text:
Dofetilide

Dofetilide is a class III antiarrhythmic agent. It is marketed under the trade name Tikosyn by Pfizer, and is available in the United States in capsules containing 125, 250, and 500 μg of dofetilide. It is not available in Europe or Australia.

Medical uses
Dofetilide is used for the maintenance of sinus rhythm in individuals prone to the occurrence of atrial fibrillation and flutter arrhythmias, and for chemical cardioversion to sinus rhythm from atrial fibrillation and flutter.

Based on the results of the Danish Investigations of Arrhythmias and Mortality on Dofetilide ("DIAMOND") study, dofetilide does not affect mortality in the treatment of patients post-myocardial infarction with left ventricular dysfunction, however it was shown to decrease all-cause readmissions as well as CHF-related readmissions. Because of the results of the DIAMOND study, some physicians use dofetilide in the suppression of atrial fibrillation in individuals with LV dysfunction, however use appears limited: After initially receiving marketing approval in Europe in 1999, Pfizer voluntarily withdrew this approval in 2004 for commercial reasons and it is not registered in other first world countries.

It has clinical advantages over other class III antiarrhythmics in chemical cardioversion of atrial fibrillation, and maintenance of sinus rhythm, and does not have the pulmonary or hepatotoxicity of amiodarone, however atrial fibrillation is not generally considered life-threatening, and dofetilide causes an increased rate of potentially life-threatening arrhythmias in comparison to other therapies.

Contraindications
Prior to administration of the first dose, the corrected QT (QTc) must be determined. If the QTc is greater than 440 msec (or 500 msec in patients with ventricular conduction abnormalities), dofetilide is contraindicated. If heart rate is less than 60 bpm, the uncorrected QT interval should be used. After each subsequent dose of dofetilide, QTc should be determined and dosing should be adjusted.

If at any time after the second dose of dofetilide the QTc is greater than 500 msec (550 msec in patients with ventricular conduction abnormalities), dofetilide should be discontinued.

Adverse effects
Torsades de pointes is the most serious side effect of dofetilide therapy. The incidence of torsades de pointes is 0.3-10.5% and is dose-related, with increased incidence associated with higher doses. The majority of episodes of torsades de pointes have occurred within the first three days of initial dosing. Patients should be hospitalized and monitored for the first three days after starting dofetilide.

The risk of inducing torsades de pointes can be decreased by taking precautions when initiating therapy, such as hospitalizing individuals for a minimum of three days for serial creatinine measurement, continuous telemetry monitoring and availability of cardiac resuscitation.

Mechanism of action
Dofetilide works by selectively blocking the rapid component of the delayed rectifier outward potassium current (IKr).

This causes the refractory period of atrial tissue to increase, hence its effectiveness in the treatment of atrial fibrillation and atrial flutter.

Dofetilide does not affect dV/dTmax (the slope of the upstroke of phase 0 depolarization), conduction velocity, or the resting membrane potential. There is a dose-dependent increase in the QT interval and the corrected QT interval (QTc). Because of this, many practitioners will initiate dofetilide therapy only on individuals under telemetry monitoring or if serial EKG measurements of QT and QTc can be performed.

Pharmacokinetics
Peak plasma concentrations are seen two to three hours after oral dosing when fasting. Dofetilide is well absorbed in its oral form, with a bioavailability of >90%. Intravenous administration of dofetilide is not available in the United States.

The elimination half-life of dofetilide is roughly 10 hours; however, this varies based on many physiologic factors (most significantly creatinine clearance), and ranges from 4.8 to 13.5 hours. Due to the significant level of renal elimination (80% unchanged, 20% metabolites), the dose of dofetilide must be adjusted to prevent toxicity due to impaired renal function.

Dofetilide is metabolized predominantly by CYP3A4 enzymes predominantly in the liver and GI tract. This means that it is likely to interact with drugs that inhibit CYP3A4, such as erythromycin, clarithromycin, or ketoconazole, resulting in higher and potentially toxic levels of dofetilide.

Metabolism
A steady-state plasma level of dofetilide is achieved in 2–3 days.

80% of dofetilide is excreted by the kidneys, so the dose of dofetilide should be adjusted in individuals with chronic kidney disease, based on creatinine clearance.

In the kidneys, dofetilide is eliminated via cation exchange (secretion). Agents that interfere with the renal cation exchange system, such as verapamil, cimetidine, hydrochlorothiazide, itraconazole, ketoconazole, prochlorperazine, and trimethoprim should not be administered to individuals taking dofetilide.

About 20 percent of dofetilide is metabolized in the liver via the CYP3A4 isoenzyme of the cytochrome P450 enzyme system. Drugs that interfere with the activity of the CYP3A4 isoenzyme can increase serum dofetilide levels. If the renal cation exchange system is interfered with (as with the medications listed above), a larger percentage of dofetilide is cleared via the CYP3A4 isoenzyme system.

