ward off evil spirits. Chinese knots are used today to decorate homes during festivities and are also commonly seen in traditional jade jewellery and traditional Chinese clothing.

Characteristics
Chinese knots come in a variety of shapes and sizes. They are made from a single cord and are often double-layered and symmetrical in all directions. Satin cording is the most widely used material, especially when the knotting is done for clothing and jewellery; however, cotton, parachute cord, and other materials are frequently used as well. Knots are often paired with tassels, which are created separately and then incorporated into the main work. Chinese knots are created in a variety of colors such as gold, green, blue, or black, though the most commonly used color is red, which symbolizes good luck and prosperity.

Types and shapes
Chinese knot scholar Lydia Chen lists eleven basic types of Chinese decorative knotwork. Complex knots are constructed from repeating or combining basic knots.

History
Archaeological studies indicate that the art of tying knots dates back to prehistoric times. Discoveries include 100,000-year-old bone needles used for sewing and bodkins used to untie knots. Due to the delicate nature of the medium, little evidence of prehistoric Chinese knotting exists today. Some of the earliest evidence of knotting has been preserved on bronze vessels from the Warring States period (481–221 BCE), Buddhist carvings from the Northern dynasties period (317–581), and on silk paintings from the Western Han period (206 BCE – 9 CE).

Recordkeeping
Archaeological and literary evidence indicate that knots were used in China as a method of keeping records, especially to assist in governance. The practice had some similarities to the Incan practice of quipu. Several works of classical Chinese literature make reference to it. The Tao Te Ching (ca. 400 BCE) alludes to the practice in chapter 80. As translated by Wing-tsit Chan: "'Let the people again knot cords and use them (in place of writing)' [使民復結繩而用之]"

The Yi Jing, Xi Ci II (ca. 168 BCE ), describes the practice:

"'In the highest antiquity, government was carried on successfully by the use of knotted cords (to preserve the memory of things). In subsequent ages the sages substituted for these written characters and bonds. By means of these (the doings of) all the officers could be regulated, and (the affairs of) all the people accurately examined.'"

The Eastern Han (25–220 CE) scholar Zheng Xuan, who annotated the, wrote that:

"'Big events were recorded with complicated knots, and small events were recorded with simple knots.' [事大，大结其绳；事小，小结其绳]."

The chapter of Tubo (Tibet) in the New Book of Tang says:

"'The government makes the agreement by tie cords due to lack of characters.' [其吏治，无文字，结绳齿木为约]."

Ancient totem

In addition to their use in recording, knots became a totem and belief motif. A double coin knot pattern painting on a silk banner was discovered by archaeologists in the Mawangdui tombs (206 BCE – CE 9). The pattern is of intertwined dragons forming a double coin knot in the middle of the fabric painting. The upper part of the fabric painting depicts the ancient deities Fuxi and Nüwa, the initiators of marriage in China, from whom many ancient poems derive "love" as a meaning of the double coin knot. There is evidence from the 3,000-year-old Yinxu oracle bone script that knots were recognized as symbols rather than for functional use.

Decorative art
According to Lydia Chen, the earliest tangible evidence of knots as a decorative motif is on a small high-stemmed square pot from the Spring and Autumn period (770–476 BCE), which is now displayed in the Shanxi Museum. However, archaeology research has found that the earliest decorative knot artifact in China can be traced back to 4000 years ago, when a three-row rattan knotting of a double coin knot was excavated from Liangzhu ruins.

Knots gradually evolved into a distinct decorative art in China, beginning with the use of ribbon knotting and decorative knots on clothing during the Spring and Autumn period. This is attested in the, where it is written that:

"'The collar has an intersection, and the belt is tied as knots.' [衣有襘．帶有結]"

Chinese knotting was thus derived from the culture. The Chinese word Lào is an ancient Chinese term for knots, and it was customary to tie a knot at the waist with silk or cotton ribbon.

Sui to Ming dynasties
The Sui and Tang dynasties (581–906 CE) saw the first peak of the Lào zi culture when basic knots, such as the Swastika knot and the round brocade knot, became popular adornments on garments, both among the nobility and the commoners. Knots were cherished not only as symbols and tools, but also as an essential part of everyday life to decorate and express thoughts and feelings. In the Tang and Song dynasty (960–1279 CE), the love-based knot became an important symbol, as evidenced in many of the poems, novels, and paintings of the era. In the memoir  written by Meng Yuanlao, it is observed that in the traditional wedding custom, a Concentric knot needed to be held by the bride and groom. Other ancient poems used the Concentric knot to portray love, such as Luo Binwang's poem:

"'Knot the ribbon as the Concentric knot, interlock the love as the clothes.' [同心结缕带，连理织成衣]."

It was also mentioned in a poem written by Huang Tingjian:

"'We had a time knotting together, loving as the ribbon tied.' [曾共结，合欢罗带]."

The most famous poem about the Love knot was written by Meng Jiao in ( – lit. 'Bond of Love').

The phenomenon of knot-tying continued to steadily evolve over thousands of years with the development of more sophisticated techniques and increasingly intricate woven patterns. During the Song and Yuan dynasties (960–1368), the Pan Chang knot, today's most recognizable Chinese knot, became popular. Much artwork evidence has also shown the knots as clothing decoration during the Ming dynasty (1368–1644); for instance, in Tang Yin's artwork, a knotting ribbon is clearly shown.

Qing dynasty
During the Qing dynasty (1644–1911), Chinese knotting evolved from folklore to an acceptable art form in Chinese society. The Lào zi culture again became popular during the Qing dynasty. During that time, basic knots were widely used to embellish everyday objects such as, sachets, purses, fan tassels, spectacle cases, and rosaries, and the single knot technique was extended into complicated knots.

According to the Chinese classical novel Dream of the Red Chamber, the Lào zi was developed and spread between the middle and upper nobility, who used Lào zi as a way to express love and luck between family members, lovers, and friends. It was also a form of honorable craftsmanship studied and created by maids in the Imperial Palace. As written in the, when knotting, the maids of Ci Xi were able to quickly produce many different knots.

Republic of China
There was little development of knotting during the Republic of China (1912–1949). Simpler knots were popular, for example the pan kou, which had been developed before the Qing dynasty, used knot button ornaments designed particularly for the cheongsam in this period.

20th and 21st centuries
Knowledge and interest in Chinese knotting had declined considerably by the 1970s, when Lydia Chen helped bring about a renewal of interest in the art form through the Chinese Knotting Promotion Center. Chinese knotting has since become a popular symbol and souvenir in festivals and commodity markets.

The use of on clothing and knots as a folk craft remains alive in China.

Japan
The knot-tying tradition in Japan is called hanamusubi, a term composed of the words hana, meaning "flower", and musubi, meaning "knot".

The hanamusubi is a legacy of the Tang dynasty of China, when a Japanese Emperor in the 7th century was so impressed by Chinese knots which were used to tie a gift from the Chinese that he started to encourage Japanese people to adopt the practice.

Japanese knots are more austere, formal, simple, and structurally looser than the Chinese knots. In function, Japanese knots are more decorative than functional. With a greater emphasis on the braids that are used to create the knots, Japanese knotting tends to focus on individual knots.

Korea
In Korea, decorative knot work is known as, often referred as Korean knotwork or Korean knots in English.

The Korean knotting techniques is believed to originate from China, from which Korean knots evolved into its own culture in terms of design, color, and incorporation of local characteristics. The origins of date back to the Three Kingdoms of Korea in the first century CE. articles were first used at religious ceremonies.

A wall painting from 357 CE found in Anak, Hwanghae Province, now in North Korea, indicates that silk was the primary medium at the time. Decorative cording was used on silk dresses, to ornament swords, to hang personal items from belts for the aristocracy, and in rituals, where it continues now in contemporary wedding ceremonies. Korean knotwork is differentiated from Korean embroidery. is still a commonly practiced traditional art, especially among the older generations.

