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Richard Manuel

Richard George Manuel (April 3, 1943 – March 4, 1986) was a Canadian musician, singer, and songwriter, best known as a pianist and one of three lead singers in the Band, for which he was posthumously inducted into the Rock and Roll Hall of Fame in 1994.

Manuel's singing alternated between a soul-influenced baritone that drew frequent comparisons to Ray Charles and a delicate falsetto. Though The Band had three vocalists sharing lead and harmony parts, Manuel was sometimes seen as the group's primary vocalist.

Early life and career
Manuel was born in Stratford, Ontario, Canada. His father, Ed, was a mechanic employed at a Chrysler dealership, and his mother was a schoolteacher. He was raised with his three brothers, and the four sang in the church choir. Manuel took piano lessons beginning when he was nine, and enjoyed playing piano and rehearsing with friends at home. Some of his childhood influences were Ray Charles, Bobby Bland, Jimmy Reed and Otis Rush.

Around 1957, Manuel joined The Rebels, a local Stratford band featuring guitarist John Till (later of the Full Tilt Boogie Band). With Manuel on piano and vocals and his friend Jimmy Winkler on drums, the band was rounded out by bass player Ken Kalmusky (later a founding member of Great Speckled Bird). In short order, the group changed its name to the Revols, in deference to Duane Eddy and the Rebels. Although Richard was the primary vocalist, the line up expanded to include original singer Doug 'Bo' Rhodes. Guitarist Till would later be replaced by Garth Pictot.

Manuel first became acquainted with Ronnie Hawkins and the Hawks in the summer of 1960 when the Revols opened for them at Pop Ivy's in Port Dover, Ontario. According to Levon Helm, Hawkins remarked to him about Manuel: "See that kid playing piano? He's got more talent than Van Cliburn." The following spring, Hawkins found himself opening for The Revols at Stratford Coliseum. After the show, he offered to manage the band, and sent them to play at one of his clubs, The Rockwood, in Fayetteville, Arkansas. In mid-September 1961, after the Revols returned from their southern journey, Hawkins recruited Manuel to his backing band The Hawks, replacing piano player Stan Szelest.

The Hawks
Manuel was 18 when he joined Hawkins's backing group, the Hawks. At this time the band already consisted of 21-year-old Levon Helm on drums, 17-year-old Robbie Robertson on guitar and 17-year-old Rick Danko on bass; 24-year-old organist Garth Hudson joined that Christmas, followed by two temporary members (saxophonist Jerry Penfound and singer Bruce Bruno). Increasingly antagonized by Hawkins's disdain for marijuana and contemporary music trends, the group left the singer's employ in 1964. Initially, they were known as the Levon Helm Sextet (as Helm had accumulated the most time with Hawkins) before changing their name to the Canadian Squires and then to Levon and the Hawks. With Helm serving as nominal leader because of his longevity with the Hawkins group, it was Manuel who sang most of the songs in the group's repertoire. It was as Levon and the Hawks, after the departure of Penfound and Bruno, that they introduced themselves to their blues hero, Sonny Boy Williamson. They planned a collaboration with Williamson, but he died before their plans could be realized.

In 1965, Helm, Hudson, and Robertson helped back American bluesman John Hammond on his album So Many Roads. Hammond recommended the Hawks to Bob Dylan, who tapped them to serve as his backing band when he switched to an electric sound; through 1966, they toured Europe and the United States with Dylan, enduring the ire of Dylan's folk fans, who subjected the group to hissing and booing.

Big Pink
In 1967, while Dylan recovered from a motorcycle accident in Woodstock, New York, the group moved there also, renting a house clad in asbestos siding painted pink, which became known as "Big Pink", located on 100 acre at 2188 Stoll Road (later 56 Parnassus Lane) in nearby West Saugerties, New York. Supported by a retainer from Dylan, they were able to experiment with a new sound garnered from the country, soul, rhythm and blues, gospel and rockabilly music that they loved. As Helm (who was disheartened by the reaction to Dylan's new sound) had been temporarily absent from the group since late 1965, Manuel taught himself to play drums during the hiatus. In the Band era he would occasionally assume the drummer's stool when Helm played mandolin or guitar. His drum style is notably different from Helm's, as exemplified by his performances on "Rag Mama Rag" and "Evangeline".

The early months in Woodstock also allowed Manuel and Robertson to develop as songwriters. After recording numerous demos and signing with Albert Grossman, they secured a 10-album contract with Capitol Records in early 1968. They originally signed as "The Crackers" (although "The Honkies" had also been considered). Helm rejoined the fold as sessions got under way for the recording of their debut album, Music from Big Pink. The group proceeded to take what they had learned with Dylan and used one of his songs in the process. They combined it with their idea of the perfect album, switching solos, and singing harmonies modeled after the gospel sound of their musical heroes The Staple Singers. Manuel stated, "'During the conception of Big Pink, we discovered a whole vocal thing that we weren't aware that we'd even had before, and I remember listening to playbacks after the sessions of songs and thinking, 'I really like this stuff, and I don't have anything to compare it to, but I really like it, and I hope everybody else does, but I really think this is strong.'"

Manuel and Robertson each contributed four songs; among Manuel's contributions was "Tears of Rage," which he co-wrote with Dylan. Recordings of the country ballad "Long Black Veil" and Dylan's "I Shall Be Released" and the Danko–Dylan collaboration "This Wheel's on Fire" rounded out the album. Music from Big Pink was released with the group name given as simply "The Band." This would be their name for the rest of the group's existence. While reaching only No. 30 on the Billboard charts, the album would have a profound influence on the nascent country rock and roots rock movements. Shortly after the release of the album, the newly financially secure Manuel married his girlfriend, Jane Kristiansen, a model from Toronto, whom he had dated intermittently since the Hawks days. They would become the parents of two children.

Movie role, substance abuse, move to Malibu
In 1970, Manuel acted in the Warner Bros. film Eliza's Horoscope, an independently distributed Canadian drama written and directed by Gordon Sheppard. He portrayed "the bearded composer," performing alongside Tommy Lee Jones, former Playboy Bunny Elizabeth Moorman, and Lila Kedrova; Robertson appeared as an extra. Taking four years to complete, it was not released until 1975.

During this period, Manuel's songs were widely recorded. "Blues for Breakfast" (an early Woodstock-era song) was performed by Cass Elliot on Dream a Little Dream (1968); shortly thereafter, Joan Baez performed an a cappella arrangement of "Tears of Rage" on Any Day Now (1968), Blood, Sweat & Tears included a big band-inflected arrangement of "Lonesome Suzie" on Blood, Sweat & Tears 3 (1970) and Karen Dalton included her rendition of "In a Station" on In My Own Time (1971). He was credited with writing only three songs ("When You Awake," "Whispering Pines," and "Jawbone") on The Band (1969) and two ("Sleeping" and "Just Another Whistle Stop") on Stage Fright (1970); all of these songs were credited as collaborations with Robertson, who had assumed dominance in the group's affairs with Grossman. By Cahoots (1971), producer John Simon observed that "Robbie didn't ... consciously intimidate him ... but when you met Robbie he was so smooth and urbane and witty, whereas Richard was such a gee-golly-gosh kind of guy." The influence of Manuel's increasing use of heroin may have also contributed to the diminution of his songwriting abilities.

Throughout 1972, Manuel's alcoholism was one of a variety of factors (including Robertson's own writer's block) that began to impede The Band's recording and performance schedule. Years later, Robertson said that Manuel "scared us to death ... we didn't know what the next day might bring, what would come out of this monster that had seeped out of the woodwork." Although Jane Manuel lamented that "people thought it was amusing to watch this guy drowning," the Manuels briefly separated during this period but reconciled before the impending birth of their second child, Josh. According to Mason Hoffenberg (who roomed with him in 1972–1973 at the request of Grossman), Manuel had "stopped [using heroin] and got into this drinking thing ... I'm supposed to head off all the juvenile dope dealers up here who hang around rock stars. So I answer the phone and say Richard's not here... But if they actually come over to the house, he can't say no. He's brilliant, that guy. An incredible composer... The four other guys in the Band are serious about working and he's really hanging them up. They can't work without him and there's no way to get him off his ass. He feels bad about it, he's just strung out."

In 1973, the group once again followed the lead of Dylan by relocating to Malibu, California. Before leaving the Hudson Valley, they convened at Bearsville Studios to record an album of vintage rock and roll songs (some of which had been performed by The Hawks) entitled Moondog Matinee, in homage to Alan Freed's radio show. Although Manuel was initially reluctant to perform, the album elicited some of his finest vocal performances, including renditions of the Bobby "Blue" Bland R&B standard "Share Your Love with Me," The Platters's "The Great Pretender," and Jerry Leiber and Mike Stoller's tongue-in-cheek gospel song "Saved". Helm had this to say about Manuel during this period: "[H]e was drinking pretty hard, but once he got started, man: drums, piano, play it all, sing, do a lead in one of them high, hard-assed keys to sing in. Richard just knew how a song was supposed to go. Structure, melody; he understood it."

Back with Dylan
The Band gradually resurfaced on the live circuit. Following a warmup show in Osaka, Japan, in July 1973, they played to receptive audiences at the Summer Jam at Watkins Glen and on a double bill with the Grateful Dead at Jersey City's Roosevelt Stadium two days later. In the autumn, the group backed up Dylan on Planet Waves, his first full album of original songs since 1970, before serving as his backup group on his first tour in nearly eight years. The 40 concerts of the Bob Dylan and the Band 1974 Tour, from January 3 to February 14, 1974, were meandering musical marathons featuring two sets of Dylan backed by The Band, two Band sets, and a Dylan acoustic set. The ensuing live album from the tour, Before the Flood, reveals that Manuel was still capable of reaching the falsetto on "I Shall Be Released".

