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Discoverer

Discoverer may refer to:

Ships

 * MS World Discoverer cruise ship wrecked off the Solomon Islands in 2000
 * Discoverer Clear Leader double-hulled dynamically-positioned drillship (2007), sister ships are
 * Discoverer Americas
 * Discoverer Inspiration
 * Discoverer Luanda
 * Discoverer India
 * Discoverer Enterprise double-hulled dynamically-positioned drillship (1999), sister ships are
 * Discoverer Spirit
 * Discoverer Deep Seas
 * Silver Discoverer cruise ship
 * Coral Discoverer cruise ship
 * USC&GS Discoverer, the name of two ships of the United States Coast and Geodetic Survey

Other uses

 * Corona satellites, a 1959-1962 classified U.S. military satellite program publicly labeled the Discoverer non-military scientific program
 * The Discoverer, a novel by Norwegian author Jan Kjærstad
 * "Discoverer" (R.E.M. song)
 * The Discoverers, a non-fiction book
 * The Discoverers, film directed and written by Justin Schwarz
 * "Discoverer", a song on the album Collapse into Now by R.E.M.
 * Discoverer Seamount, an undersea geographic feature named after NOAAS Discoverer (R 102)
 * Oracle Discoverer software

title: Discoverer


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Talk:Paraguayan National Anthem

Untitled
The latter half of the chorus is "Ni opresores, ni siervos alientan/ Donde reina unión, e igualdad." I'm not sure how best to translate "alientan" here: for the moment, I've simply left it out, which I don't think radically alters the sense, but if anyone can do better, please do. -- Jmabel 04:53, 3 May 2004 (UTC)

 * I'm venturing to translate "alentar" in this context as "to dare to take heart". I realize that's loose. -- Jmabel 00:47, 4 May 2004 (UTC)

Other than that... well, it's pretty grandiose, not the sort of thing I usally translate. This sent me to my dictionary a lot more than I'm accustomed to, and some of the words weren't even to be found there. "Perínclita," for example, is not common at all, but I believe I've understood it correctly. If anyone knows I'm wrong about something, please just fix it. If in doubt, let's please discuss it here. -- Jmabel 00:41, 4 May 2004 (UTC)

 * My guess is that here alentar just means "to breathe" -- consequently, "to exist". Not an easy piece to translate at all... –Hajor 03:04, 4 May 2004 (UTC)

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

title: Talk:Paraguayan National Anthem


text: Talk:1953 in sports

title: Talk:1953 in sports


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Talk:Battle of Tewkesbury

Untitled
the link to the contemporary account is broken

This article is supposed to be about the battle of Tewkesbury, not the whole Wars of the Roses. Five major headings before the Tewkesbury campaign is clearly excessive. The article needs drastic trimming. There should be no more than onne Background heading, and possibly a separate heading on the battle of Barnet, before proceeding to the battle of Tewkesbury itself. Pirate Dan (talk) 16:55, 29 June 2010 (UTC)

Editors, please distinguish your Edwards: Prince or King IV
As with many articles concerning the War of the Roses, this is very difficult to understand due to the confusion between Lancastrian Prince Edward and Yorkist King Edward IV. Please, please, please, can editors ensure that any use of the name "Edward" is clearly distinguished, ideally by using consistent prefixes "King" or "Prince". Unfortunately I don't have enough historical knowledge to go through the article myself and add these distinctions. It would be helpful if Wikipedia historians could agree a consensus on a consistent naming convention for all the major actors in the War of the Roses, as we have several Henrys and Richards too - it is currently very difficult to track one Edward, Henry or Richard between one article and another linked article. Andrew Oakley (talk) 10:11, 12 July 2012 (UTC)

 * Not my, or any historian's, fault that the royalty and nobility had such little imagination at the font. In this article, "Edward" unadorned or unqualified consistently refers to Edward IV, while Margaret of Anjou's sprog is always referred to as either Prince Edward, or once as Edward of Westminster. However, I will try to tidy things without being too verbose, repetitive or condescending to the reader by giving glimpses of the blindingly obvious. HLGallon (talk) 12:54, 12 July 2012 (UTC)

Tewkesbury Strengths
HLGallon, is there a reason you reverted my edit? If you go here and here, you will see that the numbers in the article should be a range rather than exact. Thank you. Bill the Cat 7 (talk) 12:17, 20 September 2013 (UTC)

 * Apologies if my reversion was a bit brutal. However, the original figures were quoted in citations, and should not be changed without providing another cite for them. In this case, the changes would not have materially altered the balance of the article, but I am always wary of facts or figures which are improperly supported by citations. HLGallon (talk) 15:05, 20 September 2013 (UTC)

 * That's cool. How about I add in the references I listed above, in addition to keeping the references that are already there?  Would you be ok with that?  Bill the Cat 7 (talk) 15:23, 20 September 2013 (UTC)

 * Best to replace the references. The original cites are really estimates from authors anyway (first hand sources on Tewkesbury are skewed or fantastic), so any reasoned source will be OK. HLGallon (talk) 15:29, 20 September 2013 (UTC)

 * I just ordered a book on the battle, so I'll see what it has to say and see if I can find more resources. In the mean time, I thinks it's best to leave the strengths as they currently are.  I'll revisit in about a month.  Thanks for your input.  Bill the Cat 7 (talk) 19:43, 20 September 2013 (UTC)

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Contradiction between two Wiki articles regarding Prince Edward's death
Under “Aftermath of the battle”:

“The Prince of Wales was found in a grove by some of Clarence's men. He was summarily executed, despite pleading for his life to Clarence, who had sworn allegiance to him in France barely a year before.”

In the article Edward of Westminster, Price of Wales, under “Battles of Barnett and Tewkesbury”::

“According to some accounts, shortly after the rout of the Lancastrians at Tewkesbury, a small contingent of men under the Duke of Clarence found the grieving prince near a grove, and immediately beheaded him on a makeshift block, despite his pleas. Paul Murray Kendall, a biographer of Richard III, accepts this version of events." But then continues:  “However, none of these accounts [includes an another aforementioned  version of Edward's ending] appear in any of the contemporaneous sources, which all report that Edward died in battle.”

https://en.wikipedia.org/wiki/Edward_of_Westminster,_Prince_of_Wales

Shouldn’t these two versions of Edward’s death be reconciled within the same encyclopedia, perhaps lifting the passages and sources from the latter article along with its conclusion?HistoryBuff14 (talk) 21:22, 31 August 2019 (UTC)

title: Talk:Battle of Tewkesbury


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Talk:Non-lock concurrency control

There's another description of non-locking code at InterBase -- should we cross-link ?

Strictly-speaking, even optimistic concurrency control must lock at some point (during commit). Thus, I don't think it should qualify as a "non-lock concurrency control" mechanism. Daniel Spiewak (talk) 19:34, 1 October 2008 (UTC)

title: Talk:Non-lock concurrency control


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Ted Neeley

Teddie Joe Neeley (born September 20, 1943) is an American singer, actor, musician, composer, and record producer. He is known for portraying the title role in Jesus Christ Superstar (1973), a role for which he was nominated for two Golden Globe Awards and has reprised numerous times.

Neeley considers himself a baritone, and is known for his extremely wide vocal range and rock screams—notably the G above high C (G5) in "Gethsemane (I Only Want to Say)" from Jesus Christ Superstar.

Early life and career
Neeley was born in Ranger, Texas. He signed his first record deal in 1965, at age 22, with Capitol Records. He and his group, The Teddy Neeley Five, recorded an album titled Teddy Neeley. They played the club circuit for years, and their name (on a marquee) appeared in the pilot episode of Dragnet 1967. In 1968, Neeley starred in the Los Angeles productions of Larry Norman's rock musicals Alison and Birthday for Shakespeare, with Norman and Richard Hatch. Then, in 1969, Neeley played the lead role of Claude in both the New York and Los Angeles productions of Hair. He also appeared on the controversial, unaired episode of The Smothers Brothers Comedy Hour that prompted CBS to cancel the series.

Jesus Christ Superstar
Neeley's work with Tom O'Horgan, the director of Hair, led to him being called when O'Horgan was hired to stage Jesus Christ Superstar for Broadway. Neeley originally auditioned for the role of Judas, seeing it as a great opportunity to play a character few understand.

However, when Ben Vereen was chosen for the role, Neeley signed on as chorus and also became the understudy for Jesus Christ. This particular opportunity led to his taking on the title role in the Los Angeles stage version (which played at the Universal Amphitheatre) after receiving a standing ovation during a performance earlier in the tour. Castmate and close friend Carl Anderson was touring also as an understudy for Judas.

After performing the title role in the stage production of Tommy at the Aquarius Theatre in Hollywood in 1973, Neeley was led to reprise the title role in the film version of Jesus Christ Superstar, directed by Norman Jewison, alongside Anderson as Judas. In 1974, he received nominations for his performance in the film at the 31st Golden Globe Awards for "Best Actor in a Motion Picture—Musical or Comedy" and "New Star Of The Year—Actor".

Post-JCS: music, television, and theatre
In 1974, fresh from the success of Superstar, Neeley released a solo album, 1974 A.D. (1974), and played the role of Billy Shears in The Beatles' Sgt. Pepper's Lonely Hearts Club Band on the Road in New York. From then on, he was a frequent musical guest star on network variety programs such as The Tonight Show with Johnny Carson, The Smothers Brothers Comedy Hour [as lead singer in The Teddy Neeley Five], Sonny and Cher and A Touch of Gold, and as a guest actor in films such as The Shadow of Chikara (1977) and Hard Country (1981), network dramas during the 1970s and 1980s, such as Starsky and Hutch.

The specter of Superstar continued to loom large over Neeley's career. In the late 1970s, he reprised his performance in the title role for two regional productions in California, both under the auspices of the California Youth Theatre organization. The first reunited him with his Broadway and film co-stars Carl Anderson and Yvonne Elliman (as Judas and Mary Magdalene).

Among his other credits, Neeley composed music for and appeared in Director Robert Altman's film A Perfect Couple (1979) and performed the music for the TriStar feature film Blame It on the Night, NBC-TV's Highway to Heaven, and The Big Blue Marble for the Children's Television Network. He also wrote music for and starred in Cowboy Jack Street, at the Mark Taper Forum in Los Angeles.

At the same time, Neeley provided his abilities as singer, songwriter, vocal arranger, and producer to albums and to appearances by such artists as Nigel Olsson, Tina Turner, Richard Pryor, Robin Williams, Disco Tex and the Sex-O-Lettes, Ray Charles, Richie Havens, The Kinks, Ben Vereen, Bo Diddley, Keith Carradine, and Meat Loaf.