The most basic knot in is called the  (or the double connection knot). The knot is used at the start and end of most knot projects. There are approximately 33 basic Korean knots which vary according to the region they come from. The tassel is noteworthy as the most representative work familiar to Westerners, and often purchased as souvenirs for macramé-style wall-hangings.

title: Chinese knotting


text:
Talk:Hermione Gingold

Untitled
three internet sources give her birth as 9 December 1897

1971 engagement
According to Time magazine in 1971, she was engaged to the much younger Beaudoin Mills. No indication found if this resulted in another marriage. Dl2000 02:50, 9 November 2007 (UTC)

I am sure I remember Hermione having a significant presence on British TV (at its best!) in the 60's Can anyone expand on this? 85.189.168.57 (talk) 04:59, 27 March 2008 (UTC)

Early life
"Born Hermione Ferdinanda Gingold in London, England, she was the daughter of a high-standing Vienna-born Jewish financier James Gingold and Kate Walter or Walters, an English-born housewife. Her marriage to Lionel in 1894 was conducted by the Chief Rabbi." There is no mention anywhere else of "Lionel" - should this read "Her marriage to James"? I assume from the date that it refers to Kate's marriage. —Preceding unsigned comment added by 132.244.246.25 (talk) 08:15, 25 August 2009 (UTC)

Hermine -- Hermione
"...his Austrian-born wife, Hermine, after whom Hermione Gingold was named."

It seems fairly clear that "Hermine" should be "Hermione," but you just never know. I was going to check the original source, but there doesn't seem to be any citation for this.

Does anyone know for sure that this should be changed??? Zlama (talk) 08:06, 7 April 2012 (UTC)

Gingold in 1973, by Allan Warren
Guy. I apologize for saying this in advance. But, IMHO, this photo of Ms. Gingold is absolutely horrible. This makes her look unconditionally ugly. Can't we find a better image of the late actress somewhere? There must be hundreds available on the internet. -- Jason Palpatine (talk) 23:53, 17 September 2012 (UTC)  This User fails to understand Wikipedia's Systematized Logistical Projection of its Balanced Policy Contingency. (speak your mind | contributions)

Issues with Filmography?
After checking it today, it appears that at least some of Mrs. Gingold's filmography has been conflated with that of Hermione Baddeley, with whom she frequently co-starred. What stood out was "Aristocats" in 1970, which in fact featured Baddeley.

Oddly enough, I was checking Gingold's filmography because I was told by my fiancé that she played the maidservant in Mary Poppins, which was also Hermione Baddeley- so it appears this may be a common problem.

74.78.16.48 (talk) 17:58, 3 November 2014 (UTC)Ti

title: Talk:Hermione Gingold


text:
Tommy Flowers

Thomas Harold Flowers MBE (22 December 1905 – 28 October 1998) was an English engineer with the British General Post Office. During World War II, Flowers designed and built Colossus, the world's first programmable electronic computer, to help decipher encrypted German messages.

Early life
Flowers was born at 160 Abbott Road, Bromley-by-Bow, in what was then the Metropolitan Borough of Poplar, on 22 December 1905, the son of a bricklayer. Whilst undertaking an apprenticeship in mechanical engineering at the Royal Arsenal, Woolwich, he took evening classes at the University of London to earn a degree in electrical engineering. In 1926, he joined the telecommunications branch of the General Post Office (GPO), moving to the Post Office Research Station at Dollis Hill in Middlesex in 1930.

In 1935, Flowers and Eileen Margaret Green were married. The couple later had two children, John and Kenneth.

From 1934 onward, he explored the use of electronics in telephone exchanges. By 1939, his design of equipment using 3000 to 4000 valves was in limited operation for (say) 1000 lines at an exchange with each line having three or four valves. Note that this was for (amplified) long distance or trunk lines between exchanges (central offices), using in-band signalling with switching at each end carried out by electromechanical switches or operators. As Flowers remarked, at the outbreak of war “he was possibly the only person in Britain who realised that valves could be used reliably on a large scale for high-speed computing. He was convinced that an all-electronic system was possible. A background in switching electronics would prove crucial for his computer designs.

World War II
Flowers' first contact with wartime codebreaking came in February 1941 when his director, W. Gordon Radley, was asked for help by Alan Turing, who was working at Bletchley Park, the government codebreaking establishment, 50 mi north west of London in Buckinghamshire. Turing wanted Flowers to build a counter for the relay-based Bombe machine, which Turing had developed to help decrypt German Enigma codes.

The "Counter" project was abandoned but Turing was impressed with Flowers's work, and in February 1943 introduced him to Max Newman who was leading the effort to automate part of the cryptanalysis of the Lorenz cipher. This was a high-level German code generated by a teletypewriter in-line cipher machine, the Lorenz SZ40/42, one of their Geheimschreiber (secret writer) systems, called "Tunny" (tuna fish) by the British. It was a much more complex system than Enigma; the decoding procedure involved trying so many possibilities that it was impractical to do by hand. Flowers and Frank Morrell (also at Dollis Hill) designed the Heath Robinson, in an attempt to automate the cryptanalysis of the Lorenz SZ-40/42 cipher machine.

Colossus computer
Flowers proposed a more sophisticated alternative, using an electronic system, which his staff called Colossus, using perhaps 1,800 thermionic valves (vacuum tubes) instead of 150 and having only one paper tape instead of two (which required synchronisation) by generating the wheel patterns electronically. Because the most complicated previous electronic device had used about 150 valves, some were sceptical that the system would be reliable. Flowers countered that the British telephone system used thousands of valves and was reliable because the electronics were operated in a stable environment with the circuitry on all the time. The Bletchley management were not convinced and merely encouraged Flowers to proceed on his own. He did so at the Post Office Research Labs, using some of his own funds to build it. Flowers had first met (and got on with) Turing in 1939 but was treated with disdain by Gordon Welchman, because of his advocacy of valves rather than relays. Welchman preferred the views of Wynn-Williams and Keene of the British Tabulating Machine Company (BTM) who had designed and constructed the Bombe and wanted Radley and "Mr Flowers of Dollis Hill" removed from work on Colossus for "squandering good valves".

Despite the success of Colossus, the Heath Robinson approach was still valuable for solving certain problems. The final development of the concept was a machine called Super Robinson that was designed by Tommy Flowers. This one could run four tapes and was used for running depths and "cribs" or known-plaintext attack runs. On 2 June 1943, Flowers was made a member of the Order of the British Empire.

Flowers gained full backing for his project from the director of the Post Office Research Station at Dollis Hill, W. G. Radley. With the highest priority for acquisition of parts, Flowers's team at Dollis Hill built the first machine in eleven months. It was immediately dubbed 'Colossus' by the Bletchley Park staff for its immense proportions. The Mark 1 Colossus operated five times faster and was more flexible than the previous system, named Heath Robinson, which used electro-mechanical switches. The first Mark 1, with 1500 valves, ran at Dollis Hill in November 1943; it was delivered to Bletchley Park in January 1944 where it was assembled and began operation in early February. The algorithms used by Colossus were developed by W. T. Tutte and his team of mathematicians. Colossus proved to be efficient and quick against the twelve-rotor Lorenz cipher SZ42 machine.

In anticipation of a need for additional computers, Flowers was already working on Colossus Mark 2 which would employ 2,400 valves. The first Mark 2 went into service at Bletchley Park on 1 June 1944 and immediately produced vital information for the imminent D-Day landings planned for Monday 5 June (postponed 24 hours by bad weather). Flowers later described a crucial meeting between Dwight D. Eisenhower and his staff on 5 June, during which a courier entered and handed Eisenhower a note summarising a Colossus decrypt. This confirmed that Adolf Hitler wanted no additional troops moved to Normandy, as he was still convinced that the preparations for the Normandy landings were a feint. Handing back the decrypt, Eisenhower announced to his staff, "We go tomorrow". Earlier, a report from Field Marshal Erwin Rommel on the western defences was decoded by Colossus and revealed that one of the sites chosen as the drop site for a US parachute division was the base for a German tank division, so the site was changed.

Ten Colossi were completed and used during the Second World War in British decoding efforts and an eleventh was ready for commissioning at the end of the war. All but two were dismantled at the end of the war, "The remaining two were moved to a British Intelligence department, GCHQ in Cheltenham, Gloucestershire, where they may have played a significant part in the codebreaking operations of the Cold War". They were finally decommissioned in 1959 and 1960.