The Last Waltz
The Band continued performing throughout 1974, supporting Crosby, Stills, Nash and Young alongside Joni Mitchell, Jesse Colin Young and The Beach Boys on select dates of a summer stadium tour. But with the long-germinating, Robertson-penned follow-up to Cahoots (Northern Lights – Southern Cross) still more than a year from release, the group struggled to attract audiences in certain markets, as evinced by a proposed August 1974 headlining performance at Boston Garden that was ultimately cancelled due to poor ticket sales. By 1975, Robertson had expressed his dissatisfaction with touring and was acting in an increasingly parental capacity, since the move to Malibu and his refusal to allow the group to join Bearsville Records had seen him take the managerial reins on a de facto basis from an increasingly diffident Grossman. According to Helm, Manuel (who lived in a variety of rented houses throughout the period, including properties owned by Goldie Hawn and Keith Moon) was now consuming eight bottles of Grand Marnier every day on top of a prodigious cocaine addiction, factors that ultimately precipitated his divorce from Jane Manuel in 1976. While living in the Hawn house, Manuel attempted suicide (by self-immolation and shooting himself in the head with a BB gun) on at least two occasions.

During this period, he developed a kinship with the similarly despondent Eric Clapton and emerged as a driving force behind the sessions that make up the guitarist's No Reason to Cry (1976). The album was recorded at the Band's new Shangri-La Studios, where Manuel lived for about a year in a bungalow that had once served as the stable for Bamboo Harvester, the horse that portrayed the titular character on the 1960s sitcom Mister Ed. Manuel gave Clapton the song "Beautiful Thing" (a 1967 Band demo that Danko helped him finish) and provided vocals for "Last Night."

On the group's final full-fledged tour in the summer of 1976, Manuel was still recovering from a car accident earlier in the year; several tour dates were subsequently canceled after a power-boating accident near Austin, Texas, that necessitated the hiring of Tibetan healers, in a scenario reminiscent of Robertson's pre-show hypnosis, before their first concert as the Band at San Francisco's Winterland Ballroom in April 1969. As Northern Lights – Southern Cross had stalled at No. 26 in the autumn of 1975, many of the performances were confined to theaters and smaller arenas (including the Santa Cruz Civic Auditorium and the Long Island Arena), culminating in an opening slot for the ascendant ZZ Top at the Nashville Fairgrounds in September. The quality of the shows was frequently contingent upon Manuel's relative sobriety. Throughout the tour, he struggled with the high vocal registers of "Tears of Rage," "In a Station" and "I Shall Be Released" but offered impassioned, raging versions of the prophetic "The Shape I'm In" and "King Harvest (Has Surely Come)."

The Band played its final show as its original configuration at Winterland on Thanksgiving Day of 1976. The concert was filmed in 35 mm by Robertson confidant and longtime Band fan Martin Scorsese for the documentary The Last Waltz. Manuel sings "The Shape I'm In" as well as contributing piano and backing vocals. Initially the group intended to end only live performances as the Band, and each member was initially kept on a retainer of $2,500 per week under a new contract with Warner Brothers. However, by 1978, the group had drifted apart.

Session work, attempted comeback and continued struggles with substance abuse
Taking advantage of this new solace, Manuel moved to Garth Hudson's ranch outside Malibu. He entered an alcohol and drug rehabilitation program, becoming clean and sober for the first time in years in August 1978. He also was eventually remarried to his longtime girlfriend, Arlie Litvak. Having initially become enamored of Manuel after hearing "Lonesome Suzie," the Toronto-born, 21-year-old Litvak became acquainted with the singer on the 1974 tour and subsequently moved into the Moon house with Manuel in 1977. In 1980, he contributed electric piano and clavinet to Happy Traum's Bright Morning Stars and background vocals to Hudson's Music for Our Lady Queen of the Angels.

During this period, Danko and Manuel began to tour clubs as a semi-acoustic duo. These concerts would continue into the Band reunion era and often included fellow Woodstock habitué Paul Butterfield as a special guest. Along with Hudson, Manuel played on several instrumental cues composed by Robertson for the soundtrack of Raging Bull (1980). Manuel and Hudson also contributed to "Between Trains," a new song by Robertson that appeared on the soundtrack of The King of Comedy (1983), and the original soundtrack of Kent State, a 1981 television film based on the Kent State shootings. Throughout the early 1980s, he sat in on little-publicized gigs in L.A.-area clubs with The Pencils, an ensemble that included vocalists/ multi-instrumentalists Marty Grebb and Terry Danko, founding Blues Image percussionist Joe Lala and former Beach Boys drummer Ricky Fataar. Along with Stephen Stills and Mike Finnigan, he contributed backing vocals to a 1983 album by the band that was left unreleased after Danko was in a debilitating car accident.

Although he continued to grapple with writer's block, Manuel wrote a new song, "Was That Any Way to Say Goodbye," with the younger Danko and Grebb. A year later, he contributed piano to Willie Nelson and Webb Pierce's 1982 remake of "In the Jailhouse Now" (a country hit for the latter in 1955) and background vocals to "Rivers of Tears" on Bonnie Raitt's acclaimed Green Light.

The Band reformed in 1983 without Robertson, who permanently stopped touring after The Last Waltz. Instead, guitarist and Helm protege Jim Weider augmented the returning four members along with a variety of irregular additional musicians, including the Cate Brothers. Having reclaimed some of his vocal range lost in the years of drug abuse, Manuel performed old hits such as "The Shape I'm In", "Chest Fever" and "I Shall Be Released" with new conviction alongside personal favorites such as Cindy Walker and Eddy Arnold's "You Don't Know Me" and James Griffin and Robb Royer's "She Knows."

By the time of the reunion, Danko, Helm and their families had moved back to the Woodstock area from Malibu. Manuel returned with his wife in the spring of 1984. In poor health and fearing that he had contracted AIDS from decades of promiscuity and drug abuse, he contemplated making a Robertson-produced solo album and resumed using cocaine, heroin and alcohol. On one occasion, Manuel absconded with journalist and old friend Al Aronowitz's record collection in a midnight burglary to fund his addictions. Following a detox stint at the behest of Albert Grossman, Manuel enjoyed several months of sobriety. He undertook a successful solo residency (centered around "his favorite Ray Charles songs" and "Tin Pan Alley classics") at The Getaway, a club midway between Woodstock and nearby Saugerties, New York. Guests such as Danko and Weider frequently sat in. During this period, Manuel also co-wrote a new song, "Breaking New Ground," with Gerry Goffin and Carole King. However, he ultimately "fell off the wagon with a thud" in the spring of 1985.

In addition to their other activities, Manuel and Danko toured throughout 1985 with "The 20th Anniversary Tribute to The Byrds," a tribute group led by founding Byrds members Gene Clark and Michael Clarke that also included former Flying Burrito Brothers and Firefall member Rick Roberts, former Beach Boys guitarist Blondie Chaplin and 1968-1969 Byrds bassist John York. Several concert promoters began to shorten the band's name to "The Byrds" in advertisements and promotional material. As the band continued to tour in 1985, their agent decided to shorten the name to "The Byrds" permanently, eliciting displeasure from co-founders Roger McGuinn, David Crosby and Chris Hillman. Although Michael Clarke continued working with a similar group, Clark heeded their complaints and folded the group.

Throughout this period, Manuel continued to participate in several projects in addition to his road work, including the recording of the Ethiopian famine relief charity single "Tears Are Not Enough" by the ad hoc Canadian supergroup Northern Lights. The song was eventually included on the We Are the World album. Along with Hudson on keyboards, Manuel also contributed background vocals to Tom Petty and the Heartbreakers's "Best of Everything" (co-produced by Robertson) on Southern Accents.

In a March 1985 interview with Ruth Albert Spencer of the Woodstock Times, Manuel expressed equivocation toward The Band's professional direction at a time when the group was relegated to playing theaters and clubs as headliners and support slots in larger venues for onetime peers such as the Grateful Dead and Crosby, Stills and Nash: "I sobered up and I pay a lot closer attention when I realize what we threw away. We didn't really throw it away, we benched it and in just this last year and a half I've seen millions of dollars go by ... doors open but we haven't taken advantage of it".

Death
On March 4, 1986, after a gig by The Band at the Cheek to Cheek Lounge in Winter Park, Florida (a suburb of Orlando, Florida), Manuel died by suicide. He had appeared to be in relatively good spirits at the concert but ominously "thanked [Hudson] profusely for twenty-five years of good music and appreciation" as the latter musician packed his keyboards and synthesizers to be shipped to the next venue after the show. Danko, who also struggled with substance abuse, confronted Manuel about his alcohol use after the show. The Band eventually returned to the Quality Inn, and Manuel talked with Helm about music, people, and film in Helm's room. According to Helm, at around 2:30 in the morning, Manuel said he needed to get something from his room. Upon returning to his room, he woke his wife, Arlie, who observed that Manuel "was all pissed off about something"; Manuel claimed that his frustration stemmed from the quality of the piano at the venue. When Arlie enjoined him to come to bed, he lay down with his clothes on. After she resumed sleeping, it is believed that he finished one last bottle of Grand Marnier before hanging himself in the bathroom sometime before 3:30. She discovered her husband's body along with the depleted bottle of liqueur and a small amount of cocaine the following morning. He was buried a week later at the Avondale Cemetery in his hometown of Stratford, Ontario. At his memorial service in Woodstock, Danko sang one of Manuel's most famous covers, Dylan's "I Shall Be Released" accompanied by the church's pipe organ and the other attendees.

At the end of March, Danko declared, "I can't believe in a million years that he meant for that to happen. There was just no sign ... I have to think this was just a goddamned silly accident." A blood toxicology report indicated that Manuel was drunk and had ingested cocaine within 12 to 24 hours of his death.