He worked with songwriter Michael Rapp, who wrote such hit concept albums as Ulysses: The Greek Suite, The Ring and The Enchanter exclusively for showcasing Neeley's vocal talents. In the late 1970s, he returned to live performance, now with his band, Pacific Coast Highway.

Return to the stage
Twenty years after first playing the role, Neeley gained renewed success in the lead role of Jesus in the 1990s touring company of Jesus Christ Superstar (which once again co-starred Carl Anderson as Judas, and also at various points co-starred Stevie Wonder's former wife Syreeta and Irene Cara of Fame as Mary, and Dennis DeYoung of Styx as Pilate).

Originally planned as a three-month tour to celebrate the 20th anniversary of the motion picture, the "A.D. Tour" went on to become the longest running revival in North American theater history. From 1992 to 1997, the successful tour enabled Neeley the opportunity to reprise his role over 1,700 times.

In 1999, Neeley reunited with Michael Rapp for a new project, a rock musical entitled Rasputin, a story about the fall of the Romanov dynasty as seen through the eyes of Alexei, heir to the throne and friend to the "mad monk" (a role played by Neeley).

In addition to playing the title role, he produced a one-night showcase production (in 1999) and concept album (released in 2002) of the show. He followed this up in 2000 by performing the role of Willie Moore in the world premiere of Murder in the First, presented by the Rubicon Theatre Company of California. That same year he served as the sound consultant for their production of the Harry Chapin revue Lies and Legends.

In 2004, Neeley worked with RTC once again, appearing as Lucky in the Rubicon Theatre Company's production of Waiting for Godot, which was the centerpiece of their BeckettFest.

In August 2006, Neeley was asked to perform the title role in Jesus Christ Superstar live in concert for a one-night-only benefit at the Ricardo Montalbán Theatre in Hollywood, California. Produced and directed by Gary Goddard, this production reunited him with several of his former co-stars from the original Broadway cast and 1973 film (Ben Vereen, Yvonne Elliman, Barry Dennen) and also paired him with current celebrities (Jack Black as Herod and Clint Holmes as Simon). Immediately following the Superstar Benefit in Hollywood, Neeley began headlining another production of Jesus Christ Superstar. It was originally billed by some as his national "farewell" tour, but Neeley disavowed the claim and the tour became known as the new "A.D. Tour".

The tour was supposed to last through 2007, but it was extended into 2010. Carl Anderson, who was originally slated to reprise his role as Judas, died in 2004 of leukemia. Corey Glover, lead singer of the rock band Living Colour, co-starred as Judas early in the tour. Glover left the show to rejoin Living Colour in June 2008, and actor James Delisco took over the Judas role, along with several new cast members for the third (2009) leg of the tour.

On the fourth and final leg (2009–2010), Judas was played by John Twiford. Several other cast members returned for the fourth leg including Darrel R. Whitney (Caiaphas) and Matthew G. Myers (Simon/Judas Understudy). The tour ended in Boston, Massachusetts, on May 9, 2010.

Current projects: film, stage, and music
In 2012, following successful stage tours, film and television work, Neeley continued his childhood dream of singing in a rock and roll band. He hit the road with "The Little Big Band" and the first stop was a benefit concert for the performing arts program at the high school in Virginia where Carl Anderson began his career. Neeley had a cameo role as a slave tracker in Quentin Tarantino's 2012 Academy Award-winning film Django Unchained. While on location in the swamps of Louisiana, Neeley was inspired for the "Tracker's Chant" which was included in the soundtrack for the film. In 2013, Neeley went back into the recording studio to record his album Workin' for the Words. A digitally re-mastered production of his 1974 A.D. original vinyl album, distributed as a CD called Ted Neeley 1974 A.D. / 2013 A.D. was later released.

Later in 2013, in celebration of the 40th Anniversary of the film Jesus Christ Superstar, Neeley toured the US screening the digitally re-mastered DCP print of the film. The screening events included a pre-screening audience Q&A and post-film meet and greet with appearances by the principal cast members including Barry Dennen (Pontius Pilate), Yvonne Elliman (Mary Magdalene) and Larry Marshall

Neeley's EP Rock Opera was released in April 2014. Rock Opera includes songs from Jesus Christ Superstar and Tommy, along with vocal collaborations with friends and Superstar co-stars, including Yvonne Elliman in their duet "Up Where We Belong", and with the late Carl Anderson, featured in the re-imagined "God's Gift To The World". The EP also includes a live on-stage performance of "Gethsemane". Produced by Frank Munoz (Ace Frehley's Anomaly, Jason Newsted's Metal), Rock Opera was available on iTunes and his web site.

In the spring of 2014, Neeley was invited to Rome to perform as Jesus in the Peep Arrow Production of Jesus Christ Superstar, directed by Massimo Romeo Piparo. The show also featured Italian rock band Negrita on stage during the performances along with a 12-piece orchestra. The show ran for a few months in Rome and it went on to tour in Italy through May 2015. In the summer of 2014, Neeley played the role of "The Publicist" in Darren Lynn Bousman and Terrance Zdunich's film Alleluia! The Devil's Carnival. The film had its world premiere in Hollywood at the Egyptian Theatre on August 11, 2015.

Solo albums

 * 1967: Teddy Neeley
 * 1973: 1974 A.D.
 * 2018: Rock Opera

Collaborative albums

 * 1973: Jesus Christ Superstar (The Original Motion Picture Sound Track Album)
 * 1978: Ulysses: The Greek Suite (A-440 Feat. Ted Neeley & Yvonne Iversen)
 * 1979: Keepin' 'Em Off the Streets—Performing the Music from the Motion Picture A Perfect Couple

Personal life
Neeley met his wife, Leeyan Granger, during the making of the film Jesus Christ Superstar, in which she can be seen as one of the dancers in "Simon Zealotes" and "King Herod's Song". They have two children, Tessa and Zackariah.

title: Ted Neeley


text:
Ruffian (horse)

Ruffian (April 17, 1972 – July 7, 1975) was an American Thoroughbred racehorse who won ten consecutive races, including the Acorn, Mother Goose and Coaching Club American Oaks, then known as the American Triple Tiara. She was in the lead at every point of call in every race she ever ran and set new stakes records in each of the eight stakes races she won. Her dominating wins caused her to be named the American Champion filly at both ages two and three. In July 1975, she entered a highly anticipated match race with Kentucky Derby winner Foolish Pleasure, in which she broke down. Surgery was attempted but Ruffian reacted poorly and exacerbated the injuries while coming out of anesthesia. As a result, she was euthanized.

Ruffian was inducted into the National Museum of Racing and Hall of Fame in 1976. The Blood-Horse magazine ranked her as the top filly or mare of the twentieth century in their list of the top 100 American racehorses of the 20th century, and number 35 overall. Her story was told in the 2007 film Ruffian and numerous books.

Background
Ruffian was foaled on April 17, 1972, at Claiborne Farm near Paris, Kentucky. She was bred by Stuart S. Janney Jr. and Barbara Phipps Janney, owners of Locust Hill Farm in Glyndon, Maryland. Janney, a cousin of prominent horseman Ogden Mills Phipps, later became the chairman of the Bessemer Trust. Ruffian was sired by Reviewer, a son of the Phipps family's great sire Bold Ruler, and out of the Native Dancer mare Shenanigans. She was trained by Frank Y. Whiteley Jr.

Ruffian was a dark bay filly, often described as black or near-black. She stood high, then considered quite large for a filly. Sportswriter Joe Hirsch called her the most imposing juvenile filly he'd ever seen. William Nack, author of Ruffian: A Racetrack Romance, wrote, "She looked like an outside linebacker." Ruffian used her early speed, size and strength to intimidate competition.

Two-year-old season
Ruffian made her debut at Belmont Park on May 22, 1974, in a $5 1/2$-furlong maiden special weight race, going off at odds of 4–1 in a field of ten. Breaking from post position nine, she went straight to the front while running the first quarter-mile in 22$1/5$ seconds. She continued to open up her lead while rounding the turn, completing the half-mile in 45 seconds flat. She eventually won by 15 lengths and tied the track record in a time of 1:03 flat.

On June 12, Ruffian faced stiffer company in the $5 1/2$-furlong Fashion Stakes, including two other undefeated fillies, Copernica and Jan Verzel. Despite the step up in class, Ruffian went off as the 2-5 favorite based on her earlier win. She again went to the lead with an opening quarter of 22$1/5$ seconds with Copernica $1 1/2$ lengths back. The margin remained the same through the half mile, run in 0:45$1/5$, but Ruffian started to open up in the stretch. The final margin was $6 3/4$ lengths to Copernica, with Jan Verzel a further 13 lengths back in third. Ruffian equaled her own track record of 1:03.

Ruffian made her third start on July 10 at Aqueduct Racetrack in the Astoria Stakes over a distance of $5 1/2$ furlongs. Facing only three rivals, she went off as the 1-10 favorite with no show betting allowed. She established an early lead while running the first quarter in 0:21$4/5$. Despite being eased in the final strides, she won by nine lengths in a time of 1:02$4/5$, setting a new stakes record. She was just one-fifth of a second off the track record set by Raise A Native.

Her next start at Monmouth Park on July 27 in the Grade I Sorority Stakes would prove a greater challenge as she faced another top class filly called Hot n Nasty, who like Ruffian had already earned multiple stakes wins. Ruffian went off as the 3-10 favorite with Hot n Nasty at 2–1. Ruffian broke a step slow but soon took the early lead, setting a "brutally fast" pace of 0:21$3/5$ for the first quarter and 0:44$1/5$ for the half. Hot n Nasty stayed in touch though and actually got a head in front near the top of the stretch. For the first time, jockey Jacinto Vásquez hit Ruffian with the whip. Ruffian responded by inching back into the lead, then finally drew away to win in a stakes record time of 1:09 for six furlongs. Hot n Nasty was $2 1/2$ lengths back in second and the third place horse was 22 lengths behind.

The day after the race, Ruffian came down with a heavy cough. Vásquez also believed she had popped a splint in the race, which, although not a serious injury, was painful enough to take the edge off of most horses.

On August 23 at Saratoga Race Course, Ruffian entered the Spinaway Stakes at a distance of six furlongs. Going off at odds of 1–5 in a field of four, she was never challenged in a gate-to-wire win of $12 3/4$ lengths. Her time of 1:08$3/5$ broke the stakes record that had been set at Belmont Park in 1945 on the old Widener straight course. Secretariat's trainer, Lucien Laurin, said, "As God is my judgment, this filly may be better than Secretariat!" Another trainer said that she could have won either division of that year's Hopeful Stakes, Saratoga's most prestigious race for colts, by twenty lengths. It was the fastest time ever run by a two-year-old, colt or filly, at Saratoga.