Post-war work and retirement
After the war, Flowers received little recognition for his contribution to cryptanalysis. Flowers was left in debt after the war after using his own personal funds to build Colossus. The government granted him £1,000 payment which did not cover Flowers' personal investment in the equipment; he shared much of the money amongst the staff who had helped him build and test Colossus. Flowers applied for a loan from the Bank of England to build another machine like Colossus but was denied the loan because the bank did not believe that such a machine could work. He could not argue that he had already designed and built many of these machines because his work on Colossus was covered by the Official Secrets Act. He remained at the Post Office Research Station where he was Head of the Switching Division. He and his group pioneered work on all-electronic telephone exchanges, completing a basic design by about 1950, which led on to the Highgate Wood Telephone Exchange. He was also involved in the development of ERNIE. In 1964, he became head of the advanced development at Standard Telephones and Cables Ltd., where he continued to develop electronic telephone switching including a pulse amplitude modulation exchange, retiring in 1969.

It was not until the 1970s that Flowers' work in computing was fully acknowledged. His family had known only that he had done some 'secret and important' work.

In 1976, he published Introduction to Exchange Systems, a book on the engineering principles of telephone exchanges.

Flowers died in 1998 aged 92, leaving a wife and two sons.

Honours

 * 1973: Awarded an honorary Doctor of Science by Newcastle University.
 * 1983: The first winner of the Martlesham Medal in recognition of his achievements in computing.
 * 1993: Received a certificate from Hendon College, having completed a basic course in information processing on a personal computer.

Legacy
Flowers is commemorated at the Post Office Research Station site, which became a housing development, with the main building converted into a block of flats and an access road called Flowers Close. He was honoured by London Borough of Tower Hamlets, where he was born. An Information and Communications Technology (ICT) centre for young people, the Tommy Flowers Centre, opened there in November 2010. The centre has closed but the building is now the Tommy Flowers Centre, part of the Tower Hamlets Pupil Referral Unit. In 2023, English Heritage placed a blue plaque here in his honour.

In September 2012, his wartime diary was put on display at Bletchley Park. A road in Kesgrave, near the current BT Research Laboratories, is named Tommy Flowers Drive.

On 12 December 2013, 70 years after he created Colossus, his legacy was honoured with a memorial commissioned by British Telecom (BT), successor to Post Office Telephones. The life-size bronze bust, designed by James Butler, was unveiled by Trevor Baylis at Adastral Park, BT's research and development centre in Martlesham Heath, near Ipswich, Suffolk. BT also began a computer science scholarship and award in his name.

On 29 September 2016, BT opened the Tommy Flowers Institute for ICT training at Adastral Park to support the development of postgraduates transferring into industry. The institute focuses on bringing ICT-sector organisations together with academic researchers to solve some of the challenges facing UK businesses, exploring areas such as cybersecurity, big data, autonomics and converged networks. The launch event was attended by professors from Cambridge, Oxford, East Anglia, Essex, Imperial, UCL, Southampton, Surrey, and Lancaster as well as representatives from the National Physical Laboratory, Huawei, Ericsson, CISCO, ARM and ADVA.

In 2018, a room in the newly refurbished Institution of Engineering and Technology in London was named the Flowers Room.

Colossus rebuild
A functioning Colossus Mark II was rebuilt by a team of volunteers led by Tony Sale between 1993 and 2008. It is on display at The National Museum of Computing at Bletchley Park.

Flowers knew that Sale was rebuilding a MKII version, describing the design and construction which was instrumental in its reconstruction.

title: Tommy Flowers


text:
Candu

Candu or CANDU may refer to
 * CANDU reactor (CANada Deuterium Uranium), a Canadian pressurized heavy water reactor
 * Advanced CANDU reactor
 * CANDU Owners Group
 * Candu Energy, a Canadian organization specializing in the design and supply of nuclear reactors and related products and services
 * Andrian Candu (born 1975), a Moldovan politician

title: Candu


text:
Barbara Graham

Barbara Elaine "Bonnie" Wood Graham (née Ford; June 26, 1923 – June 3, 1955) was an American criminal convicted of murder. She was executed in the gas chamber at San Quentin Prison on the same day as two convicted accomplices, Jack Santo and Emmett Perkins, all of whom were involved in a robbery that led to the murder of an elderly widow. Nicknamed "Bloody Babs" by the press, Graham was the third woman in California to be executed by gas.

Her story of adult criminal activity is told in the highly fictionalized 1958 film I Want to Live!, in which she was portrayed by Susan Hayward, who won the Academy Award for Best Actress.

Early life
Graham was born Barbara Elaine Ford in Oakland, California to Hortense Wood (1906–1989) from Santa Cruz, who earned her living through prostitution. On February 23, 1925, Hortense, still unwed, gave birth to a second daughter, Claire Elizabeth. On October 10, 1929, at the age of 23, Hortense married Joseph Wood Sr. (1901–1930) in Alameda. Hortense's, along with Barbara's and Claire's, all of their surnames were changed to Wood. Hortense and Joseph's son, Joseph Robert Wood Jr., was born on March 27, 1930, however Joseph Sr. died on January 19, 1930, at the age of 28 before his son's birth. Hortense was of Portuguese (Azorean) descent on her father's side, the original family name having been Furtado.

When Graham was two, her mother, who was still in her late teens, was arrested and sent to reform school and Graham was placed in foster care in which she alleged that she was beaten and treated poorly. Upon release at age 21, Hortense refused to allow Graham to live with her. Graham was raised by strangers and extended family and, although she was intelligent, she had a limited education. As a teenager, she was arrested for vagrancy and sentenced to serve time at Ventura State School for Girls, the same reform school where her mother had been.

Released from reform school in 1939, Graham tried to make a new start for herself. She married Harry Kielhamer (1913–1993), a U.S. Coast Guardsman, in 1940, and enrolled in a business college and soon had her first two children. The marriage was not a success and, by 1942, she was divorced. Harry Kielhamer was awarded custody of their two sons. Over the next several years, she was married twice more, but each of these attempts at a more traditional lifestyle failed.

After this string of failures, Graham is said to have become a worker in the sex trade, as her mother had before her: reportedly, during World War II, she plied her trade as what was known in some circles as a "seagull", or a prostitute who "flocked" in pairs or groups near naval bases. It is supposed that Graham began working near the Oakland Army Base, Oakland Naval Supply Depot, and Alameda Naval Air Station. In 1942, she and other "seagulls" traveled to Long Beach, California and San Diego. She was arrested on vice charges in these naval cities and in San Pedro, California. At 22, with her good looks, red hair, and sex appeal, she worked for a time in San Francisco for a brothel madam named Sally Stanford. She soon became involved in gambling and illegal drug circles, cultivating a number of friends who were ex-convicts and known career criminals. She served a five-year sentence for perjury as a false alibi witness for two petty criminals, serving her sentence at the California Women's State Prison at Tehachapi, California. After her stint in state prison, Graham moved to Reno, Nevada and then Tonopah, Nevada. She obtained work in a hospital and as a waitress, but soon got on a bus for Los Angeles. There, she got a room on Hollywood Boulevard and returned to prostitution. In 1953, she married Henry Graham, who worked as a bartender at one of her frequent haunts. With him she had a third child, named Tommy.

Murder of Mabel Monohan
Henry Graham was addicted to illegal drugs and known as a hardened but low-level criminal. Through him, Barbara met his friends Jack Santo and Emmett "The Weasel" Perkins, both with criminal records. She started an affair with Perkins, who told her about a 64-year-old widow, Mabel Monohan, who was alleged to keep a large amount of cash and jewelry in her home in Burbank, California.

Monohan was a retired vaudeville performer who had previously worked the Keith-Albee circuit. Her ex-son-in-law was 74-year-old Luther B. Scherer (1879–1957), a multi-millionaire who was well known through his ownership of various gambling clubs in locations such as Palm Springs and casinos in Las Vegas. It is speculated that he had deep ties to various crime syndicates. Monahan's daughter Iris had divorced Scherer two years prior and received the Burbank residence in the divorce settlement. Iris shortly thereafter married a different man and moved to New York, leaving her mother, Mabel Monohan, to reside in their former home. Monohan and Scherer had remained close friends after the divorce and their continued friendship piqued public interest, gossip, and rumors that would later prove deadly. One rumor that was widely circulated amongst criminals and in local bars was that Scherer, due to his deep trust of Monohan, had left $100,000 ($1,044,292 value in 2022) cash stashed in a safe within the residence.

Based on Baxter Shorter's confession and John True's witness testimony:

On March 8, 1953, Graham had dinner in the San Fernando Valley with Perkins, Santo, True, and Shorter, a safe-cracker. Shorter stated that he initially did not want Graham to participate because she was a "dame" but Perkins convinced him that it was the only way Monohan would open the front door.