In 2004, the city of Stratford honored Manuel with a sidewalk star in the busy tourist section of Ontario Street. There is also a memorial bench seated next to the Avon River dedicated in his honor.

Posthumous recognition
Although Manuel died before The Band recorded their final three albums, two songs featuring him on lead vocals, recorded in the 1980s, were included on the first two of these albums: "Country Boy," on Jericho (1993), and "She Knows," on High on the Hog (1996).

In 1994, Manuel was posthumously inducted into the Rock and Roll Hall of Fame as a member of The Band. In 2015, he was inducted into the New York Blues Hall of Fame.

In 2002, the Japanese label Dreamsville Records released Whispering Pines: Live at the Getaway, which contains selections from a solo performance by Manuel at The Getaway in October 1985.

Robbie Robertson's "Fallen Angel" (1987), Ronnie Hawkins's "Days Gone By" (1995) and The Band's "Too Soon Gone" (1993) are all tributes to Manuel.

Eric Clapton's 1986 album, August, features his tribute to Manuel, entitled "Holy Mother." The San Francisco–area group The Call, who had collaborated with Hudson and Robertson, dedicated the video for their 1986 single "Everywhere I Go" to Manuel. Counting Crows recorded the song "If I Could Give All My Love (Richard Manuel Is Dead)," released on their 2002 album Hard Candy. The Drive-By Truckers' song "Danko/Manuel" was released on their album The Dirty South in 2004.

Head of Femur included "Song for Richard Manuel" on their 2005 release, Hysterical Stars. In 2008, the Michigan roots quartet Steppin' In It released the album Simple Tunes for Troubled Times, which contains the song "The Ghost of Richard Manuel," while Isaac Gillespie's album 1971 features "Richard Manuel the Pacifier." Ray Lamontagne referred to the singer during his performance on the BBC program Songwriter's Circle. In 2012 Black Prairie released A Tear in the Eye Is a Wound in the Heart, which includes the song "Richard Manuel". In a 2016 interview on his "WTF" podcast, Marc Maron and Roger Waters discussed their mutual love for The Band, with Waters ruminating on the beauty of Manuel's voice.

Discography

 * Whispering Pines: Live at the Getaway (2002)
 * Live at O'Tooles Tavern (2009; recorded live in Scranton, Pennsylvania, on December 12, 1985)
 * Live at the Lone Star (2011; recorded live in New York City in 1984)

title: Richard Manuel


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Bulgarian alphabet

The Bulgarian Cyrillic alphabet (Българска кирилска азбука) is used to write the Bulgarian language. The Cyrillic alphabet was originally developed in the First Bulgarian Empire during the 9th – 10th century AD at the Preslav Literary School.

It has been used in Bulgaria (with modifications and exclusion of certain archaic letters via spelling reforms) continuously since then, superseding the previously used Glagolitic alphabet, which was also invented and used there before the Cyrillic script overtook its use as a written script for the Bulgarian language. The Cyrillic alphabet was used in the then much bigger territory of Bulgaria (including most of today's Serbia), North Macedonia, Kosovo, Albania, Northern Greece (Macedonia region), Romania and Moldova, officially from 893. It was also transferred from Bulgaria and adopted by the East Slavic languages in Kievan Rus' and evolved into the Belarusian, Russian and Ukrainian alphabets and the alphabets of many other Slavic (and later non-Slavic) languages. Later, some Slavs modified it and added/excluded letters from it to better suit the needs of their own language varieties.

History
In the 9th century, the Bulgarian Empire introduced the Glagolitic alphabet, devised by Saint Cyril and Saint Methodius. The Glagolitic alphabet was gradually superseded in later centuries by the Cyrillic script, developed around the Preslav Literary School, Bulgaria at the end of the 9th century.

Several Cyrillic alphabets with 28 to 44 letters were used in the early and middle 19th century during the efforts on the codification of Modern Bulgarian until an alphabet with 32 letters, proposed by Marin Drinov, gained prominence in the 1870s: it was used until the orthographic reform of 1945, when the letters yat (uppercase Ѣ, lowercase ѣ) and yus (uppercase Ѫ, lowercase ѫ) were removed from its alphabet, reducing the number of letters to 30. Yat was also known as "double e" (двойно е/е-двойно), and yus was also known as "big nasal sign" (голяма носовка), crossed yer (ъ кръстато), and "wide yer" (широко ъ).

Although Bulgarian uses the Cyrillic alphabet, some letter shapes in Bulgaria were made to look more 'Latin' in the 20th century (see the pictures on the right in the article), however they are rarely used today and most typefaces do not support them.

With the accession of Bulgaria to the European Union on 1 January 2007, the Cyrillic script became the third official script of the European Union, following the Latin and Greek scripts.

Detailed table
The following table gives the letters of the Bulgarian alphabet, along with the IPA values for the sound of each letter. The listed transliteration in the Official transliteration column (known as the Streamlined System) is official in Bulgaria and is listed in the Official orthographic dictionary (2012). For other transliteration standards see Romanization of Bulgarian.

Most letters in the Bulgarian alphabet stand for just one specific sound. Five letters stand for sounds written in English with two or more letters. These letters are ч (ch), ш (sh), щ (sht), ю (yu), and я (ya). Two additional sounds are written with two letters: these are дж and дз. The letter ь marks the softening (palatalization) of any consonant (except ж, ч, and ш) before the letter о, while ю and я after consonants mark the palatalization of the preceding consonant in addition to representing the vowels and.

The names of most letters are simple representations of their phonetic values, with consonants being followed by – thus the alphabet goes:  –  –, etc. However, the name of the letter Й is "i-kratko" (short i), the name of Ъ is "er-golyam" (large yer), and the name of Ь is "er-malak" (small yer). People often refer to Ъ simply as.

The Bulgarian alphabet features:
 * The Bulgarian names for the consonants are, , etc. instead of , ,  etc.
 * Е represents and is called "е".
 * The sounds  and   are represented by дж and дз respectively.
 * Short I (Й, й) represents.
 * Щ represents  and is called "щъ".
 * Ъ represents the vowel, and is called "ер голям"  ('big er'). In spelling however, Ъ is referred to as  where its official label "ер голям" (used only to refer to Ъ in the alphabet) may cause some confusion. The vowel Ъ  is sometimes approximated to the  (schwa) sound found in many languages for easier comprehension of its Bulgarian pronunciation for foreigners, but it is actually a back vowel, not a central vowel.
 * Ь is used on rare occasions (only after a consonant [and] before the vowel "о"), such as in the words 'каньон' (canyon), 'шофьор' (driver), etc. It is called "ер малък" ('small er').

The grave accent is used to distinguish the pronoun $⟨ѝ⟩$ 'her' from the conjunction $⟨и⟩$ 'and'. Ѝ is not considered a separate letter but rather a special form of И.

Writing
Bulgarian is usually described as having a phonemic orthography, meaning that words are spelt the way they are pronounced. This is largely true, but there are exceptions. Three of the most cited examples are:
 * The sounds and, which appear only in unstressed syllables, are written with two different letters each – "а" or "ъ", and "о" or "у" respectively.
 * The vowel in stressed verb endings -а, -ат, -я and -ят and the stressed short definite articles -a and -я is pronounced . Thus чета ("I read") is pronounced, and мъжа ("the man") is pronounced.
 * Voiced consonants are pronounced unvoiced when at the end of a word or when preceding an unvoiced consonant – e.g. втори ("second") is pronounced, and град ("city") is pronounced . Similarly, unvoiced consonants are pronounced voiced when preceding a voiced consonant – e.g. сграда ("building") is . (The voiced consonant "в" is an exception – it does not cause the preceding unvoiced consonant to become voiced – сватба (wedding) is .)

Modern developments
Since the time of Bulgaria's liberation in the late 19th century, the Bulgarian language has taken on a large number of words from Western European languages. All of these are transcribed phonetically into Cyrillic, e.g.: Notable is the transliteration of many English names through German, e.g.:
 * French – e.g. тротоар (trottoir – sidewalk), тирбушон (tire-bouchon – corkscrew), партер (from par terre – ground floor)
 * German – e.g. бинт (Bind – bandage), багер (Bagger – digger), бормашина (Bohrmaschine – drill)
 * Washington → Вашингтон (Vashington), Scotland → Шотландия (Shotlandiya)

In the years since the end of communism and the rise of technology, the tendency for borrowing has shifted mainly to English, where much computer-related terminology has entered and been inflected accordingly – again, in a wholly phonetic way. Examples include: The computer-related neologisms are often used interchangeably with traditional Bulgarian words, e.g. 'download' and 'upload' can be simply свалям and качвам (svalyam and kachvam – 'to bring down' and 'to put up').
 * кликвам на файла (click(klik)-vam na file(fayl)-a) – I click on the file
 * даунлоудваш го на десктопа (download(daunloud)-vash go na desktop-a) – you download it onto the desktop
 * чатим в нета (chat-im v net-a) – we chat on the net

Use of Roman script in Bulgarian
The insertion of English words directly into a Cyrillic Bulgarian sentence, while frowned upon, has been increasingly used in the media. This is done for several reasons, including –
 * To shorten what would otherwise be a longer word or phrase –
 * Янките против още US войски в Афганистан (instead of американски - American)
 * The Yanks oppose more US troops in Afghanistan

 * To avoid the need to transcribe to Cyrillic or translate to Bulgarian well known abbreviations:
 * Ние не сме видели края на SOPA, PIPA и ACTA (instead of, for example, СОПА, ПИПА и АКТА)
 * We have not seen the end of SOPA, PIPA and ACTA

Brand names are also often not transcribed: WikiLeaks, YouTube, Skype – as opposed to Уикиликс, Ю-Тюб, Скайп. However, this is not always the case, as in the headline "Фейсбук vs. Гугъл" (official transliteration: Feysbuk vs. Gugal). Note the inconsistency here – despite the insistence on Cyrillic, the "vs." has been retained in Roman script.