Ruffian was entered in the Frizette Stakes on September 26 but was scratched on the day of the race due to a high temperature. Whitely then considered running her against colts in the Champagne Stakes but she went off her feed and ran another fever. Veterinarian James Prendergast detected a hairline fracture of her right hind ankle, ruling her out for the rest of the year. Whiteley was later interviewed about the fracture and asked if it were true that it happened during the Spinaway. He answered, "It did happen during the race, she was just a couple of strides from the wire." When asked why he thought Ruffian had not shown any signs of being hurt until later, he replied, "She is a very tough filly, and doesn't like to show any weaknesses."

Ruffian missed the rest of the two-year-old season but her five wins were sufficient to earn her the Eclipse Award for American Champion Two-Year-Old Filly. Ruffian was also voted the 2-year-old "Horse of the Year" by Turf & Sport Digest as well as the 1974 "Filly 2 year old Champion" [Reference: Turf & Sport Digest January 1975. Front Cover and full article page 24,25,26.]

Three-year-old season
Ruffian started her three-year-old campaign on April 14 in a six-furlong allowance race at Aqueduct. Despite the long layoff, she was the prohibitive 1-10 favorite in a field of five. She took the lead after a few strides, then ran the opening quarter-mile in 23 seconds flat and the half in 0:45$4/5$. She won by $4 3/4$ lengths in a time of 1:09 $2/5$.

She followed up with a victory in the Comely Stakes at Aqueduct on April 30, winning despite a poor start by $7 3/4$ lengths. Her time of 1:21$1/5$ for 7 furlongs set a new stakes record and was just a second off Dr. Fager's track record. Going off at odds of 1-20 (the legal minimum), she created a minus pool of $36,064.

Ruffian was then targeted at the so-called Triple Tiara, the filly equivalent of the American Triple Crown. At the time, the series consisted of the Acorn Stakes, Mother Goose Stakes and Coaching Club American Oaks. In the Acorn Stakes on May 10 at Aqueduct, Ruffian was the 1-10 favorite. She was expected to face eight other fillies, but her two main rivals scratched before the race. Ruffian quickly went to the lead and won by $8 1/2$ lengths in a stakes record time of 1:34$2/5$ for one mile. "What can you say?" asked Vásquez. "She's just great and runs so easy. She had no competition."

On May 31, Ruffian entered the Mother Goose Stakes at Aqueduct as the 1-10 favorite in a field of seven. The start was marred when the filly to Ruffian's right, Dan's Commander, threw her rider. Ruffian was not disturbed and took the lead, running the first quarter-mile in a relatively slow 0:24$1/5$. Running at her own pace, she completed the half in 0:47$3/5$ while leading by $1 1/2$ lengths then completed three-quarters in 1:11$3/5$ with a two-length lead. Turning into the stretch, she started to draw away and eventually won by $13 1/2$ lengths while setting a new stakes record of 1:47$4/5$ for nine furlongs. "I didn't do anything but ride", said Vásquez.

In the Coaching Club American Oaks on June 21 at Belmont Park, she was again made the 1-10 favorite despite racing for the first time at a distance of $1 1/2$ miles. She opened up a 6 length lead on the backstretch but the field closed on her during the far turn, getting as close as 1 length. In the stretch, Ruffian again pulled away to win by $2 3/4$ lengths over Equal Change, with the third place horse a further nine lengths back. Her time of 2:27$4/5$ tied the stakes record.

Ruffian was undefeated in her first ten races, covering distances from 5.5 furlong to 1.5 mi, with an average winning margin of 8$1/3$ lengths. She set stakes records in each stakes race she entered.

Final race and death
Ruffian's eleventh race was run at Belmont Park on July 6, 1975. It was a match race between her and that year's Kentucky Derby winner, Foolish Pleasure. Her connections had been asked about running her against colts since early in her career, and Whiteley thought that the Travers Stakes at Saratoga in August would be a good opportunity. "Prove the point one time and that'll be it," he had said in May. "I don't want to put too much pressure on her." However, Janney felt obligated to enter in the July match race due to media and public expectations. He told Whiteley that such a race was inevitable and it would be best to do so on her home track. In the past, the horses had shared the same jockey: Jacinto Vásquez. Vásquez chose to ride Ruffian in the match race, believing her to be the better of the horses; Braulio Baeza rode Foolish Pleasure. The "Great Match" was heavily anticipated and attended by more than 50,000 spectators, with an estimated television audience of 20 million.

As Ruffian left the starting gate, she hit her shoulder hard before straightening herself. The first quarter-mile (402 m) was run in 22$1/5$ seconds, with Ruffian ahead by a nose. Little more than 1 furlong later, Ruffian was in front by half a length when she changed leads, followed by a crack audible to both jockeys. Both of the sesamoid bones in her right foreleg had snapped. Vasquez tried to pull her up, but the filly would not stop. She went on running, pulverizing her sesamoids, ripping the skin of her fetlock and tearing her ligaments until her hoof was flopping uselessly. Vasquez said it was impossible for him to stop her. She still tried to run and finish the race. Video showed Ruffian was startled by a bird in the infield and took a bad step.

Ruffian was immediately attended to by a team of four veterinarians and an orthopedic surgeon, and underwent an emergency operation lasting twelve hours, during which she had to be revived twice after she stopped breathing. When the anesthesia wore off after the surgery, she thrashed about wildly on the floor of a padded recovery stall as if still running in the race. Despite the efforts of numerous attendants, she began spinning in circles on the floor. As she flailed about with her legs, she repeatedly knocked the heavy plaster cast against her own elbow until the elbow, too, was smashed to bits. The vet who treated her said that her elbow was shattered and looked like a piece of ice after being smashed on the ground. The cast slipped, and as it became dislodged it ripped open her foreleg all over again, undoing the surgery. The medical team, knowing that Ruffian would probably not survive more extensive surgery for the repair of her leg and elbow (much less the long period of stall rest required after surgery), euthanized her shortly afterward at 2:25 a.m. on July 7.

"It was unfortunate we were in a learning period at the time", said her surgeon Dr. Edward Keefer in 2000. "Vets are really doing a hell of a job now and have improved tremendously in their knowledge and how to handle these catastrophic occurrences."

Burial
At around 9p.m. on July 7, 1975, after the day's races concluded at Belmont Park, Ruffian's remains were buried in a private ceremony in the infield. Her nose was pointed towards the finish line.

In August 2023 it was announced that Ruffian's remains were exhumed from her grave at Belmont Park and reinterred in Marchmont Cemetery at Claiborne Farm in Kentucky where she was born. The decision was made by Stuart Janney III (the son of Ruffian's owner) after consultation with the New York Racing Association and Claiborne, as Ruffian's grave was located directly on the footprint of where Belmont was in the process of constructing a one-mile synthetic racetrack. Janney expressed hope that more members of the public would be able to pay their respects to Ruffian in her new resting place.

Racing statistics
An asterisk after the odds means Ruffian was the post-time favorite.

Aftermath
Ruffian's breakdown and death led to a public outcry for more humane treatment of racehorses. As it is natural for horses to thrash and kick when coming out of anesthesia, a "recovery pool" was developed so that they awaken suspended in warm water and don't re-injure themselves. Medications such as corticosteroids for inflammation and pain management came into common use. However, while helping the horses in the short term, the increased use of medications at the track had a disadvantage, as many more horses were raced while injured. The average number of starts per year steadily declined, though this may also be attributable to economic factors.

Ruffian's breeding may be considered at least partly to blame for her broken leg; her sire, Reviewer, suffered three breakdowns in his racing career. After his fourth and last breakdown, which occurred while in his paddock, he had to be euthanized after surgery. Shenanigans, Ruffian's dam, was euthanized following intestinal surgery on May 21, 1977, when she broke two legs while recovering from anesthetic. Ruffian's damsire, Native Dancer, is considered by some to be the purveyor of "soft boned" genetics, primarily through his brilliant but unsound son Raise a Native. Inbreeding to Raise a Native may have been a factor in the later breakdown of Eight Belles.

Later research by Susan Stover showed that catastrophic breakdowns were most often preceded by smaller stress fractures, though the fracture Ruffian experienced as a two-year-old was in a different leg. To help prevent similar tragedies, the industry has directed research into improved early detection, surgical techniques and rehabilitation methods.

Legacy
Ruffian posthumously earned the 1975 Eclipse Award for Outstanding Three-Year-Old Filly. In 1976, she was inducted into the National Museum of Racing and Hall of Fame. The Blood-Horse magazine ranked her 35th in its list of the top 100 U.S. thoroughbred champions of the 20th Century; she is the highest-rated filly (or mare) on the list. Sports Illustrated included her as the only non-human on their list of the top 100 female athletes of the century, ranking her 53rd.

In the summer of 1975, folk singer Joan Baez dedicated a version of the song "Stewball" to Ruffian.

Since 1976, the Ruffian Handicap has been run in Ruffian's honor. Until 2009, the race had been held at Belmont Park (on Long Island, New York), but it was moved upstate to Saratoga Race Course in 2010. In 2014, the Ruffian Handicap was moved back to Belmont Park.

The Ruffian Equine Medical Center, now known as Cornell Ruffian Equine Specialists, opened on May 26, 2009. It cost $18 million to build and is located outside Gate 8 of Belmont Park. The facility offers a wide range of services ranging from acute care for race related injuries to preventative care and farrier consultations.

Ruffian has many nicknames, such as "Queen of the Fillies", "Queen of the Century", "Queen of Racing", "Queen of the Track", "Filly of the Century", "The Super Filly", the "Black Terror" and more. Several books about her have been published, including Ruffian, Burning from the Start, Ruffian, A Racetrack Romance, Ruffian: Horse Racing's Black Beauty, and The Licorice Daughter, My Year with Ruffian.

In Lexington, Kentucky, the road into the Masterson Station Park is named "Ruffian Way" and a monument in her honor can be found inside the park. It reads, "This memorial erected in memory of Ruffian, dark bay thoroughbred filly. We were young when she died, too young to remember her with the greats of other eras. Yet to love grace and perfection is ours because we are human and none felt her loss more painfully than we. The Children of Lexington – 1975"

In Japan, the horse owner club Thoroughbred Club Ruffian is named after the horse, as the founder, Shigeyuki Okada, is said to have met the horse when he was training in the United States.

Breeding
Ruffian was by Reviewer, a talented racehorse who was injured in each of the three seasons he raced. In a short career at stud, he sired two outstanding fillies, Ruffian and Revidere, but failed to sire a son capable of continuing his line.