On the evening of March 9, 1953, Graham reportedly gained entry by knocking on the door and asked to use Monohan's phone due to car trouble. Once Monohan opened the door for Graham, Perkins, Santo, and True came in behind her, followed later by Shorter. Shorter claimed that when he entered the home Monohan was already bleeding and her mouth was gagged. The gang tore up Monohan's home looking for the safe, money and/or jewels to no avail. True stated that Graham handed a gun to Perkins and told him to "Knock her out!" Shorter claimed that at this point he threw Perkins to the floor and convinced True to remove the gag because he noticed Monohan was having trouble breathing. True did not mention these events and stated that Graham began to viciously beat Monohan. After the gang left, Santo assumed Monohan was dead. However Shorter, once alone, purportedly called for help from a pay phone. The address given to the operator was incorrect and Monohan was discovered two days later by her gardener.

The robbery attempt was a futile effort as nothing of value was found in the house. They would later learn at trial that $15,000 in jewels and valuables ($156,630 value in 2022) was located in a purse in the closet. Monohan's daughter Iris offered a $5,000 ($52,210 value in 2022) reward for information leading to the arrest and conviction of her mother's murderer(s).

Arrest and conviction
On March 26, 1953, police arrested and questioned five men in connection with murder of Monohan. Three were known associates of L.A. gangster Mickey Cohen, along with another man and Shorter. All of the men knew Monohan through Scherer, however they were all released due to lack of evidence.

Shorter, who was shaken at the thought of going to the gas chamber should the police figure out his involvement, volunteered to turn state's evidence and gave the police details of the Monohan murder and attempted robbery. He stated that he had seen Perkins hit Monohan with the gun and that he was shaken having witnessed the murder. However, Shorter's statement was leaked and he was later kidnapped and murdered by Perkins and Santo after his release from police custody shortly after his confession.

Upon hearing of Shorter's disappearance and probable death, William Upshaw, a convicted felon, volunteered to testify before the grand jury. Upshaw testified that he had been in the car with Barbara Graham, Perkins, Santo, True, and Shorter the night prior to the murder as the group conducted surveillance on Monohan's home and ran through the robbery plans. He stated that he decided not to participate out of fear of retaliation from "Tutor" Scherer. Subsequently, John True agreed to become a state witness in exchange for immunity from prosecution. In court, True testified against Graham, who continually protested her innocence.

The press nicknamed Graham "Bloody Babs", reflecting the public disgust for her alleged actions. Having no alibi, Graham doomed her own defense when she accepted another inmate's offer to pay $25,000 to the inmate and "a friend" who would provide a false alibi. The inmate, however, was working to reduce her own sentence, and the "friend", who offered to say he was with Graham the night of the murder, was a police officer. Meeting with Graham to plan the alibi story, he insisted that she admit to him that she had indeed been at the scene of the crime. The officer was recording the conversation. This attempt to suborn perjury, plus the recorded admission that she indeed had been at the scene of the widow Monohan's senselessly violent murder, abutted by her previous perjury conviction, completely destroyed Graham's credibility in court. When questioned about her actions at the trial, she said, "Oh, have you ever been desperate? Do you know what it means not to know what to do?"

Graham was convicted, while the informant was immediately released from jail, and her (informant's) sentence commuted to time served. The prosecution was led by district attorney J. Miller Leavy.

Appeals and execution
Graham, Santo, and Perkins were all sentenced to death for the robbery and murder. Graham appealed her sentence while at the California Institution for Women in Chino, California. Her appeals failed, and on June 2, 1955, she was transferred to San Quentin State Prison. On June 3, 1955, she was scheduled to be executed at 10:00 am, but that was stayed by California governor Goodwin J. Knight until 10:45 am. At 10:43 am, Knight stayed the execution until 11:30 am; Graham protested, "Why do they torture me? I was ready to go at ten o'clock." At 11:28 am she was led from her cell and strapped in the gas chamber; she requested a blindfold so she would not have to look at the observers. Her last words were, "Good people are always so sure they're right." Advised that taking a deep breath after the cyanide pellets were dropped would make her death easier, she replied "How the hell would you know?"

Barbara Graham was buried in Mount Olivet Cemetery, San Rafael, California.

In popular culture
Actress Susan Hayward won the Best Actress Academy Award for playing Graham in the movie I Want to Live! (1958), a fictionalized version of events which suggests that Graham was innocent since it was based on letters Graham wrote to a journalist. The film is from Graham's point of view and includes details differing from real life, in particular, the manner in which the police found and arrested Graham.

Reporter Gene Blake, who covered Graham's murder trial for the Los Angeles Daily Mirror, dismissed the movie as "a dramatic and eloquent piece of propaganda for the abolition of the death penalty." Los Angeles Herald-Express reporter Bill Walker also exposed the inaccuracies of the film in his article in the April 1959 issue of Cavalier, "Exposing Hollywood's 'I Want to Live' Hoax", and in a 1961 book titled The Case of Barbara Graham. However, while the movie may have been fictionalized, there is still some doubt about Graham's guilt and the manner in which it was 'proved'.

Graham was also portrayed by actress Lindsay Wagner in the 1983 TV movie I Want to Live!

The jazz/pop singer Nellie McKay had a touring production titled I Want To Live! that tells the story through standards, original tunes, and dramatic interludes.

title: Barbara Graham


text:
Category:Australian cricketers

See also Category:Players in Australian domestic cricket by team, which includes most of the players in this category as well as many non-Australian players who have played in Australia.

title: Category:Australian cricketers


text: Category:Australian sportspeople

title: Category:Australian sportspeople


text:
Category:Cricketers by nationality

Note: in cricket terms, the United Kingdom and Great Britain do not exist. Cricket in the British Isles is governed, organised and internationally represented on the basis of England and Wales combined; Scotland; and Ireland comprising both the component states. Cricketers are designated English, Irish, Scottish, Welsh rather than British.

title: Category:Cricketers by nationality


text:
Category:Cricketers

People who play cricket. No individuals should be listed in this controlling category. Instead, they should be categorised by nationality and perhaps team, distinction, skill or other generic group. The only articles on this page should be generic to a cricketer's activities: e.g., batting, bowling, etc.

title: Category:Cricketers


text:
Upton Court Grammar School

Upton Court Grammar School is a fully selective academy school in Lascelles Road, Slough, Berkshire.

The school has specialisms in languages and science. It is also a Leading Edge School, an ICT-Focus School, a Training School, an International School under the International Baccalaureate Organization (IBO) and a participant in the Primary Language Initiative. From September 2004 it offered some International Baccalaureate courses alongside its conventional secondary and sixth form courses, but these are now discontinued.

Slough Secondary School (1912–36)
Slough Secondary School was the name of the first major selective secondary school in Slough (originally Buckinghamshire but now Berkshire). It was founded in 1912 just to the west of William Street, in the town centre. By 1936, the School had outgrown its premises and was split into Slough Grammar School for boys (1936–82) in Lascelles Road and Slough High School for girls (1936–82) in Twinches Lane, although the girls stayed on in the William Street buildings until 1939 when their new buildings were ready.

The original Slough Secondary School buildings in William Street were re-used during the Second World War and afterwards as temporary school accommodation. They were redeveloped in the 1960s as the tower blocks of Slough College, which became the Slough Campus of Thames Valley University. The area is being redeveloped again, under the Heart of Slough project.

 * Headmasters
 * 1) Mr W. Francis Smith, BA (1912–25)
 * 2) Mr Ben Llewellyn (Acting) (1923–25)
 * 3) Mr Edward Rudland Clarke, MC, MA (Cantab), FRGS (1925–36) and continued with Slough Grammar School for Boys until 1952

Slough Grammar School for Boys (1936–82)
Slough Grammar School for Boys was a boys selective grammar school in Slough, It was created when the predecessor school, Slough Secondary School, split into separate Boys and Girls schools in 1936. It moved into purpose-built premises at Lascelles Road, which are still used by the current school.

 * Headmasters
 * 1) Mr Edward Rudland Clarke, MC, MA (Cantab), FRGS (1936–52) having started with Slough Secondary School in 1925
 * 2) Mr Tom Anderson (Acting) (1952)
 * 3) Dr Wilfrid Robert Victor Long, BA, PhD (1952–66)
 * 4) Mr Gerald H Painter, MSc, FInstP (1966–82) and continued with Upton Grammar School until 1988

Slough High School for Girls (1936–82)
Slough High School was a girls selective grammar school in Slough, Buckinghamshire, now Berkshire. It was formed in 1936 from the split of Slough Secondary School (1912–36) into Slough Grammar School for boys (1936–82) and Slough High School for girls.