The 2012 Official Orthographic Dictionary of the Bulgarian Language by the Bulgarian Academy of Sciences permits widely known proper names to remain in their original alphabet. Example sentences are given, all containing names of American IT companies: Yahoo, Microsoft, YouTube, PayPal, Facebook.

Keyboard layout
The standard Bulgarian keyboard layout for personal computers is as follows:

 * Bulgarian BDS layout.svg

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

title: Bulgarian alphabet


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Slipcover

A slipcover (also called loose cover) is a fitted protective cover that may be slipped off and onto a piece of upholstered furniture. Slipcovers are usually made of cloth. Slipcovers slip on and off; they come fresh and may be removed for seasonal change, cleaning, moving, or storage.

Slipcovers are sometimes defined as "clothing for furniture." Indeed, they are tailored just as clothing and fitted loosely or snugly to the owner's or tailor's taste. Some order furniture upholstered in plain muslin, intending to use slipcovers only.

History
In the days before home air conditioning was available, it was common to put slipcovers on upholstered furniture in the hot months of the year to protect the upholstery fabric from sweat. Slipcover tailors offered clear vinyl or plastic slipcovers. These clear plastic slipcovers were available in large department stores such as Jordan Marsh or custom-made by artisans.

In some cities in the northeast U.S., slipcover tailors were sometimes given the nickname "summertime millionaires" as their busy season was in the spring and summer. Custom slipcovering was done then, each one cut and sewn to order.

In the 1960s, technology and production techniques made it possible to manufacture furniture that could be sold at or below the price of a custom-made slipcover, and the practice of custom slipcovering for a time declined.

In recent years, there has been a renewed interest in custom slipcovering driven by the interior design industry and the popularity of the very casual shabby chic design style.

Technology and materials
As this new "looser" fitting style of slipcovers does not always require custom tailoring, some furniture manufacturers are beginning to offer "ready-made" slipcovers.

Ready-made, generic fit slipcovers are available at many mainstream retailers that sell linens (sheets). With these generic fit slipcovers, some effort is required to maintain a tailored look of a slipcover applied to a couch or loveseat, as usage of the furniture will pull at the edges of the slipcover, which are tucked under the cushions, all of one piece. Manufacturers often provide foam sticks to tuck slipcovers into the sides and creases of couches. Design and materials used have also improved, allowing different kinds of generic slipcovers to be sold to consumers, including elastic covers that fit nearly perfectly around a couch, loosely fitted covers that are placed over key areas of a couch covers with skirts, and those made with material designed to withstand use from pets.

Custom-fitted slipcovers can resemble upholstery in their fit. They are fabricated to the exact shape of the furniture, and the cushions are slipcovered separately from the frame.

Techniques can be used to make a slipcover that will not shift and require re-tucking after every use. Slipcovers with elasticized bottoms mean no straps are needed to secure them in place, and they stay exactly where you want them to without shifting or moving.

Slipcover material is usually a stretchable fabric, a polyester blend (polyester, cotton, and elastane). Bi-elastic fabric can be stretched both vertically and horizontally for a perfect fit. Strings or ribbons are used to keep the cover in place.

Slipcover fabrication is a specialty offered by slipcover makers. Some upholsterers and drapery workrooms also make slipcovers.

Industry
Slipcovering skills are revived every generation by new groups that tend to change in characteristics over decades. Slipcover arts were once a close-guarded secret.

One constant is the cottage industry aspect: slipcovers are easily made by small groups in the home or home-based businesses. Historically, in a lower-wage occupation with a division of labor based on gender, slipcover sewers were often not taught or expected to cut.

Today, the trend is for more educated populations, more women, to choose this cottage industry product as a profession. Each one-person business tends to follow all the steps of marketing and manufacturing.

These one-person businesses may jointly market their services. The World Wide Web has contributed to the survival of slipcovering. Slipcover artists have found one another through networks or professional listings. Slipcover knowledge has lately been pooled and shared through this source.

However, the production of clear vinyl slipcovers is not as great as it used to be. Modern upholstery fabrics are more durable; they are both more resistant to dirt and easier to clean. Many upholstery fabrics can be washed in cold water without harm. Although pleasing to look at, transparent vinyl slipcovers are often very uncomfortable to sit on, particularly on hot summer days. These days, it is almost impossible to get clear vinyl slipcovers without customizing them.

title: Slipcover


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The Last Seduction

The Last Seduction is a 1994 American neo-noir erotic thriller film directed by John Dahl, featuring Linda Fiorentino, Peter Berg, and Bill Pullman. The film was produced by ITC Entertainment and distributed by October Films. Fiorentino's performance garnered widespread critical acclaim and generated talk of an Oscar nomination, but she was deemed ineligible because the film was shown on HBO before its theatrical release. October Films and ITC Entertainment sued the Academy, but were unable to make Fiorentino eligible for a nomination.

The Last Seduction has gained a cult following over time, and its main character, Bridget Gregory, has been recognized as one of the most iconic femme fatales in film history. In 2019, the British Film Institute included the movie, along with Gone Girl and Death Becomes Her, in a program dedicated to exploring "wickedly compelling female characters on screen." The film was also featured in The Criterion Channel's Neonoir series in July 2021. A sequel, The Last Seduction II, was released in 1999. However, it featured none of the original cast and starred Joan Severance as Bridget Gregory.

Plot
Bridget Gregory works as a telemarketing manager in New York City. Her husband, Clay, is a physician who is heavily in debt to a loan shark. He arranges to sell stolen pharmaceutical cocaine to two drug dealers. The transaction becomes tense when the buyers pull a gun, but to Clay's surprise, they eventually pay him $700,000. Clay is left shaken, and upon his return home, he slaps Bridget after she insults him. She then flees their apartment with the cash while he is in the shower.

On her way to Chicago, Bridget stops in Beston, a small town near Buffalo. There she meets Mike Swale, a local man back from a whirlwind marriage in Buffalo that he refuses to talk about. He tries to pick up Bridget, and she proceeds to use him for mere sexual gratification during her stay in town. Adept at word games and mirror writing, and with an imminent return to her hometown in mind, Bridget changes her name to Wendy Kroy (as a reversal of 'New York') and gets a job at the insurance company where, coincidentally, Mike works. Their relationship is strained by her manipulative behavior and the fact that he is falling for her.

When Mike tells her how to find out if a man is cheating on his wife by reading his credit reports, Bridget devises a plan based on selling murders to cheated wives. She suggests they start with Lance Collier, a cheating, wife-beating husband residing in Florida. This proves to be the last straw for Mike, and he leaves her alone in his place after an argument. Meanwhile, the loan shark breaks Clay's thumb for not repaying his loan. Fearing for his health and in dire financial straits, he hires a private detective, Harlan, to retrieve the money from his wife.

Harlan traces Bridget's phone area code, travels to Beston and accosts her at gunpoint right after her argument with Mike. Bridget purposely crashes her car after tricking Harlan into removing his seat belt, resulting in his death. Because Harlan was Black, she uses local racial prejudice to persuade the police to close the case without further investigation. Bridget then resumes her manipulation of Mike and pretends to travel to Florida to kill Collier. Instead, she goes to Buffalo to meet Mike's ex-wife, Trish. Upon returning, Bridget shows Mike the money she stole from Clay, claiming it is her cut of the life insurance payout from the new widow.

Bridget claims to have killed Collier so they can live together, then tries to persuade him that he must also commit a similar murder so they will be even and to prove that he loves her. She tries to talk Mike into killing a tax lawyer in New York who is cheating old ladies out of their homes. At first, he refuses, but later agrees after receiving a letter from Trish saying she is moving to Beston. The letter was forged by Bridget to change his mind.

Mike goes to New York and breaks into the apartment of the supposed attorney, who turns out to be Clay. After Mike handcuffs Clay, Clay realizes what is happening when Mike mentions Bridget's alias, convincing Mike of the truth by showing him a photo of himself and Bridget together. They then hatch a plot to double-cross her. Bridget arrives, and the still-immobilized Clay – who has been clever enough to predict most of Bridget's actions but fails to understand her sociopathy – tries to make amends with her. Instead, she empties a pepper spray bottle down his throat, killing him. She tells a stunned Mike to rape her. When he refuses, she tells him she knows the truth about Trish, who is transgender, and goads him by calling him a homophobic slur. This causes Mike to have rough sex with her.

Unbeknownst to Mike, Bridget has dialed 9-1-1, and she coaxes him into "confessing" to Clay's murder as part of the role-play. Mike is subsequently arrested and jailed for rape and murder, while Bridget escapes with the cash she stole from Clay as well as with his life insurance policy. Later, after she has started a new and considerably more affluent lifestyle for herself, Bridget calmly destroys the only evidence linking her to Clay's death as she is chauffeur-driven around New York.

Cast

 * Linda Fiorentino as Bridget Gregory
 * Peter Berg as Mike Swale
 * Bill Pullman as Clay Gregory
 * Bill Nunn as Harlan
 * J. T. Walsh as Frank Griffith
 * Dean Norris as Shep
 * Herb Mitchell as Bob Trotter

Production
Screenwriter Steve Barancik said he believed the film was originally pitched to ITC Entertainment as a "standard Skinemax" low-budget movie, even though the filmmakers had "an under-the-radar intention to make a good movie." Linda Fiorentino said of accepting the role, "After I read that script, I was in Arizona and I got in a car and drove six hours to get to the meeting because I had never read anything so unique in terms of a female character. And I walked in the meeting with John Dahl, the director, and I said, 'John, you are not allowed to hire anyone but me for this film.' And I wasn't kidding."