Ruffian's dam Shenanigans earned three wins in 22 starts for the Janneys, then became an outstanding broodmare. In addition to Ruffian, Shenanigans produced graded stakes winner and important sire Icecapade, the talented filly Laughter, who went on to become a producer of several stakes winners, and Buckfinder, another stakes winner and good sire. Shenanigans was named the 1975 Kentucky Broodmare of the Year.

title: Ruffian (horse)


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Brown-capped babbler

The brown-capped babbler (Pellorneum fuscocapillus) is a member of the family Pellorneidae.

Distribution
The brown-capped babbler is an endemic resident breeding bird in Sri Lanka. Its habitat is forest undergrowth and thick scrub. This species, like most babblers, is not migratory, and has short rounded wings and a weak flight.

Ecology
This babbler builds its nest on the ground or in a hole, concealed in dense masses of foliage. The normal clutch is two or three eggs.

Description
The brown-capped babbler is a smallish to medium-sized babbler, at 16 cm including its long tail. It is brown above and rich cinnamon below. It has a dark brown crown.

Brown-capped babblers have short dark bills. Their food is mainly insects. They can be difficult to observe in the dense vegetation they prefer, but like other babblers, these are noisy birds, and their characteristic calls are often the best indication that these birds are present.

Behavior
Brown-capped babblers are usually believed to occur in pairs. Male birds make a distinctive call ("pretty dear") to attract other birds. Breeding season occurs during the first half of the year, during which time males exhibit territorial behavior.

In culture
In Sri Lanka, this bird is known as parandel-kurulla (translates to 'dried-grass(colored) bird') or redi diang (onomatopoeic in origin) in Sinhala language. Brown-capped babbler appears in a 4 rupee Sri Lankan postal stamp,

Subspecies
Three subspecies found.
 * P. f. babaulti (T. Wells, 1919) - low country dry zone
 * P. f. fuscocapillus (Blyth, 1849) - hill country
 * P. f. scotillum (Blyth, 1849) - low country wet zone

title: Brown-capped babbler


text:
Talk:Ruffian (horse)

Ruffian
Ruffian was one of the great ones, a spectacular filly and a tragic story.

It's kind of surprising that she didn't have an entry here until I made it just now. Hopefully this article will grow. --Bryan

External Link: http://thoroughbredchampions.com/gallery/ruffian1.htm

Ruffian's Relatives
Does Ruffian have any relatives? —Preceding unsigned comment added by 76.16.151.77 (talk) 02:03, 25 October 2007 (UTC)

 * Her half-brother Icecapade (same mother) has some descendants running around. —Preceding unsigned comment added by 68.79.89.211 (talk) 21:37, 18 May 2008 (UTC)

 * Yes Ruffian has reletives Though they were never able to breed Shenanagins and Reviewer again because of there death approxamatly 2 yrs after Ruffians death, There was her 1/2 brother Icecapade (both out of Shenanagins) —Preceding unsigned comment added by 72.35.204.92 (talk) 14:27, 25 June 2008 (UTC)

Cleanup
I have cleaned up the talk page for this article. Personal comments such as "I (heart) Ruffian" have been removed, as the purpose of this page is to talk about how to improve the article, not to praise/critique the subject of the article. See http://en.wikipedia.org/wiki/Help:Talk#Placing_material_from_the_article_on_a_talk_page for more details.

"   * Article talk pages should not be used by editors as a platform for their personal views, nor for casual conversation. Article talk pages are only to be used for discussing improvements to their associated pages." Tsarevna (talk) 14:51, 7 June 2009 (UTC)

Blood-Horse List
The list was a ranking of American horses in an American magazine. It was not a global ranking and should not be presented in such a way.  Tigerboy1966  10:19, 5 February 2012 (UTC)

Editorializing
The second and third sentences of the introductory paragraph are bald-faced opinion. Since the matter is discussed later in the section "Legacy," both sentences should be removed from the lead paragraph.Princetoniac (talk) 20:55, 8 May 2012 (UTC)
 * I agree the tone is all wrong. The second sentence can be supported by later details and refs, so I'll leave it. The third needs to go, as it's claiming a subjective view as an objective fact. I'll remove it. I have had issues with this article before. There has been a history of well-meaning, but unencyclopedic contributions.  Tigerboy1966   06:42, 9 May 2012 (UTC)

Colour
I changed "jet-black" to "officially black". This image showing brown on the muzzle makes it pretty clear that she was actually a dark bay or brown horse.  Tigerboy1966   06:20, 21 May 2012 (UTC)

POV/unferecenced
So much unreferenced pov material here. The article has been up here for a long time in a pretty sorry state. I am going to strip it down to a stub and do it over again properly unless anyone objects.  Tigerboy1966  19:46, 19 June 2012 (UTC)

External links modified
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I moved text from infobox to Two-Year-old section that had this with it: [Reference: Turf & Sport Digest January 1975. Front Cover and full article page 24,25,26.] If someone could help,I have no idea how to fix or even tag this.Stretchrunner (talk) 16:16, 20 December 2018 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 13:22, 5 March 2020 (UTC)
 * Ruffian with her jockey Jacinto Vazquez.jpg

title: Talk:Ruffian (horse)


text:
User talk:Ajain5ul

Sometime I wonder whats this world is made of. Is it really what it seems to be.... or is it something beyond our senses.

October 2007
Welcome to Wikipedia. It might not have been your intention, but your recent edit removed content from. When removing text, please specify a reason in the edit summary and discuss edits that are likely to be controversial on the article's talk page. If this was a mistake, don't worry, as the text has been restored from the page history. Take a look at the welcome page to learn more about contributing to this encyclopedia, and if you would like to experiment, please use the sandbox. TheLetterM 14:27, 21 October 2007 (UTC)

title: User talk:Ajain5ul


text:
Lanyard

A lanyard is a length of cord, webbing, or strap that may serve any of various functions, which include a means of attachment, restraint, retrieval, activation, and deactivation. A lanyard is also a piece of rigging used to secure or lower objects aboard a ship.

Origins
The earliest references to lanyards date from 15th century France: "lanière" was a thong or strap-on apparatus.

Bosun's pipe, marlinspike, and small knives typically had a lanyard consisting of a string loop tied together with a diamond knot. It helped secure against fall and gave an extended grip over a small handle.

In the French military, lanyards were used to connect a pistol, sword, or whistle (for signaling) to a uniform semi-permanently. Lanyards were used by mounted cavalry on land and naval officers at sea. A pistol lanyard can be easily removed and reattached by the user, but will stay connected to the pistol whether it is drawn for use or it is placed into a holster for carrying.

In the military, lanyards of various colour combinations and braid patterns are worn on the shoulders of uniforms to denote the wearer's qualification or regimental affiliation. In horse regiments, lanyards were worn on the left, enabling a rider to pull a whistle from the left tunic pocket and maintain communication with his troop. Members of the British Royal Artillery wear a lanyard which originally held a key for adjusting the fuzes of explosive shells.

Functions

 * An attachment lanyard is a light duty tether worn around the neck, shoulder, wrist or attached to the belt as a sling to conveniently carry items such as keys or identification cards, or as a safety harness to prevent accidental dropping of valuable handheld items such as a camera.
 * A restraint lanyard is a safety lanyard used by construction workers, such as a lineman.
 * A retrieval lanyard is a nylon webbing lanyard used to raise and lower workers into confined spaces, such as storage tanks.
 * An activation lanyard is a lanyard used to fire an artillery piece or arm the fuze on a bomb leaving an aircraft.
 * A deactivation lanyard is a dead man's switch, where pulling a lanyard free will disable a dangerous device.

Styles and materials

The style, design or material used will vary depending on end-purpose of the lanyard. Lanyard materials include polyester, nylon, satin, silk, polyethylene terephthalate (PET), braided leather or braided paracord.

Common styles

 * Polyester imprinted lanyards
 * Nylon imprinted lanyards
 * Tube imprinted lanyards
 * Dye-sublimated lanyards or full-color lanyards

Accessory for electronics

Lanyards are widely used with small electronic devices such as cameras, MP3 players and USB flash drives to prevent loss or dropping. Electronics designed to take a lanyard usually have a small through-hole built into a corner or edge of the case or anchored to the frame of the device; the corresponding lanyard generally has a loop of thread on the end that is attached to that hole with a simple knot, usually a cow hitch. Some earphones incorporate the audio signal into the lanyard, meaning it doubles up as headphone cords as well. The Wii Remote wrist strap is a form of lanyard, keeping the device attached to a player's arm during the often vigorous movements involved in its use.

Badge or identification holder
Lanyards are commonly used to display badges, tickets or ID cards for identification where security is required, such as businesses, corporations, hospitals, prisons, conventions, trade fairs, and backstage passes used in the entertainment industry. Such lanyards are often made of braided or woven fabric or split with a clip attached to the end. A plastic pouch or badge holder with at least one clear side is attached to the lanyard with the person's name badge or ID card. Occasionally, small items like business cards, pens or tools can be placed behind the badge for easy access. Lanyards can also be used as keychains, particularly in situations where keys can easily be lost, such as gyms, public pools and communal showers.

In these cases, lanyards may be customised with the related name and/or logo of the event, business, or organisation. Lanyards can feature a variety of customisation techniques including screen-printing, Jacquard loom weaving, heat transfer, and offset printing.

Safety strap
Lanyards are also often attached to dead man's switches or "kill switches" on dangerous machinery, such as large industrial cutting or slicing machines; on vehicles, such as jet-skis or trains; and on exercise treadmills, so that if the operator suddenly becomes incapacitated, their fall will pull on the lanyard attached to their wrist, which will then pull the switch to immediately stop the machine or vehicle.

Some law enforcement officers and members of the military utilise specialised lanyards to keep sidearms from falling to the ground during missions.

Many ID card lanyards have a built-in feature known as a "breakaway" closure. Breakaway lanyards release when pulled or when pressure is applied. This prevents choking or hanging. Lanyards with a breakaway feature are most often used in hospitals and healthcare clinics, schools, nursing homes, child care facilities, or factories that require employees to operate machinery.

Lineman lanyards
Lineman lanyards are used by lineworker utility and other workers to prevent falls, although similar straps are also used recreationally by mountain climbers. This type of lanyard will have a section of heavy-duty nylon strapping attached to a metal ring or carabiner which tightens around an attachment point. The strap may be a fixed length or adjustable, and will attach to the wearer to support them against a fixed object or pole.

Uniform accessories
Certain lanyards are still worn on uniforms as decorations similar to an aiguillette or fourragère. Among these are the Orange Lanyard in the Military William Order of the Netherlands and the German Armed Forces Badge of Marksmanship.