For the first three years of its existence, it occupied the former Slough Secondary School buildings in William Street, but, in 1939, it moved to new buildings in Twinches Lane, Cippenham.

In 1982, when the Twinches Lane site was sold for redevelopment, Slough Grammar School and Slough High School merged to form Upton Grammar School (1982–93), based on the Lascelles Road site of Slough Grammar School.

 * Headmistresses
 * 1) Miss J M Crawford, MA (1936–62)
 * 2) Miss Gwyneth R J Owen (1962–78)
 * 3) Miss Pamela A Reakes, BA (1978–82)

Upton Grammar School (1982–93)
Upton Grammar School in Lascelles Road, Slough, was formed in 1982 by the re-merger of Slough Grammar School for boys (1936–82) and Slough High School for girls (1936–82), when the High School's Twinches Lane site was sold for redevelopment. The combined school was renamed Upton Grammar School to underline the merger of two equals. Slough Grammar and Slough High had both been formed in 1936 from the split of Slough Secondary School (1912–36).

 * Head teachers
 * 1) Mr Gerald H Painter, MSc, FInstP (1982–88) having started as Headmaster of Slough Grammar School for Boys in 1966
 * 2) Mrs Margaret A Lenton, BA, FRSA (1988–93) and continued with Slough Grammar School until 2010

Slough Grammar School (1993–2013)
In 1993, Upton Grammar School was renamed back to Slough Grammar School, while retaining its co-educational status, the previous school of this name having been single-sex status. The school converted into an academy in 2011.

 * Principals
 * 1) Mrs Margaret A Lenton, BA, FRSA (1993–2010) having started with Upton Grammar School in 1988
 * 2) Mrs Mercedes Hernández Estrada, MA (2010–13) and continued with Upton Court Grammar School until 2017

Upton Court Grammar School (2013–present)
In 2013, the Principal at that time, Mrs Mercedes Hernández Estrada, and the governors converted the school's name to Upton Court Grammar School. The chained swan logo was replaced by a phoenix rising. The School is also assisting three local schools – Foxborough Primary School, Trevelyan Middle School and Desborough College via Pioneer Educational Trust.

 * Principals
 * 1) Mrs Mercedes Hernández Estrada, MA (2013–2017) having started with Slough Grammar School in 2010
 * 2) Mr Mark Pritchard MA (2017–2023)
 * 3) Mr Oliver King (2023-present)

Reputation
In April 2014 a team of registered inspectors conducted a two-day full review of Upton Court Grammar School following the Ofsted framework for inspection of schools. The school was given an overall rating of "Outstanding", although the Sixth Form was only rated "Good", with serious concerns raised over the number of students unable to progress from AS level to A2 level studies due to poor grades. Upton Court Grammar is known as a multicultural school that has achieved a remarkably happy coexistence of students from diverse ethnic backgrounds. The school is committed to its international school status, and to the understanding of other cultures as well as other languages. The 2008 OFSTED inspection report describes Slough Grammar as "outstanding" the 2011 OFSTED interim assessment confirms that the standards are unchanged, The IB courses offered put it into a different category for 6th form league tables. The IB results were strong in 2006 and this has had a slight knock on effect in reducing the overall grade spread at A level.

, the IB courses have been discontinued.

Old Paludians
The term "Paludian" for former students of the school(s) is derived from the Latin word palus (genitive paludis), meaning a marsh or slough. The term was first coined by the Headmaster, W. Francis Smith, in 1915, when the Old Paludians Association was formed, and has been in continuous use ever since. "Old Paludians" is sometimes informally contracted to "Old Pals".

In 1936, the Association split into the Boys (or Sports) section and the Girls section. By the 1950s, the Boys section reformed to become the Old Paludians Ltd. They moved to Taplow and nowadays play as Taplow United.

Meanwhile, the Girls section became the current Old Paludians Association and organises annual reunions for former students - both boys and girls.

 * Former students:
 * Steve Bell – cartoonist
 * Dr Jeremy Black (1951–2004) – assyriologist
 * William Bradshaw, Baron Bradshaw
 * Cdre Laurie Brokenshire, CBE, RN (1952–2017) - puzzle specialist, magician
 * Susan Cooper - children's author
 * Lt Cdr. Richard John (Dickie) Cork, DSO, DFC (1917–1944) - WWII Fighter ace
 * Dennis Edwards (1937–2019) - footballer
 * Prof John Fothergill – Pro-Vice Chancellor, City University London
 * Philip Hinchcliffe – TV producer
 * Jeanne Hoban (1924–1997) – trade unionist and politician
 * Philip Hubble – butterfly swimmer
 * John King – author
 * Keith Mansfield – composer and arranger
 * Prof Robert Marler (1928–2014) – emeritus professor of neurobiology, physiology and ethology, University of California
 * Gary Numan – cult musician
 * Prof John Pickering (1939–2018) – professor of economics
 * Beryl Platt, Baroness Platt of Writtle (née Myatt, 1923–2015) – aviation specialist and politician
 * Prof Martin Schröder – Vice President and Dean of Engineering and Physical Science, Professor of Chemistry University of Manchester
 * Prof Ian Simmons – emeritus professor of geography, University of Durham
 * Prof Matthew Spriggs – professor of archaeology, Australian National University

title: Upton Court Grammar School


text:
1963–64 Bundesliga

The 1963–64 Bundesliga season was the inaugural season for a single division highest tier of football in West Germany. It began on 24 August 1963 and ended on 9 May 1964. The first goal was scored by Friedhelm Konietzka for Borussia Dortmund in their game against Werder Bremen. The championship was won by 1. FC Köln. The first teams to be relegated were Preußen Münster and 1. FC Saarbrücken.

Competition modus
Every team played two games against each other team, one at home and one away. Teams received two points for a win and one point for a draw. If two or more teams were tied on points, places were determined by goal average. The team with the most points were crowned champions while the two teams with the fewest points were relegated to their respective Regionalliga divisions.

Teams
Sixteen teams were chosen from all Oberliga teams on both competitive and infrastructural aspects. The West and South divisions supplied five teams each, three clubs came from the North, while the Southwest provided two participants. The final member was chosen from the Oberliga Berlin.

The selection of teams for the inaugural Bundesliga season was controversial. Alemannia Aachen and Kickers Offenbach believed that they should have been chosen, due to their superior record over division rivals over the previous twelve seasons. They were not selected due to their relatively poorer performance in the seasons immediately preceding the start of the Bundesliga.

Top goalscorers

 * 30 goals
 * 🇩🇪 Uwe Seeler (Hamburger SV)

 * 20 goals
 * 🇩🇪 Friedhelm Konietzka (Borussia Dortmund)

 * 19 goals
 * 🇩🇪 Rudolf Brunnenmeier (1860 Munich)

 * 18 goals
 * 🇦🇹 Wilhelm Huberts (Eintracht Frankfurt)
 * 🇩🇪 Klaus Matischak (FC Schalke 04)

 * 16 goals
 * 🇩🇪 Lothar Emmerich (Borussia Dortmund)
 * 🇩🇪 Heinz Strehl (1. FC Nürnberg)
 * 🇩🇪 Karl-Heinz Thielen (1. FC Köln)

 * 15 goals
 * 🇩🇪 Christian Müller (1. FC Köln)
 * 🇩🇪 Dieter Höller (VfB Stuttgart)
 * 🇩🇪 Gert Dörfel (Hamburger SV)

title: 1963–64 Bundesliga


text:
Talk:Second Australian Imperial Force

Untitled
I have removed the reference to I Corps because that was a floating name, switched frequently between different combinations of units, and the 2nd AIF divisions both initally and later in the war also came under II Corps.

I suspect most Australians familiar with WW2 history would look blank when confronted by names like "I Corps" and "II Corps", although they would certainly have heard of the 6th, 7th, 8th and 9th Divisions, as well as many individual battalions.

See, for example: http://www.diggerhistory.info/pages-conflicts-periods/ww2/pages-2aif-cmf/order_of_battle.htm

Grant65 (Talk) 11:55, Jun 2, 2004 (UTC)

The Divisional Numbering for the Second Australian Imperial Force started at 6 as the previous 5 were the divisions that served in the first AIF, not because they were militia divisions.

cheers

Will

Wrong. It was numbered 6th because the 1st through 5th Divisions existed in the Militia. The First AIF actually had a 6th Division for a time. See Long To Benghazi, p. 43.