ITC Entertainment executives were upset with a scene in which Fiorentino is dressed as a cheerleader and wears suspenders over her breasts. Barancik recalled, "Apparently, a guy from the company who was monitoring things and watching the dailies saw the suspenders over Linda's nipples and shouted out, 'Are we making an art movie?!' He shut down production and called the principals of the movie on the carpet, and they all had to pledge that they had no artistic pretensions." The scene was cut, and the sexual role-playing theme was lost.

Peter Berg said it was Fiorentino's idea to shoot the chain-link-fence sex scene in that way. "She said, 'John, get a camera,' and she climbed up on me against that fence and told John Dahl to shoot it, and that was the scene. She thought of it, she conceived it, she executed it. It was awesome."

Reception
The Last Seduction received critical acclaim. It holds a 94% rating on Rotten Tomatoes based on 51 reviews. On Metacritic it has a score of 85 out of 100 based on 12 reviews, indicating "universal acclaim". Roger Ebert gave the film four out of four stars, highlighting Fiorentino's ability to project her character with dry humor and a freedom from Hollywood conventions typically surrounding a female antagonist. Ebert later ranked the film fifth on his year-end list of 1994's best movies and wrote in the Chicago Sun-Times:

"John Dahl's The Last Seduction knows how much we enjoy seeing a character work boldly outside the rules. It gives us a diabolical, evil woman, and goes the distance with her. We keep waiting for the movie to lose its nerve, and it never does: This woman is bad from beginning to end, she never reforms, she never compromises, and the movie doesn't tack on one of those contrived conclusions where the morals squad comes in and tidies up."

Year-end lists

 * 5th – Roger Ebert, Chicago Sun Times
 * 6th – Janet Maslin, The New York Times
 * 8th – Bob Strauss, Los Angeles Daily News
 * 8th – Glenn Lovell, San Jose Mercury News
 * 9th – Todd Anthony, Miami New Times
 * 10th – Michael Mills, The Palm Beach Post
 * Top 10 (listed alphabetically, not ranked) – Eleanor Ringel, The Atlanta Journal-Constitution
 * Top 10 (listed alphabetically, not ranked) – Jeff Simon, The Buffalo News
 * Honorable mention – Michael MacCambridge, Austin American-Statesman
 * Honorable mention – Betsy Pickle, Knoxville News-Sentinel
 * Honorable mention – William Arnold, Seattle Post-Intelligencer

title: The Last Seduction


text:
Parallel (geometry)

In geometry, parallel lines are coplanar infinite straight lines that do not intersect at any point. Parallel planes are planes in the same three-dimensional space that never meet. Parallel curves are curves that do not touch each other or intersect and keep a fixed minimum distance. In three-dimensional Euclidean space, a line and a plane that do not share a point are also said to be parallel. However, two noncoplanar lines are called skew lines. Line segments and Euclidean vectors are parallel if they have the same direction (not necessarily the same length).

Parallel lines are the subject of Euclid's parallel postulate. Parallelism is primarily a property of affine geometries and Euclidean geometry is a special instance of this type of geometry. In some other geometries, such as hyperbolic geometry, lines can have analogous properties that are referred to as parallelism.

Symbol
The parallel symbol is $$\parallel$$. For example, $$AB \parallel CD$$ indicates that line AB is parallel to line CD.

In the Unicode character set, the "parallel" and "not parallel" signs have codepoints U+2225 (∥) and U+2226 (∦), respectively. In addition, U+22D5 (⋕) represents the relation "equal and parallel to".

The same symbol is used for a binary function in electrical engineering (the parallel operator). It is distinct from the double-vertical-line brackets, U+2016 (‖), that indicate a norm (e.g. $\ as well as from the logical or operator in several programming languages.

Conditions for parallelism

Given parallel straight lines l and m in Euclidean space, the following properties are equivalent:

 * 1) Every point on line m is located at exactly the same (minimum) distance from line l (equidistant lines).
 * 2) Line m is in the same plane as line l but does not intersect l (recall that lines extend to infinity in either direction).
 * 3) When lines m and l are both intersected by a third straight line (a transversal) in the same plane, the corresponding angles of intersection with the transversal are congruent.

Since these are equivalent properties, any one of them could be taken as the definition of parallel lines in Euclidean space, but the first and third properties involve measurement, and so, are "more complicated" than the second. Thus, the second property is the one usually chosen as the defining property of parallel lines in Euclidean geometry. The other properties are then consequences of Euclid's Parallel Postulate.

History
The definition of parallel lines as a pair of straight lines in a plane which do not meet appears as Definition 23 in Book I of Euclid's Elements. Alternative definitions were discussed by other Greeks, often as part of an attempt to prove the parallel postulate. Proclus attributes a definition of parallel lines as equidistant lines to Posidonius and quotes Geminus in a similar vein. Simplicius also mentions Posidonius' definition as well as its modification by the philosopher Aganis.

At the end of the nineteenth century, in England, Euclid's Elements was still the standard textbook in secondary schools. The traditional treatment of geometry was being pressured to change by the new developments in projective geometry and non-Euclidean geometry, so several new textbooks for the teaching of geometry were written at this time. A major difference between these reform texts, both between themselves and between them and Euclid, is the treatment of parallel lines. These reform texts were not without their critics and one of them, Charles Dodgson (a.k.a. Lewis Carroll), wrote a play, Euclid and His Modern Rivals, in which these texts are lambasted.

One of the early reform textbooks was James Maurice Wilson's Elementary Geometry of 1868. Wilson based his definition of parallel lines on the primitive notion of direction. According to Wilhelm Killing the idea may be traced back to Leibniz. Wilson, without defining direction since it is a primitive, uses the term in other definitions such as his sixth definition, "Two straight lines that meet one another have different directions, and the difference of their directions is the angle between them." In definition 15 he introduces parallel lines in this way; "Straight lines which have the same direction, but are not parts of the same straight line, are called parallel lines." Augustus De Morgan reviewed this text and declared it a failure, primarily on the basis of this definition and the way Wilson used it to prove things about parallel lines. Dodgson also devotes a large section of his play (Act II, Scene VI § 1) to denouncing Wilson's treatment of parallels. Wilson edited this concept out of the third and higher editions of his text.

Other properties, proposed by other reformers, used as replacements for the definition of parallel lines, did not fare much better. The main difficulty, as pointed out by Dodgson, was that to use them in this way required additional axioms to be added to the system. The equidistant line definition of Posidonius, expounded by Francis Cuthbertson in his 1874 text Euclidean Geometry suffers from the problem that the points that are found at a fixed given distance on one side of a straight line must be shown to form a straight line. This can not be proved and must be assumed to be true. The corresponding angles formed by a transversal property, used by W. D. Cooley in his 1860 text, The Elements of Geometry, simplified and explained requires a proof of the fact that if one transversal meets a pair of lines in congruent corresponding angles then all transversals must do so. Again, a new axiom is needed to justify this statement.

Construction
The three properties above lead to three different methods of construction of parallel lines.

Distance between two parallel lines
Because parallel lines in a Euclidean plane are equidistant there is a unique distance between the two parallel lines. Given the equations of two non-vertical, non-horizontal parallel lines,
 * $$y = mx+b_1\,$$
 * $$y = mx+b_2\,,$$

the distance between the two lines can be found by locating two points (one on each line) that lie on a common perpendicular to the parallel lines and calculating the distance between them. Since the lines have slope m, a common perpendicular would have slope −1/m and we can take the line with equation y = −x/m as a common perpendicular. Solve the linear systems
 * $$\begin{cases}

y = mx+b_1 \\ y = -x/m \end{cases}$$ and
 * $$\begin{cases}

y = mx+b_2 \\ y = -x/m \end{cases}$$ to get the coordinates of the points. The solutions to the linear systems are the points
 * $$\left( x_1,y_1 \right)\ = \left( \frac{-b_1m}{m^2+1},\frac{b_1}{m^2+1} \right)\,$$

and
 * $$\left( x_2,y_2 \right)\ = \left( \frac{-b_2m}{m^2+1},\frac{b_2}{m^2+1} \right).$$

These formulas still give the correct point coordinates even if the parallel lines are horizontal (i.e., m = 0). The distance between the points is
 * $$d = \sqrt{\left(x_2-x_1\right)^2 + \left(y_2-y_1\right)^2} = \sqrt{\left(\frac{b_1m-b_2m}{m^2+1}\right)^2 + \left(\frac{b_2-b_1}{m^2+1}\right)^2}\,,$$

which reduces to
 * $$d = \frac{|b_2-b_1|}{\sqrt{m^2+1}}\,.$$

When the lines are given by the general form of the equation of a line (horizontal and vertical lines are included):
 * $$ax+by+c_1=0\,$$
 * $$ax+by+c_2=0,\,$$

their distance can be expressed as
 * $$d = \frac{|c_2-c_1|}{\sqrt {a^2+b^2}}.$$

Two lines in three-dimensional space
Two lines in the same three-dimensional space that do not intersect need not be parallel. Only if they are in a common plane are they called parallel; otherwise they are called skew lines.

Two distinct lines l and m in three-dimensional space are parallel if and only if the distance from a point P on line m to the nearest point on line l is independent of the location of P on line m. This never holds for skew lines.

A line and a plane
A line m and a plane q in three-dimensional space, the line not lying in that plane, are parallel if and only if they do not intersect.

Equivalently, they are parallel if and only if the distance from a point P on line m to the nearest point in plane q is independent of the location of P on line m.

Two planes
Similar to the fact that parallel lines must be located in the same plane, parallel planes must be situated in the same three-dimensional space and contain no point in common.

Two distinct planes q and r are parallel if and only if the distance from a point P in plane q to the nearest point in plane r is independent of the location of P in plane q. This will never hold if the two planes are not in the same three-dimensional space.