A white lanyard has formed part of the uniform of Britain's Royal Artillery (RA) since the end of the 19th century. Originally a simple cord carrying a fuse key, the braided and whitened lanyard became the recognised distinction of a Gunner. The distinction was extended to women of the Auxiliary Territorial Service attached to RA units during World War II. Certain battalions descended from the Durham Light Infantry wore green lanyards to denote their past links with the regiment, whose uniform had a dark green Facing colour from 1903 onwards.

Royal Naval Rating wear a white lanyard when dressed in No 1 uniform, the origin of the lanyard was to carry a pouch of gunpowder for the cannon.

title: Lanyard


text:
Lasus of Hermione

Lasus of Hermione (Λάσος ὁ Ἑρμιονεύς) was a Greek lyric poet of the 6th century BC from the city of Hermione in the Argolid. He is known to have been active at Athens under the reign of the Peisistratids. Pseudo-Plutarch's De Musica credits him with innovations in the dithyramb hymn. According to Herodotus, Lasus also exposed Onomacritus's forgeries of the oracles of Musaeus. Lasus is recorded to have written a now lost treatise on music, of which very little is known.

title: Lasus of Hermione


text:
Talk:List of Billboard Hot 100 number ones of 1988

Move discussion in progress
There is a move discussion in progress on Talk:List of Billboard Hot 100 number-one singles of 2020 which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 23:06, 5 August 2020 (UTC)


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George Lamsa

George Mamishisho Lamsa (August 5, 1892 – September 22, 1975) was an Assyrian author. He was born in Mar Bishu in what is now the extreme east of Turkey. A native Aramaic speaker, he translated the Aramaic Peshitta Old and New Testaments into English. He popularized the claim of the Assyrian Church of the East that the New Testament was written in Aramaic and then translated into Greek, contrary to academic consensus.

Life
Lamsa fled from the Ottoman Empire during the 1910s during World War I, initially settling in South America. In the 1920s, he immigrated to the United States, where he lived for the rest of his life. He studied at the Episcopal Theological Seminary in Alexandria, Virginia and at Dropsie College in Philadelphia, Pennsylvania. On September 22, 1975, he died in Turlock, California.

History and views

Lamsa was a member of the Assyrian Church of the East, a Syriac church that uses the Peshitta as its Bible. Some of the modern Assyrian people speak a modern form of the classical Syriac language called Northeastern Neo-Aramaic. The Peshitta was written in classical Syriac, a dialect of Middle Aramaic, which is in turn a Semitic language. The language spoken in the first century would have been Old Aramaic, like the Judeo-Aramaic language, while Ancient Aramaic like Biblical Aramaic was used in Old Testament times.

Lamsa was a strong advocate of a belief traditionally held by part of that Church; that the Aramaic New Testament of the Peshitta was the original source text, and that the Greek texts were translated from it. According to Lamsa, "Aramaic was the colloquial and literary language of Palestine, Syria, Asia Minor and Mesopotamia, from the fourth century B. C. to the ninth century A. D." This view of the Assyrian Church regarding the Language of the New Testament is rejected by mainstream scholarship, but Lamsa's views won support among some churches such as The Way.

Lamsa further claimed that while most of the Old Testament was written in Hebrew, the original was lost and the present Hebrew version, the Masoretic text, was re-translated from the Peshitta.

Lamsa produced his own translation of the Bible in the form of The Holy Bible from Ancient Eastern Manuscripts, which is commonly called the Lamsa Bible.

Translation of Matthew 19:24 with the word 'rope', instead of 'camel'
The Aramaic word for 'camel' is written identically to the word for 'rope.' Matthew 19:24, according to Lamsa, is correctly translated as, 'It is easier for a rope to go through the eye of a needle than for a rich man to enter into the Kingdom of God.'

Translation of Eli, Eli, lama sabachthani
A notable difference between Lamsa's translation and other versions of the New Testament occurs in the fourth of the Words of Jesus on the cross – Eli, Eli, lama sabachthani. That is regarded by more conservative scholars as a quotation in Aramaic of the opening of Psalm 22, which in English is "My God, my God, why have you forsaken me?" It is similar to how the psalm appears in the Aramaic Peshitta Old Testament and it appears in earlier Aramaic Targums. Lamsa believed that the text of the Gospels was corrupt and that it is not a quotation but should read /Eli, Eli, lemana shabaqthani, which he translates as: "My God, my God, for this I was spared!" An accompanying footnote in Lamsa's English version of the Bible explains Jesus's meaning as "This was my destiny."

Aramaic grammars and dictionaries, including CAL and Payne Smith, disagree with Lamsa's assertion about Jesus' last words, as the word שבקתני [shvaqtani] in Aramaic is the perfect 2nd person singular form of the verb שבק [shvaq] which means "to leave, to leave s.t. left over, to abandon," or "to permit" with the 1st person singular pronoun affixed. That would, in turn, cause the phrase to translate as "why have you left me?" "why have you let me be?" "why have you abandoned me?" or "why have you permitted me?"

Reception
Where many scholars hold that the sources of the New Testament and early oral traditions of fledgling Christianity were indeed in Aramaic, the Peshitta appears to have been strongly influenced by the Byzantine reading of the Greek manuscript tradition and is in a dialect of Syriac that is much younger than the one that was contemporary to Jesus.

Critics of Lamsa assert that he, like many other native Aramaic-speakers, extend the semantic areas of words beyond the evidence of existent texts.

Bruce Chilton, scholar and prominent Aramaicist, has said:

"'A still less defensible tendency confuses Aramaic of the first century with Syriac, a different form of the language. The approach of George Lamsa, who used the Peshitta Syriac version as an index of replicating Jesus’ teaching in Aramaic, has been taken up and popularized by Neil Douglas-Klotz. This approach willfully perpetuates a basic confusion of language, since Aramaic and Syriac come from different centuries and areas (although they are closely related Semitic languages), and is based on uncritical treatment of the Peshitta, a Syriac version of the Gospels.'"

Neil Douglas-Klotz, former chair of the Mysticism Group of the American Academy of Religion, defends Lamsa and points out that the differences between the 1C Palestinian Aramaic and the Syriac of the Peshitta are minimal concerning the roots of the key words that Jesus must have used:

"'Aramaic Christians of all branches today use the version called the Peshitta, meaning “simple” or “straight.” It is in an Aramaic dialect called Syriac; however, all the major words that Jesus must have used are the same in his slightly earlier Palestinian Aramaic.'"

In 1989, the Christian Evangelical apologetics research ministry Christian Research Institute asserted in a published review that several of Lamsa's theological positions and interpretations were not supported by the Bible. The review concludes by saying:

"'On the surface, Lamsa appears to be a revealer of biblical truth and culture and a friend of evangelical Christianity. Closer study, however, has revealed that Lamsa promotes metaphysical, not evangelical teachings which have led him to inaccurate interpretations and translations of portions of the Bible. As an ambassador of Nestorian, not biblical culture, Lamsa became a cultic figure in his own right.'"

Neil Douglas-Klotz makes the case that one needs to take into account both the way of knowing (epistemology) and psychology of ancient Semitic languages in order to properly interpret the words of a prophetic figure:

"'In ancient times, people knew everything by its context. They heard practical things in a practical way. They heard the words of a prophet or shaman on many possible levels if they had “ears to hear.” The ancient Semitic languages suited themselves to this multi-levelled understanding. They employ a root-and-pattern system in which individual letters and sounds each have meaning and then combine with one another to create new meanings.... Later, Semitic grammar developed, and grammarians began to limit the basic root of meaning into set combinations of two or three letters. The ancient Semitic way was freer and more open; individual letters combined and recombined like notes in a jazz suite. From this creative process arises the multi-levelled translation and rendering of sacred texts called midrash in the early Jewish tradition, and ta’wil in the Islamic one.'"

William M. Branham, evangelist and personal friend to Lamsa has said:

"To our gratification we find the words in both amazingly the same so that there is no difference actually in content or doctrine. We may even conclude that God has allowed these newly discovered manuscripts and recent publications of already known scripts to come before us to prove the authenticity of what we already had. And we find that though translators may fight each other, scripts do not."

Edwin Yamauchi was particularly critical of Lamsa's adherence to Assyrian Church traditions about the Peshitta, in particular since the Peshitta is written in a later eastern dialect of Aramaic removed from the western dialect spoken in Judea at the time of Jesus. It is in fact Lamsa’s faith in the dogma of the Assyrian Church of Iraq which he grandiosely calls “the Church of the East” which serves as the basis of his conviction in the superiority of the Syriac Peshitta Version…. The Syriac of the Peshitta is not the language of coastal Syria around Antioch, which was evangelized in the first century A.D., but of the area in the interior around Edessa, one hundred fifty miles from the coast, which was evangelized between A.D. 116 and 216…. No one but an unquestioning adherent of “The Church of the East” would subscribe to the legendary account of the apostolic roots of the Edessene church. In the light of the claims advanced by Lamsa for Syriac, it should be underlined that Syriac is an eastern and not a western dialect of Aramaic, and indeed that it is “a form of Aramaic that emerges toward the beginning of the third century A.D.”