Hawkeye7 06:38, 24 February 2007 (UTC)

Is it possible to find the exact number of men who fought in the second AIF throughout the war? I've been looking everywhere and I still can't find the number. -Lalabox--210.56.73.15 (talk) 12:19, 31 August 2008 (UTC)

Tidy up & headings
I've tried to tidy it up a bit with regards to the headings. I've also changed a few words around, but shouldn't change the article too much. Are there any other ideas on the heading structure? Flipper24 (talk) 11:11, 16 May 2009 (UTC)

title: Talk:Second Australian Imperial Force


text:
Long Ping

Long Ping may refer to:
 * Long Ping Estate, a public housing estate in Yuen Long, Hong Kong
 * Long Ping station, an MTR rapid transit station adjacent to the estate

title: Long Ping


text:
Polarization density

In classical electromagnetism, polarization density (or electric polarization, or simply polarization) is the vector field that expresses the volumetric density of permanent or induced electric dipole moments in a dielectric material. When a dielectric is placed in an external electric field, its molecules gain electric dipole moment and the dielectric is said to be polarized.

Electric polarization of a given dielectric material sample is defined as the quotient of electric dipole moment (a vector quantity, expressed as coulombs*meters (C*m) in SI units) to volume (meters cubed). Polarization density is denoted mathematically by P; in SI units, it is expressed in coulombs per square meter (C/m2).

Polarization density also describes how a material responds to an applied electric field as well as the way the material changes the electric field, and can be used to calculate the forces that result from those interactions. It can be compared to magnetization, which is the measure of the corresponding response of a material to a magnetic field in magnetism.

Similar to ferromagnets, which have a non-zero permanent magnetization even if no external magnetic field is applied, ferroelectric materials have a non-zero polarization in the absence of external electric field.

Definition
An external electric field that is applied to a dielectric material, causes a displacement of bound charged elements.

A bound charge is a charge that is associated with an atom or molecule within a material. It is called "bound" because it is not free to move within the material like free charges. Positive charged elements are displaced in the direction of the field, and negative charged elements are displaced opposite to the direction of the field. The molecules may remain neutral in charge, yet an electric dipole moment forms.

For a certain volume element $$\Delta V$$ in the material, which carries a dipole moment $$\Delta\mathbf p$$, we define the polarization density $P$: $$\mathbf P = \frac{\Delta\mathbf p}{\Delta V}$$

In general, the dipole moment $$\Delta\mathbf p$$ changes from point to point within the dielectric. Hence, the polarization density $P$ of a dielectric inside an infinitesimal volume dV with an infinitesimal dipole moment $dp$ is:

The net charge appearing as a result of polarization is called bound charge and denoted $$Q_b$$.

This definition of polarization density as a "dipole moment per unit volume" is widely adopted, though in some cases it can lead to ambiguities and paradoxes.

Other expressions
Let a volume $dV$ be isolated inside the dielectric. Due to polarization the positive bound charge $$\mathrm d q_b^+$$ will be displaced a distance $$\mathbf d $$ relative to the negative bound charge $$\mathrm d q_b^-$$, giving rise to a dipole moment $$ \mathrm d \mathbf p = \mathrm d q_b\mathbf d$$. Substitution of this expression in ($$) yields $$\mathbf P = {\mathrm d q_b \over \mathrm d V}\mathbf d $$

Since the charge $$\mathrm d q_b$$ bounded in the volume $dV$ is equal to $$\rho_b \mathrm d V$$ the equation for $P$ becomes:

where $$ \rho_b $$ is the density of the bound charge in the volume under consideration. It is clear from the definition above that the dipoles are overall neutral and thus $$ \rho_b $$ is balanced by an equal density of opposite charges within the volume. Charges that are not balanced are part of the free charge discussed below.

Gauss's law for the field of P
For a given volume $$ enclosed by a surface $$, the bound charge $$Q_b$$ inside it is equal to the flux of $P$ through $V$ taken with the negative sign, or

$S$

Differential form
By the divergence theorem, Gauss's law for the field P can be stated in differential form as: $$-\rho_b = \nabla \cdot \mathbf P,$$ where $d_{1}$ is the divergence of the field P through a given surface containing the bound charge density $$\rho_b$$.

$S$

Homogeneous, isotropic dielectrics

In a homogeneous, linear, non-dispersive and isotropic dielectric medium, the polarization is aligned with and proportional to the electric field E: $$\mathbf{P} = \chi\varepsilon_0 \mathbf E,$$

where $d_{2}$ is the electric constant, and $$ is the electric susceptibility of the medium. Note that in this case $$ simplifies to a scalar, although more generally it is a tensor. This is a particular case due to the isotropy of the dielectric.

Taking into account this relation between P and E, equation ($$) becomes:

The expression in the integral is Gauss's law for the field $dV_{1}$ which yields the total charge, both free $$(Q_f)$$ and bound $$(Q_b)$$, in the volume $$ enclosed by $χ$. Therefore,

$$\begin{align} -Q_b &= \chi Q_\text{total} \\ &= \chi \left(Q_f + Q_b\right) \\[3pt] \Rightarrow Q_b &= -\frac{\chi}{1 + \chi} Q_f, \end{align}$$

which can be written in terms of free charge and bound charge densities (by considering the relationship between the charges, their volume charge densities and the given volume): $$\rho_b = -\frac{\chi}{1 + \chi} \rho_f$$

Since within a homogeneous dielectric there can be no free charges $$(\rho_f = 0)$$, by the last equation it follows that there is no bulk bound charge in the material $$(\rho_b = 0)$$. And since free charges can get as close to the dielectric as to its topmost surface, it follows that polarization only gives rise to surface bound charge density (denoted $$\sigma_b$$ to avoid ambiguity with the volume bound charge density $$\rho_b$$).

$$\sigma_b$$ may be related to $dV_{2}$ by the following equation: $$\sigma_b = \mathbf{\hat{n}}_\text{out} \cdot \mathbf{P}$$ where $$\mathbf{\hat{n}}_\text{out}$$ is the normal vector to the surface $∇ · P$ pointing outwards. (see charge density for the rigorous proof)

Anisotropic dielectrics
The class of dielectrics where the polarization density and the electric field are not in the same direction are known as anisotropic materials.

In such materials, the $χ$-th component of the polarization is related to the $$-th component of the electric field according to:

$$P_i = \sum_j \epsilon_0 \chi_{ij} E_j ,$$

This relation shows, for example, that a material can polarize in the x direction by applying a field in the z direction, and so on. The case of an anisotropic dielectric medium is described by the field of crystal optics.

As in most electromagnetism, this relation deals with macroscopic averages of the fields and dipole density, so that one has a continuum approximation of the dielectric materials that neglects atomic-scale behaviors. The polarizability of individual particles in the medium can be related to the average susceptibility and polarization density by the Clausius–Mossotti relation.

In general, the susceptibility is a function of the frequency $V$ of the applied field. When the field is an arbitrary function of time $S$, the polarization is a convolution of the Fourier transform of $ε_{0}$ with the $E$. This reflects the fact that the dipoles in the material cannot respond instantaneously to the applied field, and causality considerations lead to the Kramers–Kronig relations.

If the polarization P is not linearly proportional to the electric field $P$, the medium is termed nonlinear and is described by the field of nonlinear optics. To a good approximation (for sufficiently weak fields, assuming no permanent dipole moments are present), P is usually given by a Taylor series in $S$ whose coefficients are the nonlinear susceptibilities:

$$\frac{P_i}{\epsilon_0} = \sum_j \chi^{(1)}_{ij} E_j + \sum_{jk} \chi_{ijk}^{(2)} E_j E_k + \sum_{jk\ell} \chi_{ijk\ell}^{(3)} E_j E_k E_\ell + \cdots $$

where $$\chi^{(1)}$$ is the linear susceptibility, $$\chi^{(2)}$$ is the second-order susceptibility (describing phenomena such as the Pockels effect, optical rectification and second-harmonic generation), and $$\chi^{(3)}$$ is the third-order susceptibility (describing third-order effects such as the Kerr effect and electric field-induced optical rectification).

In ferroelectric materials, there is no one-to-one correspondence between P and E at all because of hysteresis.