In non-Euclidean geometry
In non-Euclidean geometry, the concept of a straight line is replaced by the more general concept of a geodesic, a curve which is locally straight with respect to the metric (definition of distance) on a Riemannian manifold, a surface (or higher-dimensional space) which may itself be curved. In general relativity, particles not under the influence of external forces follow geodesics in spacetime, a four-dimensional manifold with 3 spatial dimensions and 1 time dimension.

In non-Euclidean geometry (elliptic or hyperbolic geometry) the three Euclidean properties mentioned above are not equivalent and only the second one (Line m is in the same plane as line l but does not intersect l) is useful in non-Euclidean geometries, since it involves no measurements. In general geometry the three properties above give three different types of curves, equidistant curves, parallel geodesics and geodesics sharing a common perpendicular, respectively.

Hyperbolic geometry

While in Euclidean geometry two geodesics can either intersect or be parallel, in hyperbolic geometry, there are three possibilities. Two geodesics belonging to the same plane can either be:

 * 1) intersecting, if they intersect in a common point in the plane,
 * 2) parallel, if they do not intersect in the plane, but converge to a common limit point at infinity (ideal point), or
 * 3) ultra parallel, if they do not have a common limit point at infinity.

In the literature ultra parallel geodesics are often called non-intersecting. Geodesics intersecting at infinity are called limiting parallel.

As in the illustration through a point a not on line l there are two limiting parallel lines, one for each direction ideal point of line l. They separate the lines intersecting line l and those that are ultra parallel to line l.

Ultra parallel lines have single common perpendicular (ultraparallel theorem), and diverge on both sides of this common perpendicular.

Spherical or elliptic geometry

In spherical geometry, all geodesics are great circles. Great circles divide the sphere in two equal hemispheres and all great circles intersect each other. Thus, there are no parallel geodesics to a given geodesic, as all geodesics intersect. Equidistant curves on the sphere are called parallels of latitude analogous to the latitude lines on a globe. Parallels of latitude can be generated by the intersection of the sphere with a plane parallel to a plane through the center of the sphere.

Reflexive variant
If l, m, n are three distinct lines, then $$l \parallel m \ \land \ m \parallel n \ \implies \ l \parallel n .$$

In this case, parallelism is a transitive relation. However, in case l = n, the superimposed lines are not considered parallel in Euclidean geometry. The binary relation between parallel lines is evidently a symmetric relation. According to Euclid's tenets, parallelism is not a reflexive relation and thus fails to be an equivalence relation. Nevertheless, in affine geometry a pencil of parallel lines is taken as an equivalence class in the set of lines where parallelism is an equivalence relation.

To this end, Emil Artin (1957) adopted a definition of parallelism where two lines are parallel if they have all or none of their points in common. Then a line is parallel to itself so that the reflexive and transitive properties belong to this type of parallelism, creating an equivalence relation on the set of lines. In the study of incidence geometry, this variant of parallelism is used in the affine plane.

title: Parallel (geometry)


text:
Colorado Senate

The Colorado State Senate is the upper house of the Colorado General Assembly, the state legislature of the US state of Colorado. It is composed of 35 members elected from single-member districts, with each district having a population of about 123,000 as of the 2000 census. Senators are elected to four-year terms, and are limited to two consecutive terms in office. Senators who are term-limited become eligible to run again after a one-term (four year) respite.

The Colorado Senate convenes at the State Capitol in Denver.

History
The first meeting of the Colorado General Assembly took place from November 1, 1876, through March 20, 1877. Lafayette Head was the first state senate president.

The lieutenant governor served as Senate President until 1974 when Article V, Section 10 of the state constitution was amended, granting the Colorado Senate the right to elect one of its own members as President. Fred Anderson was the first state senate president elected after the amendment. Ruth Stockton was the first woman to become Senate's president pro tempore, serving from 1979 to 1980.

Terms and qualifications
The Colorado Senate has 35 members elected to staggered four-year terms. Half the chamber is elected in the same year as gubernatorial elections, with the other half elected in the same year as presidential elections.

State senators are term-limited to two consecutive terms, equivalent to eight years. Term-limited former members can run again after a four-year break. Vacancies in legislative offices are generally filled by political party vacancy committees, rather than special elections. Vacancy appointees who fill the first half of a state senator's term must stand for election at the next even year November election for the remainder of the state senate term for the seat to which the state senator was appointed.

Procedure and powers
With the notable exceptions listed below, the Colorado Senate operates in a manner quite similar to the United States Senate.

Regular sessions are held annually and begin no later than the second Wednesday in January. Regular sessions last no more than 120 days. Special sessions may be called at any time by the governor of Colorado or upon written request of two-thirds of the members of each house, but are infrequent. Some committees of the General Assembly work between sessions and have limited power to take action without General Assembly approval between legislative sessions.

Joint procedural rules of the two chambers require most legislation to be introduced very early in the legislative session each year, and to meet strict deadlines for completion of each step of the legislative process. Joint procedural rules also limit each legislator to introducing five bills per year, subject to certain exceptions for non-binding resolutions, uniform acts, interim committee bills and appropriations bills. Most members of the General Assembly decide which bills they will introduce during the legislative session (or most of them) prior to its commencement, limiting the ability of members to introduce new bills at constituent request once the legislative session has begun.

Most bills adopted by the General Assembly include a "safety clause" (i.e. a legislative declaration that the bill concerns an urgent matter) and take effect on July 1 following the legislative session unless otherwise provided. Some bills are enacted without a "safety clause" which makes it possible to petition to subject those bills to a referendum before they take effect, and have an effective date in August following the legislative session unless otherwise provided.

Colorado's legislature does not have an analog to the filibuster in the United States Senate requiring a supermajority for approval of any matter. The state lieutenant governor does not have the power to preside or break tie votes in either house of the General Assembly. New executive branch rules are reviewed annually by the legislature and the legislature routinely invalidates some of them each year.

The General Assembly does not have a role in the appointment or retention of state judges, although it must authorize the creation of each judgeship.

Many state agencies and programs are subject to "sunset review" and are automatically abolished if the General Assembly does not reauthorize them.

In 1885, the Colorado Senate appointed its first chaplain, Methodist circuit riding missionary, "Father" John Lewis Dyer.

The state budget process
The governor submits a proposed budget to the Joint Budget Committee each year in advance of the year's legislative session. Colorado's fiscal year is from July 1 to June 30.

Bills introduced in the General Assembly are evaluated by the non-partisan state legislative services body for their fiscal impact and must be provided for in appropriations legislation if there is a fiscal impact.

A state budget, called the "LONG Bill" (Legislation on Operations and Normal Governance) is prepared each year by the Joint Budget Committee of the General Assembly. The House and the Senate alternate the job of introducing the long bill and making a first committee review of it. Colorado's state legislature is required to obtain voter approval in order to incur significant debt, to raise taxes, or to increase state constitutional spending limitations. It is also required to comply with a state constitutional spending mandate for K-12 education. The governor has line item veto power over appropriations.

Current makeup
Based on the 2010 census, each state senator represents 143,691 constituents. The 2020 Colorado Elections resulted in the Democratic Party maintaining a majority of seats in the senate. Democrats currently hold a majority in the Senate in the 73rd General Assembly: 21 Democrats and 14 Republicans.

At the 2022 elections 17 senate seats came up for re-election. As a result the composition of the State Senate at the beginning of the 74th General Assembly will likely be 23 Democrats and 12 Republicans.

With the Democratic majority, Steve Fenberg serves as President of the Senate and the Majority Leader position is currently vacant.

Members of the Colorado Senate

 * *Senator was originally appointed
 * #Senator is ineligible for re-election due to term limits

title: Colorado Senate


text:
Cincinnatus (disambiguation)

Cincinnatus may refer to:

People
 * A number of ancient Romans named Cincinnatus (see Quinctii Cincinnati), especially:
 * The Roman patriot Lucius Quinctius Cincinnatus (consul 460 BC)
 * Cincinnatus Miller (1837–1913), American poet and frontiersman
 * Secret correspondence name of NSA contractor and whistleblower Edward Snowden

Fictional characters
 * Cincinnatus, an innkeeper played by Dallas McKennon on the 1964-70 TV series Daniel Boone
 * Cincinnatus C., the protagonist of the Vladimir Nabokov novel Invitation to a Beheading

Organizations
 * Society of the Cincinnati, a patriotic society founded by soldiers of the American Revolution, based on the ideals of Cincinnatus
 * New Order of Cincinnatus, political organization founded in Seattle in the 1930s
 * Cincinnatus Honorary Society, a honorary organization founded at the University of Cincinnati

Places
 * Cincinnatus, New York

Other
 * Cincinnatus (mural), a public mural in Cincinnati, Ohio, United States

title: Cincinnatus (disambiguation)


text:
Staple knocker

A staple knocker is a tool resembling a screwdriver, used for removing staples and shredded material. It is called a knocker because a hammer can be used to hit the end of it and remove long lines of shorter staples.

title: Staple knocker


text:
Solidarity Forever

"Solidarity Forever", written by Ralph Chaplin in 1915, is a popular trade union anthem. It is sung to the tune of "John Brown's Body" and "The Battle Hymn of the Republic". Although it was written as a song for the Industrial Workers of the World (IWW), other union movements, such as the AFL–CIO, have adopted the song as their own. The song has been performed by musicians such as Utah Phillips, and Pete Seeger. It was redone by Emcee Lynx and The Nightwatchman. It is still commonly sung at union meetings and rallies in the United States, Australia and Canada, and has also been sung at conferences of the Australian Labor Party and the Canadian New Democratic Party. This may have also inspired the hymn of the consumer cooperative movement, "The Battle Hymn of Cooperation", which is sung to the same tune.