Works

 * Life in the Harem. Washington, D.C: [s.n.], 1921.
 * The Secret of the Near East: Slavery of Women, Social, Religious and Economic Life in the Near East. Philadelphia, PA: Ideal Pr., 1923.
 * Emhardt, William Chauncey, and George Mamishisho Lamsa. The Oldest Christian People: A Brief Account of the History and Traditions of the Assyrian People and the Fateful History of the Nestorian Church. NY: Macmillan, 1926.
 * Did 'the Jews' Kill Jesus? NY:[s.n.], 1930.
 * Key to Original Gospels. Philadelphia, Pa: John C. Winston Co, 1931.
 * My Neighbor Jesus: In the Light of His Own Language, People, and Time. St. Petersburg Beach, Fla: Aramaic Bible Soc., 1932.
 * The Four Gospels According to the Eastern Version. Philadelphia: A.J. Holman, 1933.
 * Gospel Light: Comments on the Teachings of Jesus from Aramaic and Unchanged Eastern Customs. Philadelphia: A.J. Holman, 1936.
 * The Book of Psalms, According to the Eastern Version. Philadelphia: A.J. Holman, 1939.
 * Modern Wisdom. New York: Association Pr., 1939.
 * The Shepherd of All: The Twenty-Third Psalm. Philadelphia, Pa: A.J. Holman, 1939.
 * Josephus and the Greek Language. New York: [s.n.], 1940.
 * The New Testament According to the Eastern Text: Translated from Original Aramaic Sources. Philadelphia: A.J. Holman, 1940.
 * Second Reader in Aramaic. Philadelphia: [s.n.], 1942.
 * New Testament Commentary from the Aramaic and the Ancient Eastern Customs. Philadelphia: A.J. Holman, 1945.
 * New Testament Origin. Chicago: Ziff-Davis, 1947.
 * The Short Koran, Designed for Easy Reading. Chicago: Ziff-Davis, 1949.
 * The Holy Bible from Ancient Eastern Manuscripts: Containing the Old and New Testaments. Philadelphia: [s.n.], 1957.
 * Was Jesus an Essene? A Comparative Study of Jesus and the Prophets; a New Light on the Hidden Years. Pontiac, Mich: Charles R. Hocklin, 1959.
 * A Brief Course in the Aramaic Language. [s.n.], 1960.
 * Old Testament Light: A Scriptural Commentary Based on the Aramaic of the Ancient Peshitta Text. Englewood Cliffs, N.J: Prentice-Hall, 1964.
 * Gems of Wisdom. Lee's Summit, Mo: [Unity School of Christianity], 1966.
 * The Kingdom on Earth. Lee's Summit, Mo: Unity Books [distrib. Hawthorn, NY], 1966.
 * The Shepherd of All: The Twenty-Third Psalm. San Antonio, Tex: Aramaic Bible Center, 1966.
 * And the Scroll Opened. Garden City, N.Y: Doubleday, 1967.
 * More Light on the Gospel: Over 400 New Testament Passages Explained. Garden City, N.Y: Doubleday, 1968.
 * The Hidden Years of Jesus. Lee's Summit, MO: Unity Books, 1968.
 * The Man from Galilee; A Life of Jesus. Garden City, N.Y: Doubleday, 1970.
 * Roses of Gulistan. St. Petersburg Beach, Fla: Aramaic Bible Society, 1972.
 * Old Testament Light: A Scriptural Commentary Based on the Aramaic of the Ancient Peshitta Text. Philadelphia: Holman, 1978.
 * Pearls of Wisdom. Marina del Rey, Calif: De Vorss, 1978.
 * Idioms in the Bible Explained; and, A Key to the Original Gospel. San Francisco, CA: Harper & Row, 1985.
 * The Holy Bible from the Ancient Eastern Text: George M. Lamsa's Translations from the Aramaic of the Peshitta. San Francisco: Harper & Row, 1985.
 * New Testament Light: More Light on the Gospels, Acts, the Epistles, and Revelation: Over 400 Passages Explained. San Francisco: Harper & Row, 1988.
 * The Modern New Testament from Aramaic. Marina del Rey, CA: DeVorss, 1998.
 * Lamsa, George Mamishisho, and Daniel Jon Mahar. The Deluxe Study Edition of The Modern New Testament from the Aramaic: With New Testament Origin, Comparative Bible Verses, & a Compact English-Aramaic Concordance. Martinez, GA: Aramaic Bible Soc., 2001.

Biographical Works
 * Lamsa, George Mamishisho, and Tom Alyea. The Life of George M. Lamsa, Translator. St. Petersburg, Fla: Aramaic Bible Soc., 1966.

title: George Lamsa


text:
Tormore distillery

Tormore distillery is a Speyside single malt Scotch whisky distillery located approximately 1 km south of the River Spey. Its water source is the Allt an Torra Mhoir Burn.

It is currently not open to the public

History
The Tormore distillery construction began in 1958 and was completed in 1960.

Designed by Alexander Cullen with input from Sir Albert Richardson for Long John International, it is a listed building, and one of the most architecturally striking distilleries. The building is made of granite, has copper rotors and a clock which plays four different Scottish songs each quarter of an hour. A village of workers houses were built in the same style, which was up for sale in its entirety in 2004, for offers over £550,000. The topiary hedges in the garden are also clipped to the shape of a bell or still.

In 1972, the distillery was expanded from four to eight stills. These were converted to be heated by wood chips in 1984, a by-product of area's forestry. Long John was absorbed by Whitbread & Co in 1975, and the distillery was acquired by Allied Distillers Ltd the same year. The Tormore distillery has been controlled by Pernod-Ricard since they purchased Allied Domecq in 2005 and until it was sold to Elixir Distillers in 2022.

A time capsule in the shape of a pot-still is buried in the forecourt, which is intended to be opened in 2060. It contains glasses and a tregnum of Long John, the original owners’ own blended whisky.

Bottlings
Tormore's malt whisky is currently sold in 14 and 16 year aged versions. There are also independent bottlings from Signatory Vintage, Cadenhead's, Blackadder, That Boutique-y Whisky Company, Douglas Laing's Xtra Old Particular and Provenance. The whisky is described as "A smooth, nutty whisky which sometimes has a pear-like or melony character" by Royal Mile Whiskies.

title: Tormore distillery


text:
Talk:Concurrency control

See http://c2.com/cgi/wiki?SynchronizationStrategies

The article needs a major rewrite
Important subject. Has several inaccuracies.

209.6.228.32 15:50, 24 June 2007 (UTC)

The article has gone over massive clean-up since the comment. It is quite minimal, primarily pointing to other relevant articles. Comps (talk) 00:36, 10 November 2009 (UTC)

Torn read/write
The terminology for torn reads and torn writes is well-defined. For sources see: There are a number of other sources if needed. I'm a bit surprised that articles on the topics don't exist: torn write & torn read.Smallman12q (talk) 21:43, 21 October 2011 (UTC)
 * MSDN Glossary Parallel Programming with Microsoft Visual C++
 * Concurrent programming on Windows
 * Characteristics, impact, and tolerance of partial disk failures

 * Yes. Probably uncommon yet, but legitimate. I would combine in one article: Torn data-access operation (e.g., read or write). --Comps (talk) 18:33, 23 October 2011 (UTC)

Commitment ordering
The neutrality of part of this page is disputed, as part of a wider discussion. See Talk:Commitment ordering and Wikipedia talk:WikiProject Computer science. —Ruud 14:26, 23 December 2011 (UTC)

title: Talk:Concurrency control


text:
Manji

Manji may refer to:
 * Sikh Manji, a religious administrative unit in Sikhism
 * The Japanese name of the 卍 character (from Chinese wàn zì)
 * Manji (era), a Japanese era name
 * A type of sai (weapon), a traditional Okinawan weapon
 * The alternative term for a charpai
 * Manji (蠻子), an old term for Southern China

Arts and entertainment

 * Manji (raga), one of the Ragams of Carnatic music
 * Manji, the original Japanese title of the 1928 novel Quicksand by Jun'ichirō Tanizaki
 * Manji (film), the title of several film adaptations of the novel

People

 * Irshad Manji (born 1968), Canadian author
 * Rahim .S. Manji (born 1980, Dar es salaam, Tanzania), Data Scientist, Senior Developer
 * Firoze Manji (born 1950), Kenyan activist, author and CEO
 * Hafeez Manji (born 1987), Kenyan cricketer
 * Manji Khan (1888–1937), Hindustani Classical vocalist of the Jaipur-Atrauli Gharana
 * Manji Terashima (1898–1983), Japanese photographer
 * Manji Fukushima, Japanese table tennis player
 * Raf Manji (born 1966), a New Zealand politician

Popular culture

 * Manji, level 3 from quest 1 of the video game The Legend of Zelda
 * Manji Clan, Yoshimitsu's clan in the Tekken series of video games
 * Manji Cult, appeared in the 1998 PS1 video game Tenchu: Stealth Assassins
 * Manji, an organization in the Soulcalibur game series
 * Manji, a character in the role-playing game MapleStory
 * Manji, the main character of the manga series Blade of the Immortal by Hiroaki Samura
 * Tokyo Manji Gang, the main group from the manga series Tokyo Revengers by Ken Wakui

title: Manji


text:
User talk:Hyphenator

Hi Hyphenator :) (Will "you be daaash"? ;) I hope you like the place and choose to stay.

Some links that may be of use:
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Have fun, and keep contributing :) Dysprosia 05:19, 3 May 2004 (UTC)

Hi there! Thanks for your note on the new user log. Glad to have you aboard. People with writing and editing experience are, of course, particularly welcome here. Glad you've decided to help out. As you get started, you'll want to try the Tutorial, which gives a lot of the basics of Wikipedia. If you ever need anything, just drop me a note on my talk page. Happy editing, Isomorphic 18:07, 5 May 2004 (UTC)

authors: Template namespace initialisation script

title: User talk:Hyphenator


text:
Haddon

Haddon may refer to:

Places

 * Haddon, Victoria, Australia, a township
 * Haddon, Cambridgeshire, England, a village and civil parish
 * Haddon Hill, Somerset, England, a ridge
 * Haddon, Gauteng, South Africa, a suburb of Johannesburg
 * Haddon Township, Sullivan County, Indiana, United States
 * Haddon Township, New Jersey, United States
 * Haddon Bay, Joinville Island, Antarctica
 * Haddon, Derbyshire, an ancient settlement, see Haddon Hall

People

 * Haddon (surname)
 * Haddon (given name)

title: Haddon


text:
Dark-fronted babbler

The dark-fronted babbler (Dumetia atriceps) is an Old World babbler found in the Western Ghats of India and the forests of Sri Lanka. They are small chestnut brown birds with a dark black cap, a whitish underside and pale yellow iris. They forage in flocks in the undergrowth of forests constantly making calls and uttering alarm calls when disturbed.

Taxonomy
The dark-fronted babbler was formally described in 1839 by the English naturalist Thomas Jerdon under the binomial name Brachypteryx atriceps. He specified the range as Thrissur, Wadakkancherry, Coonoor and the Wayanad of southwest India. The type locality was restricted to Wayanad by Hugh Whistler in 1935. The dark-fronted babbler was formerly placed in the monotypic genus Rhopocichla. It was moved to Dumetia with the tawny-bellied babbler based on the results of a large molecular phylogenetic study published in 2019. The genus Dumetia was introduced in 1852 by the English zoologist Edward Blyth. The genus name is from Latin dumetum, dumeti meaning "thicket". The specific epithet atriceps combines the Latin ater meaning "black" with -ceps meaning "-capped" or "-headed".

Four subspecies are recognised:
 * D. a. atriceps (Jerdon, 1839) – west to south India
 * D. a. bourdilloni (Hume, 1876) – southwest to south India
 * D. a. siccata (Whistler, 1941) – north, east Sri Lanka
 * D. a. nigrifrons (Blyth, 1849) – southwest Sri Lanka

Description
The dark-fronted babbler measures 13 cm including its square-tipped tail. It is brown above and white below. The two subspecies in the Western Ghats have black hoods, but the two Sri Lankan races have this reduced to a dark bandit mask. The pale yellow iris stands in contrast. The subspecies in the southern Western Ghats bourdilloni has a duller sooty-black hood, browner underside and the upper parts are more olive. The nominate form found north of the Palghat Gap has the hood dark black. In Sri Lanka, the subspecies siccata is found in the lower elevation while nigrifrons is found in the wet zone. The former has more olive on the upperparts while the later is rufescent on the upperparts.