Polarization density in Maxwell's equations
The behavior of electric fields ($χ(ω)$, $E(t)$), magnetic fields ($E$, $E$), charge density ($i$) and current density ($E$) are described by Maxwell's equations in matter.

Relations between E, D and P
In terms of volume charge densities, the free charge density $$\rho_f$$ is given by

$$\rho_f = \rho - \rho_b$$

where $$\rho$$ is the total charge density. By considering the relationship of each of the terms of the above equation to the divergence of their corresponding fields (of the electric displacement field $D$, $B$ and $H$ in that order), this can be written as:

$$\mathbf{D} = \varepsilon_0\mathbf{E} + \mathbf{P}.$$

This is known as the constitutive equation for electric fields. Here $J$ is the electric permittivity of empty space. In this equation, P is the (negative of the) field induced in the material when the "fixed" charges, the dipoles, shift in response to the total underlying field E, whereas D is the field due to the remaining charges, known as "free" charges.

In general, $D$ varies as a function of $E$ depending on the medium, as described later in the article. In many problems, it is more convenient to work with $P$ and the free charges than with $ε_{0}$ and the total charge.

Therefore, a polarized medium, by way of Green's Theorem can be split into four components.

 * The bound volumetric charge density: $$\rho_b = -\nabla \cdot \mathbf{P}$$
 * The bound surface charge density: $$\sigma_b = \mathbf{\hat{n}}_\text{out} \cdot \mathbf{P}$$
 * The free volumetric charge density: $$\rho_f = \nabla \cdot \mathbf{D}$$
 * The free surface charge density: $$\sigma_f = \mathbf{\hat{n}}_\text{out} \cdot \mathbf{D}$$

Time-varying polarization density
When the polarization density changes with time, the time-dependent bound-charge density creates a polarization current density of

$$ \mathbf{J}_p = \frac{\partial \mathbf{P}}{\partial t} $$

so that the total current density that enters Maxwell's equations is given by

$$ \mathbf{J} = \mathbf{J}_f + \nabla\times\mathbf{M} + \frac{\partial\mathbf{P}}{\partial t}$$

where Jf is the free-charge current density, and the second term is the magnetization current density (also called the bound current density), a contribution from atomic-scale magnetic dipoles (when they are present).

Crystalline materials
The polarization inside a solid is not, in general, uniquely defined. Because a bulk solid is periodic, one must choose a unit cell in which to compute the polarization (see figure). In other words, two people, Alice and Bob, looking at the same solid, may calculate different values of P, and neither of them will be wrong. For example, if Alice chooses a unit cell with positive ions at the top and Bob chooses the unit cell with negative ions at the top, their computed P vectors will have opposite directions. Alice and Bob will agree on the microscopic electric field E in the solid, but disagree on the value of the displacement field $$\mathbf{D} = \varepsilon_0 \mathbf{E} + \mathbf{P}$$.

On the other hand, even though the value of P is not uniquely defined in a bulk solid, variations in P are uniquely defined. If the crystal is gradually changed from one structure to another, there will be a current inside each unit cell, due to the motion of nuclei and electrons. This current results in a macroscopic transfer of charge from one side of the crystal to the other, and therefore it can be measured with an ammeter (like any other current) when wires are attached to the opposite sides of the crystal. The time-integral of the current is proportional to the change in P. The current can be calculated in computer simulations (such as density functional theory); the formula for the integrated current turns out to be a type of Berry's phase.

The non-uniqueness of P is not problematic, because every measurable consequence of P is in fact a consequence of a continuous change in P. For example, when a material is put in an electric field E, which ramps up from zero to a finite value, the material's electronic and ionic positions slightly shift. This changes P, and the result is electric susceptibility (and hence permittivity). As another example, when some crystals are heated, their electronic and ionic positions slightly shift, changing P. The result is pyroelectricity. In all cases, the properties of interest are associated with a change in P.

Even though the polarization is in principle non-unique, in practice it is often (not always) defined by convention in a specific, unique way. For example, in a perfectly centrosymmetric crystal, P is exactly zero due to symmetry reasoning.

This can be seen in a pyroelectric material. Above the Curie temperature the material is not polarized and it has a centrosymmetric configuration. Lowering the temperature below the Curie temperature induces a structural phase transition that breaks the centrosymmetricity. The P of the material grows proportionally to the distortion, thus allowing to define it unambiguously.

Amorphous materials
Another problem in the definition of P is related to the arbitrary choice of the "unit volume", or more precisely to the system's scale. For example, at microscopic scale a plasma can be regarded as a gas of free charges, thus P should be zero. On the contrary, at a macroscopic scale the same plasma can be described as a continuous medium, exhibiting a permittivity $$\varepsilon(\omega) \neq 1$$ and thus a net polarization $P$.

title: Polarization density


text:
Suicide Is Painless

"Suicide Is Painless" (also known as "Theme from M*A*S*H" or "Song from M*A*S*H") is a song written by Johnny Mandel (music) and Michael Altman (lyrics) for the 1970 film M*A*S*H. In addition to being performed by characters in the film, it plays during the title sequence as sung by The Ron Hicklin Singers. An instrumental version was used as the theme music for the TV series based on the film, playing over the opening and closing credits.

Background
The song was written for Ken Prymus, the actor playing Private Seidman, to sing during the faux-suicide of Walter "Painless Pole" Waldowski (John Schuck) in the film's "Last Supper" scene. Director Robert Altman had two stipulations about the song for composer Johnny Mandel: it had to be called "Suicide Is Painless" and it had to be the "stupidest song ever written". Altman attempted to write the lyric himself, but, upon finding it too difficult for his "45-year-old brain" to write something "stupid" enough, he gave the task to his 15-year-old-son Michael, who reportedly wrote the lyrics in five minutes.

Altman later decided that the song worked so well he would use it as the film's main theme. This more choral version was sung by uncredited session singers John Bahler, Tom Bahler, Ron Hicklin, and Ian Freebairn-Smith, and was released as a single attributed to "The Mash". Altman said that, while he only made $70,000 for directing the movie, his son had earned more than $1 million for co-writing the song.

Several instrumental versions of the song were used as the theme for the TV series, but the lyrics were never used in the show. It became a number-one hit in the UK Singles Chart in May 1980. The song was ranked No. 66 on AFI's 100 Years...100 Songs.

Track listing
7″ vinyl
 * West Germany: CBS / 5009
 * UK: CBS / S CBS 8536
 * US: Columbia / 4M-45130 [mono promo only]
 * US: Columbia / 4S-45130 [original stereo stock release]

Manic Street Preachers version
Welsh alternative rock band Manic Street Preachers released a cover version of "Suicide Is Painless" on September 7, 1992, as "Theme from M.A.S.H. (Suicide Is Painless)". In the UK, it was a double A-side charity single to help The Spastics Society, with the Fatima Mansions' take on Bryan Adams' "(Everything I Do) I Do It for You" as the other A-side. The 12-inch and CD versions of the UK single included "Sleeping with the NME" – an excerpt from a radio documentary recorded in the offices of the NME capturing staff's reaction to photographs of guitarist Richey Edwards' infamous self-mutilation. The single peaked at number seven on the UK Singles Chart spending three weeks in the top 10.

Track listings
7-inch vinyl
 * UK: Columbia / 658382 7

 * Netherlands: Columbia / COL 658385 7

12-inch vinyl
 * UK: Columbia / 658382 6

CD
 * UK: Columbia / 658382 2

 * Europe: Columbia / 658385 2

 * Japan: Epic/Sony / ESCA 5668

Cover recorded versions

 * Ahmad Jamal recorded a new version of the song that replaced the version by The MASH on pressings of the soundtrack album beginning in 1973; the film retained the original version.
 * Bill Evans included an instrumental jazz cover on his posthumous album You Must Believe in Spring (recorded in 1977 but not released until 1981). Various live recordings by Evans are also in circulation.
 * Al De Lory recorded "Song from M*A*S*H", an instrumental jazz piano version for his 1970 album Al De Lory Plays Song from M*A*S*H. This version peaked at No. 7 on the adult contemporary chart during the summer of 1970.
 * Swedish group Small Town Singers released a version under the title "Song from M*A*S*H" in 1975. The single peaked at 17th position in Sweden, Top 100 chart in Australia.
 * Marilyn Manson recorded a cover version which was released on the soundtrack to Book of Shadows: Blair Witch 2 in 2000
 * In the tenth episode of the fifth season of The West Wing, titled "The Stormy Present", Toby Ziegler sings the song while drunkenly writing a eulogy for a former President aboard Air Force One.
 * The Icelandic duo Lady & Bird covered the song for their 2003 self titled album.

title: Suicide Is Painless


text:
Périgord

Périgord (, ;  ; Peiregòrd  or Perigòrd ) is a natural region and former province of France, which corresponds roughly to the current Dordogne department, now forming the northern part of the administrative region of Nouvelle-Aquitaine. It is divided into four areas called the Périgord Noir (Black), named so for the truffles that can be found there, the Périgord Blanc (White), for chalk cliffs and quarries, the Périgord Vert (Green), for forests and forestry and the Périgord Pourpre (Purple), for wine and viticulture. The geography and natural resources of Périgord make it a region rich in history and wildlife, and the newly created Parc Naturel Régional Périgord-Limousin aims to conserve it as such.