It has been translated into several other languages, including French, German, Polish, Spanish, Swahili and Yiddish.

Composition
Ralph Chaplin began writing "Solidarity Forever" in 1913, while he was working as a journalist covering the Paint Creek–Cabin Creek strike of 1912 in Kanawha County, West Virginia, having been inspired by the resolve and high spirits of the striking miners and their families who had endured the violent strike (which killed around 50 people on both sides) and had been living for a year in tents. He completed the song on January 15, 1915, in Chicago, on the date of a hunger demonstration. Chaplin was a dedicated Wobbly, a writer at the time for Solidarity, the official IWW publication in the eastern United States, and a cartoonist for the organization. He shared the analysis of the IWW, embodied in its famed "Preamble", printed inside the front cover of every Little Red Songbook.

The Preamble begins with a classic statement of a two-class analysis of capitalism: "The working class and the employing class have nothing in common." The class struggle will continue until the victory of the working class: "Between these two classes a struggle must go on until the workers of the world organize as a class, take possession of the earth and the machinery of production, and abolish the wage system." The Preamble denounces trade unions as incapable of coping with the power of the employing class. By negotiating contracts, the Preamble states, trade unions mislead workers by giving the impression that workers have interests in common with employers.

The Preamble calls for workers to build an organization of all "members in any one industry, or in all industries". Although that sounds a lot like the industrial unionism developed by the Congress of Industrial Organizations, the IWW would oppose John L. Lewis' campaign to split from the American Federation of Labor and organize industrial unions in the 1930s. The Preamble explains, "Instead of the conservative motto, 'A fair day's wage for a fair day's work,' we must inscribe on our banner the revolutionary watchword, 'Abolition of the wage system.' The IWW embraced syndicalism, and opposed participation in electoral politics: "by organizing industrially we are forming the structure of the new society within the shell of the old".

The outlook of the Preamble is embodied in "Solidarity Forever", which enunciates several elements of the IWW's analysis. The third stanza ("It is we who plowed the prairies") asserts the primacy of the role of workers in creating value. This is echoed in stanzas four and five, which provide ethical justification for the workers' claim to "all the world." The second stanza ("Is there aught we hold in common with the greedy parasite") assumes the two antagonistic classes described in the Preamble. The first and fifth stanzas provide the strategy for labor: union solidarity. And the sixth stanza projects the utopian outcome, a new world brought to birth "from the ashes of the old".

Chaplin was not pleased with the widespread popularity of "Solidarity Forever" in the labor movement. Late in his life, after he had become a voice opposing (State) Communists in the labor movement, Chaplin wrote an article, "Why I wrote Solidarity Forever", in which he denounced the "not-so-needy, not-so-worthy, so-called 'industrial unions' spawned by an era of compulsory unionism". He wrote that among Wobblies "there is no one who does not look with a rather jaundiced eye upon the 'success' of 'Solidarity Forever.' "I didn't write 'Solidarity Forever' for ambitious politicians or for job-hungry labor fakirs seeking a ride on the gravy train.… All of us deeply resent seeing a song that was uniquely our own used as a singing commercial for the soft-boiled type of post-Wagner Act industrial unionism that uses million-dollar slush funds to persuade their congressional office boys to do chores for them." He added, "I contend also that when the labor movement ceases to be a Cause and becomes a business, the end product can hardly be called progress."

Despite Chaplin's misgivings, "Solidarity Forever" has retained a general appeal for the wider labor movement because of the continued applicability of its core message. Some performers do not sing all six stanzas of "Solidarity Forever," typically dropping verses two ("Is there aught we hold in common with the greedy parasite") and four ("All the world that's owned by idle drones is ours and ours alone"), thus leaving out the most radical material.

Modern additions
Since the 1970s women have added verses to "Solidarity Forever" to reflect their concerns as union members. One popular set of stanzas is:

 * We're the women of the union and we sure know how to fight.
 * We'll fight for women's issues and we'll fight for women's rights.
 * A woman's work is never done from morning until night.
 * Women make the union strong!
 * (Chorus)

 * It is we who wash the dishes, scrub the floors and clean the dirt,
 * Feed the kids and send them off to school—and then we go to work,
 * Where we work for half men's wages for a boss who likes to flirt.
 * But the union makes us strong!
 * (Chorus)

A variation from Canada goes as follows:

 * We're the women of the union in the forefront of the fight,
 * We fight for women's issues, we fight for women's rights,
 * We're prepared to fight for freedom, we're prepared to stand our ground,
 * Women make the union strong.
 * (Chorus)

 * Through our sisters and our brothers, we can make our union strong,
 * For respect and equal value we have done without too long,
 * We no longer have to tolerate injustices and wrongs,
 * For the union makes us strong.
 * (Chorus)

 * When racism in all of us is finally out and gone,
 * Then the union movement will be twice as powerful and strong,
 * For equality for everyone will move the cause along,
 * For the union makes us strong.
 * (Chorus)

The centennial edition of the Little Red Songbook includes these two new verses credited to Steve Suffet:

 * They say our day is over; they say our time is through,
 * They say you need no union if your collar isn't blue,
 * Well that is just another lie the boss is telling you,
 * For the Union makes us strong!
 * (Chorus)

 * They divide us by our color; they divide us by our tongue,
 * They divide us men and women; they divide us old and young,
 * But they'll tremble at our voices, when they hear these verses sung,
 * For the Union makes us strong!
 * (Chorus)

Pete Seeger's adaptation of the song removes the second and fourth verses and rewrites the final verse as:

 * In our hands is placed a power greater than their hoarded gold
 * Greater than the might of atoms, magnified a thousand fold,
 * We can bring to birth a new world from the ashes of the old,
 * For the union makes us strong.
 * (Chorus)

In popular culture

"Solidarity Forever" is featured in the 2014 film Pride in which London organisation Lesbians and Gays Support the Miners collect funds to support the miners of a Welsh village during the UK miners' strike (1984–85).

title: Solidarity Forever


text:
Jazz Jackrabbit

Jazz Jackrabbit is a series of platform games featuring the eponymous character, Jazz Jackrabbit, a green anthropomorphic hare who fights with his nemesis, Devan Shell, in a science fiction parody of the fable The Tortoise and the Hare. Created by Arjan Brussee and Cliff Bleszinski and developed by Epic Games, the series debuted on MS-DOS in 1994 with Jazz Jackrabbit. The series consists of two PC games and a handheld game.

Jazz Jackrabbit (1994)
The first Jazz Jackrabbit game was developed and published by Epic MegaGames and released in 1994 for MS-DOS. Jazz had to rescue Carrotus princess Eva Earlong, who was kidnapped by his nemesis, Devan Shell. The shareware edition was extremely popular and the game was named Arcade Game of the Year by PC Format.

Jazz Jackrabbit 2 (1998)
Jazz Jackrabbit 2 was developed by Orange Games and Epic MegaGames, and published by Gathering of Developers in the United States, Project 2 Interactive in Europe and P&A in Japan. Jazz and his siblings, Spaz and Lori, attempt to retrieve Eva's stolen wedding ring from Devan. Despite moderate success in Europe, the game was a commercial failure for Gathering of Developers.

Jazz Jackrabbit 3
Jazz Jackrabbit 3 (alternatively called Jazz Jackrabbit 3D: Adventures of a Mean Green Hare) is the cancelled game of the series. Spearheaded by Dean "Noogy" Dodrill (an animator for Jazz Jackrabbit 2) and coded by World Tree Games, it was being developed for the original Unreal Engine technology in 1999. As the game's alternate name implies, it would have been rendered in 3D. The game was planned for release on PC and PlayStation 2.

Development of the game was ceased part way through in May 2000 as Epic Games was unable to find a publisher. Since then, the demo of alpha and design documentation has been leaked onto the internet. Spaz and Lori, both of whom were from the preceding game, were also intended to be playable, but only Jazz is playable in the alpha.

Following the events of Jazz Jackrabbit 2, Jazz Jackrabbit and Eva Earlong settle down in Carrotus Castle and become parents. Devan Shell kidnaps their children, taking them into an alternate universe via the time machine from the previous game.

Jazz Jackrabbit 3 is a third-person shooter with platforming and adventure game elements. The mouse is used to aim and shoot, while the keyboard moves Jazz around the world. Jazz can fire his weapon, or charge up a more powerful shot. Jazz's arsenal can be expanded using coins collected to purchase new weapons and combine them with Elemental "Dream Cells" to create various weapon effects. In the alpha, only Fire and Ice Dream Cells can be acquired, and usable with two guns (the standard Blaster and the Gizmo Gun).

Unlike the previous installments, Jazz Jackrabbit 3 has no levels. Instead, it is divided into sections, similar to Super Metroid. At specific points in a map, the player can travel back and forth between these sections. Each new area that is visited is prefaced by its name.

Jazz Jackrabbit (2002)
Jazz Jackrabbit, developed by Game Titan and published by Jaleco under license from Epic Games, was released for the Game Boy Advance in 2002. As a reboot to the series, several changes were done in overall design, oriented towards cosmic science fiction inspired by Star Wars. Jazz was redesigned to resemble Han Solo. Eva and Lori are missing from the game while Devan Shell has been replaced by Dark Shell.

Other appearances
Jazz, Devan and Eva make guest appearances in One Must Fall: 2097 in single-player tournament mode. Each character pilots a fighting mech that is suited to their individual personalities.

At one point, Epic MegaGames was considering an animated series based on Jazz Jackrabbit, as evidenced by Epic filing a trademark registration for the name "Jazz Jackrabbit" on March 28, 1997. The application contains a description for goods and services which says "entertainment in the nature of animated TV series".

In December 2010, Epic Games released development kits for the Unreal Engine on iOS. One of the tutorials for these devkits features Jazz Jackrabbit as a top down twin-stick shooter game.