Behaviour and ecology
Babblers have a weak flight and are residents within their range. They forage in parties and clamber up vegetation and when disturbed, they tend to drop from the topmost perches of the bush into the undergrowth. Their typical habitat is undergrowth in forest or on the edge of forests in more open growth. Their food is mainly insects. They can be difficult to observe in the dense vegetation they prefer, but like other babblers, these are noisy birds, and their characteristic rattling churr alarm calls are often the best indication that these birds are present. They often join mixed-species foraging flocks.

The breeding season is May to July. This babbler builds its nest low down in a bush, the nest being a ball of leaves, often of bamboo. The nest looks like some dry leaves stuck in a bush with the opening on the side. The normal clutch is two eggs. They are also said to construct dormitory nests within which birds may sometimes roost. These dormitory nests are not lined.

title: Dark-fronted babbler


text:
Nicolas Gombert

Nicolas Gombert (c. 1495 – c. 1560) was a Franco-Flemish composer of the Renaissance. He was one of the most famous and influential composers between Josquin des Prez and Palestrina, and best represents the fully developed, complex polyphonic style of this period in music history.

Life
Details of his early life are sketchy, but he was probably born around 1495 in southern Flanders, probably between Lille and Saint-Omer, possibly in the town of La Gorgue. German writer and music theorist Hermann Finck wrote that Gombert studied with Josquin; this would have been during the renowned composer's retirement in Condé-sur-l'Escaut, sometime between 1515 and 1521.

Gombert was employed by the emperor Charles V as a singer in his court chapel in 1526 and possibly as a composer as well. Most likely he was taken on while Charles was passing through Flanders, for the emperor traveled often, bringing his retinue with him, and picking up new members as he went. A document dated 1529 mentions Gombert as magister puerorum ("master of the boys") for the royal chapel. He and the singers went with the emperor on his travels throughout his holdings, leaving records of their appearances in various cities of the empire. These visits were musically influential, in part because of Gombert's stature as a musician; thus the travels of Charles and his chapel, as did those of his predecessor Philip I of Castile with composer Pierre de la Rue, continued the transplantation of the Franco-Flemish polyphonic tradition onto the Iberian Peninsula. At some point in the 1530s Gombert became a cleric and probably a priest; he received benefices at several cathedrals, including Courtrai, Lens, Metz, and Béthune. He remained in the Imperial chapel as maître des enfants ("master of the children") until some time between 1537 and 1540, being succeeded by Thomas Crecquillon and later Cornelius Canis. Even though he held this very position at the Imperial chapel, he never officially received the title of maître de chapelle – music director – which was a title given to both Adrien Thibaut and Crecquillon. While serving in this position, he likewise unofficially held the position of court composer, arranging numerous works commemorating the key happenings during Charles' life.

In 1540 during the height of his career, he vanished from chapel records. According to a contemporary physician and mathematician Jerome Cardan, writing in Theonoston (1560), in 1540 Gombert was convicted of sexual contact with a boy in his care and was sentenced to hard labor in the galleys. The exact duration of his service in the galleys is not known, but he was able to continue composing for at least part of the time. Most likely he was pardoned sometime in or before 1547, the date he sent a letter along with a motet from Tournai to Charles' gran capitano Ferrante I Gonzaga. The Magnificat settings preserved uniquely in manuscript in Madrid are often held to have been the "swansongs" that according to Cardan won his pardon; according to this story, Charles was so moved by these Magnificat settings that he let Gombert go early. An alternative hypothesis (Lewis 1994) is that Cardan was referring to the highly penitential First Book of four-part motets; however, in neither case is it clear how Gombert was able to compose while rowing in the galleys as a prisoner.

It is not known how long Gombert lived after his pardon or what positions, if any, he held; his career faded into relative obscurity after he was freed. He may have retired to Tournai, spending the final years of his life as canon there. Bracketing dates for his probable death are 1556 and 1561; in the former year Finck mentioned that he was still living, and in 1561 Cardan wrote that he was dead, without giving details.

Music and style
Adrian Willaert and Nicolas Gombert are generally recognized as the exemplars of the late Franco-Flemish school, before the center of Renaissance art-music moved to Italy. A Fleming, Willaert relocated to Italy and along with the originally Flemish composer Orlando di Lasso brought the Franco-Flemish style of simultaneously dense and lyrical counterpoint to Italy. Like Willaert, Gombert brought the polyphonic style to its highest state of perfection; if imitation is a common device in Josquin, it is integral in Gombert.

Gombert's style is characterized by dense, inextricable polyphony. Extended homophonic passages are rare in his sacred works, and he is particularly fond of imitation at very close time intervals, a technically very difficult feat (although he only rarely wrote strict canon). He preferred the lower voice ranges instead of the four voices (SATB) which were the most common voicings for pieces at the time, such as five and six parts in mostly male registers. Gombert, unlike his predecessor and mentor, Josquin des Prez, used irregular numbers of voice entries and avoided precise divisions of phrases, resulting in a less-punctuated, more continuous sonic landscape. Syncopations and cross-accents are characteristic of his rhythmic idiom, giving ictus to his otherwise seamless, enduring lines.

Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote polymodal sections wherein a subset of voices would sing the lowered pitches of F or B♭ while another subset would sing the raised pitches of F♯ or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded. Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed musica ficta, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The false relations, usually between an F and an F♯ or a B♭ and B, create a dissonance that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.

Exemplary among Gombert's formally perfect pieces that employ cross-relations are his six-voice motet on the death of Josquin, Musae Jovis, with its clashing semitones, and occasional root-position triads a tritone apart., and his six-voice chanson Tous les Regretz.

Out of the ten masses that Gombert composed, nine survive complete. The chronology of the masses is not known, but an approximate order can be deduced from stylistic characteristics. Two musical characteristics, sequence and ostinato, that were rare in Gombert’s later works, are present in his earlier masses Quam pulchra es and Tempore paschali.

The motet was Gombert's preferred form, and his compositions in this genre not only were the most influential part of his output, but they show the greatest diversity of compositional technique. His motets, alongside those of Adrian Willaert and Jacobus Clemens non Papa, stand out from the rest of the Flemish motet composers. Familiar characteristics of motets of the preceding generation, such as ostinato, canon, cantus firmus, and double texts, are unusual in Gombert's style, excepting where he used aspects of the previous generation's style as an homage, such as in his motet on the death of Josquin, Musae Jovis. When considering texts for his motets, Gombert obtained his inspiration from Scripture – such as the Psalms – as opposed to the liturgy of the Roman Catholic church. He was less attentive to textual placement and clarity than to the overall expressive sonority.

Gombert's eight settings of the Magnificat, which may have won him his pardon, are among his most famous works. Each is written in one of the church modes, and consists of a cycle of short motets, with the individual motets based on successive verses of the Magnificat text.

Some of Gombert's works are for unusually large vocal ensembles, including 8, 10, and 12 voices. These works are not polychoral in the usual sense, or in the manner of the Venetian School in which the voices were spatially separated; rather, the voice sub-groupings change during the pieces. These large ensemble compositions include an eight-voice Credo, the 12-voice Agnus from the Missa Tempore paschali, and 10- and 12- voice settings of the Regina caeli. In comparison with the northern Italian cori spezzati style, Gombert’s multi-voice works were not antiphonal. Instead of dividing forces consistently, Gombert frequently changed the combinations of voice groups. These vocal pieces contained more direct repetition, sequence and ostinato than his other music.

His secular compositions – mostly chansons – are less contrapuntally complex than his motets and masses, but more so than the majority of contemporary secular pieces, especially the 'Parisian' chanson. During the middle of the sixteenth century, Gombert received credit for several of the Parisian chansons, but later studies have discovered that he was not the sole 'Nicolas' of those secular pieces but many were actually by Nicolas de La Grotte or Guillaume Nicolas. Authors of the texts used in many chansons, a genre in which Gombert excelled, were mostly anonymous. He turned to older verse, often of a folkish type, with typical subject matter including unhappy love, farewells, separations, infidelities and the like. Many of these chansons appeared in lute and vihuela arrangements, with their wide geographical distribution showing their immense popularity.

His surviving works include 10 masses, about 140 motets, about 70 chansons, a canción (probably written when he was in Spain), a madrigal, and a handful of instrumental pieces.

Influence
Gombert was one of the most renowned composers in Europe after the death of Josquin des Prez, as can be seen by the wide distribution of his music, the use of his music as source material for compositions by others, including Roland de Lassus and Claudio Monteverdi. Printers paid singular attention to him, issuing for example, editions consisting solely of his works – most print editions at the time were anthologies of music by several composers. Although highly admired by his contemporaries, the next generation of Franco-Flemish composers mostly wrote in a more simplified style. Part of this was an inevitable stylistic reaction to a contrapuntal idiom which had reached an extreme, and part of this was due to the specific dictates of the Council of Trent, which required that text be understandable in sacred, especially liturgical, music – something which is next to impossible for a composer to achieve in a dense imitative texture.

While most composers of the next generation did not continue to write vocal music using Gombert's method of pervasive imitation, they continued to use this contrapuntal texture in instrumental works. Forms such as the canzona and ricercar are directly descended from the vocal style of Gombert; Baroque forms and processes such as the fugue are later descendants. Gombert's music represents one of the extremes of contrapuntal complexity ever attained in purely vocal music.