Périgord is noted for its cuisine, especially its duck and goose products, such as confit de canard and foie gras. It is known as a centre for truffles in France. Périgourdine wines include Bergerac (red and white) and Monbazillac.

Geography
Périgord surrounds and is named after the préfecture (capital) of the Dordogne, Périgueux, and also includes Bergerac in the south and Sarlat in the east.

History
There are Roman ruins in Périgueux which have been restored and the whole area is known as the 'cradle of mankind' due to its wealth of prehistoric sites, of which the most famous prehistoric site is the painted cave of Lascaux, whose depictions of aurochs, horses, deer and other animals (but not of humans) date back some 17,000 years. The centre of prehistoric studies is the small town of les Eyzies, home to the newly rebuilt Museum of Pre-History, where 19th century archaeological investigations established the valley of the Vézère as an unusually rich array of pre-historic sites dating back some 40,000 years. One of UNESCO's World Heritage locations, the valley contains 147 prehistoric sites dating from the Palaeolithic era and 25 decorated caves.

During the Roman conquest of Gaul, the area was organized as the territory of the Petrocorii (civitas Petrocoriorum) with its capital near modern Périgueux. This was known as Vesunna, apparently after a local Gaulish fertility goddess of the same name. Under the Roman Empire, it formed part of Gallia Aquitania and then, after the Diocletianic Reforms, Aquitania Secunda. The area was known in the early Middle Ages as the Petragoric lands (pagus Petragoricus) and then, after the 8th century, as the county of Périgord. The counts were vassals of the dukes of Aquitaine, making them part of the English Angevin Empire during the 13th century. The area was one of the main battlegrounds of the Hundred Years' War over the next two centuries. It passed into the hands of the dukes of Orleans in the 15th century, the d'Albrets in the 16th, and then finally crown land of the Kingdom of France upon the accession of Henri IV.

Owing to its contentious history, Périgord has numerous medieval castles and Renaissance chateaux, including Puymartin, Losse, Hautefort, and Beynac, Jumilhac-le-Grand, Fénelon, Biron, Bourdeilles, Castelnaud, Puyguilhem, and Rouffiac.

In popular culture
A visit to the province inspired the English novelist Julia Stuart to write her novel The Matchmaker of Périgord. Michael Crichton's novel Timeline is partially set in 1357 Périgord. Claude Chabrol filmed his classic thriller Le Boucher here in 1970, with references to Bergerac and the cinema at Sarlat. The Martin Walker crime novels featuring Bruno Courreges, chief of police, are set in the fictional town of St. Denis on the Vézère river. In Christian Vincent's 2012 film Haute Cuisine (French title: Les Saveurs du Palais), the protagonist Hortense Laborie is a chef from Périgord. The 2013 documentary film After Winter, Spring follows the lives of family farmers in Périgord, including their struggles in the face of real estate development, government agriculture policy, and large agribusiness. In the eighth film in the MI7 Film Series, the main story is set in Perigord in a fictional version of the region where it becomes a country. It is run by the far right Nazi sympathiser Leon Napoli in the film.

title: Périgord


text:
Yuen Long station

Yuen Long is an MTR station in the north-eastern part of Yuen Long Town, New Territories, Hong Kong, on the  between Kam Sheung Road and Long Ping. It is an interchange between the and Yuen Long stop of the  system.

History
Yuen Long and Long Ping station were built under a combined contract, numbered CC-202, which was awarded to the AMEC-Hong Kong Construction Joint Venture. The contract, worth HK$1.76 billion, commenced in September 1999. Piling was completed at Yuen Long station in November 2001, while the superstructure and civil works were completed by March 2002. A topping-out ceremony for both Yuen Long and Long Ping stations was held on 24 May 2002.

The station opened on 20 December 2003 with the inauguration of the West Rail.

A new station exit (Exit K), linking the station concourse to Yoho Mall, was opened on 31 May 2017.

On the night of 21 July 2019, an armed mob of alleged triad members dressed in white indiscriminately attacked civilians on streets with steel rods and rattan canes and attacked passengers in the station including the elderly, children, black-clad protesters, journalists and lawmakers. At least 45 people were injured in the incident, including a pregnant woman. The incident and the alleged mishandling of the police prompted a series of protests around Yuen Long, expanding the extent of Hong Kong's anti-extradition bill protests.

On 27 June 2021, the officially merged with the  (which was already extended into the Tuen Ma line Phase 1 at the time) in East Kowloon to form the new, as part of the Shatin to Central link project. Hence, Yuen Long was included in the project and is now an intermediate station on the Tuen Ma line.

Station layout
It is an elevated through station with one island platform.

Entrances/exits
Exits C and D are reserved.
 * A: Long Yat Road
 * B: Nam Pin Wai
 * C: Yoho Mix
 * E: Light Rail
 * F: Yoho Mall II
 * G1: Light Rail
 * G2: Tung Tau Tsuen
 * H: Pok Oi Hospital
 * J: Ying Lung Wai
 * K: Yoho Mall I

title: Yuen Long station


text:
1964–65 Bundesliga

The 1964–65 Bundesliga was the second season of the Bundesliga, West Germany's premier football league. It began on 22 August 1964 and ended on 15 May 1965. 1. FC Köln were the defending champions.

Season overview
The championship was won by Werder Bremen. Schalke 04 and Karlsruher SC were originally going to be demoted to the Regionalliga. However, the German FA became aware of irregularities regarding transfer fees, signing bonuses and player wages paid by Hertha BSC. A cash audit was ordered, and the evidence collected from there was enough to revoke Hertha's license. In order to avoid any legal battles over Bundesliga membership, the FA decided to expand the league from sixteen to eighteen teams, meaning Schalke and Karlsruhe were spared relegation. Since Berlin should have a representative in the league as well, Tasmania Berlin were promoted besides the winners of the promotion play-off groups for the 1965–66 season.

The 1964–65 season saw the debut of Brazilian players in the Bundesliga. Zézé became the first Brazilian to play in the league when he fielded for 1. FC Köln against Hertha BSC on 22 August 1964 while Raoul Tagliari scored the first-ever Bundesliga goal by a Brazilian for Meidericher SV against 1. FC Nürnberg on 21 November 1964.

Teams
Preußen Münster and 1. FC Saarbrücken were relegated to the Regionalliga after finishing in the last two places. They were replaced by Hannover 96 and Borussia Neunkirchen, who won their respective promotion play-off groups.

Top goalscorers

 * 24 goals
 * 🇩🇪 Rudolf Brunnenmeier (1860 Munich)

 * 22 goals
 * 🇩🇪 Friedhelm Konietzka (Borussia Dortmund)

 * 19 goals
 * 🇩🇪 Christian Müller (1. FC Köln)

 * 15 goals
 * 🇩🇪 Heinz Strehl (1. FC Nürnberg)

 * 14 goals
 * 🇩🇪 Franz Brungs (Borussia Dortmund)
 * 🇩🇪 Uwe Seeler (Hamburger SV)

 * 12 goals
 * 🇩🇪 Peter Grosser (1860 Munich)
 * 🇩🇪 Hartmann Madl (Karlsruher SC)
 * 🇩🇪 Klaus Matischak (FC Schalke 04)
 * 🇩🇪 Elmar May (Borussia Neunkirchen)
 * 🇩🇪 Karl-Heinz Thielen (1. FC Köln)
 * 🇩🇪 Lothar Ulsaß (Eintracht Braunschweig)

title: 1964–65 Bundesliga