In 2017, a Jazz Jackrabbit easter egg appeared in Fortnite.

In August 2022, Jazz Jackrabbit Doom TC, a fan conversion mod for Doom II, was released. It runs through GZDoom or LZDoom.

title: Jazz Jackrabbit


text:
Len Barker

Leonard Harold Barker III (born July 7, 1955) is an American former Major League Baseball right-handed starting pitcher. He pitched the tenth perfect game in baseball history. Barker pitched with the Texas Rangers (1976–78), Cleveland Indians (1979–83), Atlanta Braves (1983–85) and Milwaukee Brewers (1987). During an 11-year baseball career, Barker compiled 74 wins, 975 strikeouts, and a 4.34 earned run average.

Early career
Barker was a hard thrower, who early in his career struggled with his control. On April 16, 1978, at Fenway Park, Barker (then with the Texas Rangers) threw a pitch that sailed upward onto the screen above and behind the backstop. Partly due to this, he did not make the major leagues until 1979.

Barker was traded, along with Bobby Bonds, from the Rangers to the Indians for Jim Kern and Larvell Blanks on October 3, 1978. His best season statistically was, when he enjoyed career-highs in wins (19) and strikeouts (181, best in the American League).

1981 perfect game
Barker's most notable accomplishment occurred on May 15, 1981, as a member of the Cleveland Indians. On a cold, damp night in Cleveland, Barker pitched the tenth official perfect game in baseball history, defeating the Toronto Blue Jays, 3–0 (the game was originally reported as the ninth perfect game in major league baseball history until the league later changed the criteria for recognizing a perfect game). The final out of the game was a fly ball caught by Rick Manning in short center field. Barker's pitching was so consistent on that night that he never reached ball three against any Blue Jays hitter.

Barker's perfect outing, one of only twenty four in the history of Major League Baseball, is also the most recent no-hitter thrown by an Indians pitcher. "I run into people almost every day who want to talk about it", Barker said in 2006. "Everyone says, 'You're probably tired of talking about it.' I say, 'No, it's something to be proud of.' It's a special thing."

Barker was selected for the 1981 Major League Baseball All-Star Game, held in Cleveland on August 9. It was the first game played after a lengthy players' strike, and Barker pitched two scoreless innings before 72,086 fans in his home stadium.

Later career
During the 1983 season, Barker was traded to the Atlanta Braves for Brett Butler, Brook Jacoby, Rick Behenna and $150,000 cash. The trade was initiated by the Braves, who were in a tight race for first in the National League West Division with the Los Angeles Dodgers. Barker pitched reasonably well down the stretch, notching a 3.82 ERA despite only going 1–3 in his six starts after the trade. After the season, the Braves signed Barker to one of the richest contracts for a pitcher in baseball history to that time, $4 million over five years.

Barker did not pitch as well after the new contract was signed. In 1984, he went 7–8 with a 3.85 ERA before missing the last two months of the season with an elbow injury. The next year, Barker's ERA ballooned to 6.35, and he only managed a 2–9 record. He was released at the end of 1986 spring training with three years remaining on his contract. He signed with the Montreal Expos a few weeks later and spent the season with their top affiliate, the Indianapolis Indians. The Expos released him during 1987 spring training, and he finished his career with the Milwaukee Brewers. Meanwhile, Butler and Jacoby went on to become All-Stars.

Post-playing
After his playing career, Barker returned to the Cleveland area and founded a construction company with a business partner. He and his wife Eva are the parents of Jared, Blake, and Jacob. He also has three children, Carly, Troy and Lyle with his previous wife, Bonnie. The Barker family currently resides in Geauga County, east of Cleveland. Barker served as the head coach for Division II Notre Dame College in South Euclid until the school's closure in 2024.

title: Len Barker


text:
Staple gun

A staple gun or powered stapler is a hand-held machine used to drive heavy metal staples into wood, plastic, or masonry. Staple guns are used for many different applications and to affix a variety of materials, including insulation, house wrap, roofing, wiring, carpeting, upholstery, and hobby and craft materials. These devices are also known as trigger tackers.

Types
There are generally three different types of staple guns distinguished by the power source used to operate the gun: manual, electric (From a cord or battery), and pneumatic (Compressed air). Power staple guns can set staples at a somewhat quicker rate than hand-powered models, but their main advantage is that they can be used continuously for hours with comparatively little fatigue.

Some staple guns have a long nose that allows the staples to be applied into recessed corners. Another special feature may be wire guides for wiring to ensure that the staples will not pierce the wire. The "forward action" staple gun has a handle that points toward the trigger end, in the opposite direction of the traditional staple gun. These tools are easier to squeeze and better place pressure at the front of the tool where the staple is ejected. The first so called "forward action" staple gun was introduced about 1934.

A hammer tacker is a device somewhat similar to a staple gun, except that the mechanical energy from the user's muscles is stored—as with a hammer—as momentum of the gun itself, rather than as compression of an internal spring. This type of stapler is typically used for insulation, roofing and carpeting.

For most purposes square end staples are used; but some staplers can take rounded end staples for holding cables against a surface.

Typical staple leg lengths are $1/4$″, $5/16$″, $3/8$″, $1/2$″, $17/32$″, and $9/16$″, or 6, 8, 10, 12, and 14 millimetres.

Comparison with office stapler
Unlike office staplers, some staple guns lack an anvil, the metal plate with curved slots that office staplers use to bend the legs of the staple inwards or outwards and flatten them against the paper.

Other staple guns have integral anvils. For example, a post stapler can be used to join the bottom flaps of a corrugated box but a blind clincher is used for closing the top of a closed box where post anvils are not possible. Anvils are built into the staple gun and penetrate the corrugated fiberboard: The staple hits the anvils and is crimped onto the box. The curved anvils are then removed.

Most staple guns, especially the hand-powered models, have a spring-like mechanism for storing mechanical energy and delivering it as a sharp and powerful blow. This mechanism is necessary because of the large force needed to drive the staples through solid wood or masonry, and because the staple must be completely inserted before the workpiece has time to move. In the office stapler, by contrast, the staple can be driven directly by the user's muscle power, at a relatively slow speed, because the paper is firmly supported by the anvil. In other words, the staple gun substitutes the workpiece's inertia for the missing anvil.

title: Staple gun


text:
Talk:Mulligatawny

Molagatanni
is a variant spelling. —Preceding unsigned comment added by 75.168.184.3 (talk) 00:40, 16 December 2008 (UTC)

 * Judging by Google this is vanishingly rare. Equinox ◑ 14:38, 24 September 2016 (UTC)

Edit 1/19/11 Questionable?
New to Wikipedia, but the new edit for this article seems of dubious quality. — Preceding unsigned comment added by Almostdone6789 (talk • contribs) 19:26, 19 January 2011 (UTC)

Soup or Not soup
This is hardly authoritative, but I throw it into the conversation anyway. My mother was born and brought up in Burma in the 20s and 30s. She lived there till she was 18 then in India for a further 4 years. They had an Indian cook in Burma and she inherited many of that cooks recipes. In her old, hand written cook book, a Mulligatawny is a chicken curry with a soup like sauce made with both extracts of coconut milk. It often consisted of large chicken pieces (on the bone - all chicken curries were traditionally cooked on the bone), though some recipes would be made with Mutton. It would have been very unusual for many Indians (those who are Hindus) to cook the dish with Beef! When she came to this country she was a little surprised to find a rather bland soup of the same name!

It is also important that the reference to Pepper Water is handled with care so not to create confusion. Pepper Water (or Rasam) is a tamarind based thin soup or drink that is poured over rice and is sometimes seen as a digestive. Typically it was served with a dry beef curry. Joss (talk) 23:28, 19 November 2011 (UTC)

Requested move 24 September 2016

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

The result of the move request was: Move (back) to Mulligatawny. Technically the March move is being countered here, and traditionally, the move is done without question. Weak oppose received reply and no further feedback. (non-admin closure) — Andy W.  ( talk  · ctb) 01:59, 5 October 2016 (UTC)

Mulligatawny soup → Mulligatawny – SOUP is not part of the name, and the desired target is only a redirect pointing here. Equinox ◑ 14:16, 24 September 2016 (UTC) --Relisting. GeoffreyT2000  ( talk,  contribs ) 16:00, 1 October 2016 (UTC)
 * Also note that the article itself says: "The original Indian dish was not a soup." Equinox ◑ 14:18, 24 September 2016 (UTC)

 * Weak oppose - It is more often referred to as a soup. Originally it was not referred to as a soup but now it is? Meatsgains (talk) 00:42, 25 September 2016 (UTC)
 * Where is your quantitative evidence that it is "more often" called a soup? Check any major dictionary and you will find "mulligatawny" as a word. It doesn't have to have "soup" after it. Equinox ◑ 10:49, 25 September 2016 (UTC)
 * In a Google Books search, "mulligatawny and" gets 1,310 results while "mulligatawny soup and" gets only 536. Equinox ◑ 10:50, 25 September 2016 (UTC)

 * Support per nom. Doesn't need the addition. -- Necrothesp (talk) 14:03, 29 September 2016 (UTC)

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

No discussion of what the soup actually is now
This is a strange article. It relies on a couple of droll British Victorian quotes to discuss what the soup WAS but says nothing about what it currently is. In Indian restaurants in the US it’s a lentil based curry soup, I can tell you that. Why is there no actual discussion of this popular soup’s ingredients? Alexandermoir (talk) 08:54, 5 July 2022 (UTC)
 * I like your suggestion and believe the addition of some current info would be good. Why don't you make the addition to the article?  Note that citations will be needed to support your addition. Christopher Rath (talk) 13:59, 5 July 2022 (UTC)

title: Talk:Mulligatawny