Recordings

 * Nicolas Gombert, Music from the Court of Charles V, Huelgas Ensemble, Sony Vivarte SK 48249
 * Nicolas Gombert, Missa media vita, etc., Hilliard Ensemble, ECM New Series 1884
 * Nicolas Gombert, Gombert: Motets, Beauty Farm, Fra Bernardo FB 1504211
 * Nicolas Gombert, Gombert: Motets II, Beauty Farm, Fra Bernardo FB 1612457
 * Nicolas Gombert, Gombert: Masses, a la Coronatione, Media Vita, Philomena Previa, Beati Omnes. Motets, Media Vita, Beati omnes. Beauty Farm, Fra Bernado FB 2005329
 * Nicolas Gombert, Magnificat 1, etc., Oxford Camerata, Naxos 8.557732
 * Nicolas Gombert, Magnificats 1–4, Tallis Scholars, CD Gimell CDGIM 037
 * Nicolas Gombert, Magnificats 5–8, Tallis Scholars, CD Gimell CDGIM 038
 * Nicolas Gombert, Eight-part Credo, etc., Henry's Eight: Hyperion CDA 66828
 * Nicolas Gombert, Missa Tempore paschali, etc., Henry's Eight, Hyperion CDA 66943
 * Heavenly Spheres, CBC Records, MVCD 1121, sung by Studio de musique ancienne de Montréal. Contains two motets by Gombert, including his elegy for Josquin, Musae Jovis.
 * Flemish Masters, Virginia Arts Recordings, VA-04413, performed by Zephyrus. Includes Gombert's motet, Lugebat David Absalon, the Obrecht Missa Sub tuum presidium, as well as motets by Willaert, Clemens non Papa, Ockeghem, Des Prez, and Mouton.
 * Christmas to Candlemas, Ensemble Gombert, Tall Poppies TP192. Includes Gombert's motet "Hodie nobis caelorum" and seasonal works by Mouton, Josquin, de Silva, Clemens non Papa, Tallis, Victoria, Lassus, Sheppard and Palestrina.
 * Josquin to Martin, Ensemble Gombert, Move Records MCD 277. Includes Gombert's motet "Regina caeli laaetare" and works by Josquin, de Monte, Byrd, Brahms ("Drei Motetten," op. 110) and Frank Martin (Mass for Double Choir).
 * Nicolas Gombert, Nicolas Gombert 1, The Sound and the Fury, ORF CD 463. Includes Missa Quam Pulchra Es, Ave Maria, Salve Maria, Sancta Maria, Da Pacem, Inviolata.
 * Nicolas Gombert, Nicolas Gombert 2, The Sound and the Fury, ORF SACD 3006. Includes Missa Sur Tous Regrets, Si Ignoras Te, Homo Erat in Jerusalem, Sancta Mundi, Ave Salus Mundi, Emendemus, Ne Reminiscaris Domine, Salvator Mundi.
 * Nicolas Gombert, Nicolas Gombert 3, The Sound and the Fury, ORF CD 3077. Includes twelve motets.
 * Nicolas Gombert, Tribulatio et angustia, Brabant Ensemble, Stephen Rice, Hyperion CDA67614
 * Nicolas Gombert, Motets, Chansons, and a Magnificat, Capella Alamire, Urquhart, Naxos 8.570180
 * Listen to free recordings of songs from Umeå Akademiska Kör.

title: Nicolas Gombert


text: User talk:210.54.53.14

title: User talk:210.54.53.14


text: User talk:66.253.168.113

title: User talk:66.253.168.113


text:
User talk:TonyKemp

Hello "TonyKemp" and welcome to Wikipedia. A few tips for you:

 * Peruse Welcome, newcomers and associated pages, such as
 * How to edit a page
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 * If you have any questions, see Help, or you can a question to the village pump.
 * I hope you enjoy editing here and being a Wikipedian -- Infrogmation 05:23, 3 May 2004 (UTC)

title: User talk:TonyKemp


text:
Hadrosaurus

Hadrosaurus (lit. 'bulky lizard') is a genus of hadrosaurid ornithopod dinosaurs that lived in North America during the Late Cretaceous Period in what is now the Woodbury Formation about 78-80 Ma. The holotype specimen was found in fluvial marine sedimentation, meaning that the corpse of the animal was transported by a river and washed out to sea.

They were large animals ranging from 7 to 8 m and 2 to 4 t. Most of the preserved elements are very robust, unusual traits in hadrosaurs. Hadrosaurus were ponderously-built animals equipped with keratinous beaks for cropping foliage and a specialized and complex dentition for food processing.

Hadrosaurus foulkii, the only species in this genus, is known from a single specimen consisting of much of the skeleton and parts of the skull. The specimen was collected in 1858 from the Woodbury Formation in New Jersey, US, representing the first dinosaur species known from more than isolated teeth to be identified in North America. Using radiometric dating of bivalve shells from the same formation, the sedimentary rocks where the Hadrosaurus fossil was found have been dated at some time between 80.5 and 78.5 million years ago. In 1858, the only known specimen became the first-ever dinosaur skeleton to be mounted. In 1991, H. foulkii became the official state dinosaur of New Jersey.

History of discovery
In 1838, John Estaugh Hopkins was digging in a marl pit (on a small tributary of the Cooper River in Haddonfield, New Jersey, and part of the Campanian-age Woodbury Formation) when he uncovered large bones. He put them on display at his home, also in Haddonfield. In 1858, the bones sparked the interest of a visitor, William Parker Foulke, who dug out the rest of the bones from the marl pit in the same year. The excavation site, known as the Hadrosaurus foulkii Leidy site, is now a National Historic Landmark.

Foulke contacted paleontologist Joseph Leidy, and together they recovered eight teeth from the maxillar and dentary areas, dental battery fragments, left maxilla fragments, three partial dorsal vertebrae, 13 caudal centra, including an almost complete middle caudal vertebra. Other fragments included a partial right coracoid, left humerus, left radius, left ulna, left ilium, right ischium, right partial pubis, the left hindlimb composed by the femur, tibia, fibula with metatarsals II and IV and the first pedal phalanx from the third digit. Foulke and Leidy studied the fossils together and, in 1858, Leidy formally described and named Hadrosaurus foulkii in honor of his collaborator. While originally a portmanteau of Haddonfield, the location of its discovery with the accepted suffix for dinosaurs -saurus, the name Hadrosaurus was scientifically justified as deriving from the Greek ἁδρός,, meaning "bulky" or "large", and σαῦρος, , meaning "lizard". The name was an additional play on words by Leidy since it translates from Greek as Foulke’s big lizard.

Leidy recognized that the bones were from a dinosaur because of their similarity to those of Iguanodon, discovered in England some decades before but, at the time, the skeleton of Hadrosaurus was one of the most complete dinosaur skeletons known. Leidy's monograph Cretaceous Reptiles of the United States, describing Hadrosaurus more completely, and with illustrations, was written in 1860, but the American Civil War delayed its publication until 1865.

Leidy reconstructed Hadrosaurus as a biped, in contrast to the view at the time that such dinosaurs were quadrupedal. The entire skeleton was completely assembled in 1868 by a team including English sculptor and naturalist Benjamin Waterhouse Hawkins and was put on display at Philadelphia Academy of Natural Sciences. It was the first-ever mounted dinosaur skeleton. When the skeleton was first put together, it was displayed with a plaster skull sculpted by Hawkins. Many other artists have recreated Hadrosaurus with skulls from other, related species such as Gryposaurus and Brachylophosaurus. A statue of Hadrosaurus, sculpted by Haddonfield resident John Giannotti, now stands in the center of the town of Haddonfield, commemorating its discovery there. Thanks to Joyce Berry and her 4th grade classes (1988–1991) at Strawbridge Elementary School in Haddon Twp, New Jersey, the Hadrosaurus was named the state dinosaur of New Jersey in 1991. It is one of the most celebrated dinosaurs ever and is of great historic importance. The skeleton is usually kept out of sight in the Academy's collections. However, from November 22, 2008, to April 19, 2009, a fully assembled cast of the skeleton, and an exhibit about the science and culture surrounding the dinosaur's discovery, was open to the public.

Description
Hadrosaurus were large sized animals growing up to 7 - 8 m and weighing as much as 2 to 4 t. According to Prieto-Márquez, Hadrosaurus can be distinguished in having a shortened pectoral crest that is slightly over 40% of the total humeral length, a deltopectoral crest that is developed from the humeral shaft causing the laterodistal border to display a broad lateral facet, a lower greatest point of the supraacetabular crest located above lateral edge from the rear to the bottom on the posterior tuberosity of the ischial peduncle of the ilium, a shortened supraacetabular crest from the front to the rear with its breadth being half the length of the middle iliac plate.

As in most hadrosaurs, the forelimbs were not as heavily built as the hindlimbs, but were long enough to be used in standing or movement. The holotype specimen was a relatively large animal at the time of death with a 1.05 m long femur and 93.3 cm long tibia. Most of the preserved elements feature a marked robust composition with the fibula being one of the most robust among hadrosaurs.

Classification
Despite the fact that the family Hadrosauridae has Hadrosaurus as its type genus, the skeleton lacks a skull and was long viewed as too incomplete to compare to other hadrosaurs for classification purposes, leading most scientists to consider it a nomen dubium, or dubious name. However, a re-evaluation of the fossil material in 2011 noted several distinct characteristics of the skeleton that could allow the genus Hadrosaurus and species H. foulkii to remain in use as valid taxa.

Hadrosaurus has also traditionally served as the basis for a large subfamily called Hadrosaurinae, which was seen as a group of largely crestless hadrosaurs related to the crested subfamily Lambeosaurinae. However, the changing view of Hadrosaurus classification in relation to other hadrosaurs has led some scientists to rename these subfamilies. In a 2008 study, Hadrosaurus was found to be more primitive than either lambeosaurines or other "hadrosaurines", and not a particularly close relative of classic "hadrosaurines" such as Edmontosaurus and Saurolophus. As a result of this, the name Hadrosaurinae was restricted to Hadrosaurus alone, and the subfamily comprising the traditional "hadrosaurines" was renamed the Saurolophinae.

Below is a simplified cladogram recovered by Ramírez-Velasco et al. in 2012 in their description of Huehuecanauhtlus. This topology was recovered using an extensive sampling of 60 hadrosauroid species, and two outgroup taxa, which were scored based on 287 morphological traits, and included data from two recent redescriptions of Hadrosaurus by Prieto-Márquez et al. (2006) and Prieto-Márquez (2011).

Paleobiology
In 2003, Rothschild and colleagues performed a study looking for epidemiology of tumors in dinosaurs. Evidence of tumors, including hemangiomas, desmoplastic fibroma, metastatic cancer, and osteoblastoma were discovered in specimens of Hadrosaurus by analyzing dinosaur vertebrae using computerized tomography and fluoroscope screening. Several other hadrosaurids, including Brachylophosaurus, Edmontosaurus, and Gilmoreosaurus, also tested positive. Although more than 10000 fossils were examined in this manner, the tumors were limited to Hadrosaurus and other hadrosaurs. The tumors were only found on caudal vertebrae and they may have been caused by environmental factors or genetic inheritance.

Paleoecology
The holotype of Hadrosaurus was found in marine sediments, which suggests the skeleton was transported by a river and then deposited in the Cretaceous sea. The Hadrosaurus remains all persist to the Woodbury Formation. Through the radiometric dating of bivalve shells known from the formation, the sedimentary rocks where the holotype specimen of Hadrosaurus was found have been dated from 80.5 million to 78.5 million years ago.

title: Hadrosaurus