History
After its initial US FDA approval, due to the pro-arrhythmic potential, it was only made available to hospitals and prescribers that had received education and undergone specific training in the risks of treatment with dofetilide; however, this restriction was subsequently removed in 2016.

title: Dofetilide


text:
Roar

Roar may refer to:

Film and television

 * Roar (film), an American adventure-comedy film starring Tippi Hedren and Melanie Griffith
 * Roar: Tigers of the Sundarbans, a 2014 Hindi-language Indian animal horror feature film
 * Roar (1997 TV series), a television drama set in 4th century Ireland
 * Roar (2006 TV series), a CBBC television series about the animals in a zoo
 * Roar (2022 TV series), an anthology series on Apple TV+ based on Cecilia Ahern's short story collection

Music

 * "Roar" (song), a 2013 song by Katy Perry
 * Rrröööaaarrr, a 1986 album by Voivod
 * Roar (musician), a solo musical project of Arizona-based musician Owen Evans
 * "Roar", a 2013 song by Axwell and Sebastian Ingrosso from the soundtrack of Monsters University
 * "Roar", a 2010 song by Treat from the album Coup De Grace
 * "Roar!", a 2008 instrumental by Michael Giacchino from the film Cloverfield

Print

 * ROAR Magazine, an independent online publication
 * Roar! (newspaper), the King's College London student newspaper
 * The Roar, a 2008 novel by Emma Clayton
 * Roar (short story collection), a 2018 short story collection by Cecelia Ahern

Acronyms

 * Radio Operated Auto Racing, the sanctioning body of competitive radio controlled car racing in the United States and Canada
 * ROAR National Championships
 * Registry of Open Access Repositories, an index and search engine
 * Restore Our Alienated Rights, a Boston organization formed to oppose desegregation busing
 * Rise Organise and Rebuild Guyana, a political party in Guyana
 * Reach Out and Read, an American organization that advocates for childhood literacy
 * ROAR: Resistance and Opposition Arts Review, Russian magazine

People

 * Roar (given name), a masculine Norwegian given name
 * Roar (Dane), a Danish woman in the Gesta Danorum
 * Roar, a dubious legendary king of Denmark; see Hrothgar

Other uses

 * Roar (vocalization), a sound produced by certain animals
 * Roar (roller coaster), at Six Flags America and formerly Six Flags Discovery Kingdom
 * The Roar (website), an Australian sports opinion site
 * Brisbane Roar FC, an Australian football club (formerly Queensland Roar FC)
 * The Rower, County Kilkenny, Ireland, once named Roar

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

title: Roar


text:
Talk:Billiard ball

Canada uses different colors?
True or false: This color system of Billiard balls is the one used in the United States, but Canada has its own color system (e.g. it might have 3=yellow although the United States has 1=yellow). 66.32.95.37 18:25, 2 May 2004 (UTC)
 * I just came from a year and a half in Canada, and aside from a Canadian company producing coin-op tables that are fairly common over there (and, with real wood, look much nicer than the Dynamo and Valley ones we see in the US, which are also dominant in Canada), they use the same equipment the US and just about everyone else does. See saluc.com - there is no Canadian pool set. For pool, they have the "American-style" (intl. standard) set, and the WEPF/Blackball "English style" without numbers; they are THE major manufacturer, by a very wide margin (even Elephant doesn't come close, though they've been featured in a tournament or two). —  SMcCandlish [talk] [contrib] ツ 08:52, 29 January 2007 (UTC)

Australian terms
I think the part on the Australian terminology is ambiguous/unclear. Can someone reword this for clarity?Oreo Priest 05:11, 5 July 2006 (UTC)
 * That segment no longer appears to exist; I would suspect that all of it has been merged into the Glossary of pool, billiards and snooker terms. — SMcCandlish [talk] [contrib] ツ 08:52, 29 January 2007 (UTC)

Snooker
In the UK and Ireland, I have often heard the balls used in snooker referred to as billiard balls. I don't know about US usage, but I'd like to add a definition to the start of this article saying that billiard balls in general can refer to the balls used in any of the various forms of billiards. RMoloney 13:36, 7 May 2005 (UTC)
 * They are also slightly smaller and may weigh more that pool balls. 128.6.176.51 19:44, 8 March 2006 (UTC)
 * The article definitely addresses snooker balls now in sufficient detail for this article and links to the main article on the topic for more depth. Marking topic "Resolved".— SMcCandlish [talk] [contrib] ツ 08:52, 29 January 2007 (UTC)

"Snooker balls are standardized at 52.5 mm (approximately 2 1⁄8 in.) in diameter within a tolerance of plus or minus 0.05 mm (0.002 in.) No standard weight is defined, but all balls in the set must be the same weight within a tolerance of 3 g.[4] However, many sets are actually 2 1⁄16 in. (about 52.4 mm), ..." 2 1/8" diameter is really 54.0 mm, not 52.5 mm as stated. —Preceding unsigned comment added by 96.229.70.84 (talk) 06:51, 14 March 2008 (UTC)

Merger
I think there should be a merger between the Cue ball article to this one. 128.6.176.51 19:43, 8 March 2006 (UTC)
 * No kidding! Will look into that. —  SMcCandlish [talk] [contrib] ツ 08:52, 29 January 2007 (UTC)

Please review: Consensus and consistency needed on spelling to prevent ambiguity & confusion
Especially for nine-ball but also for eight-ball, one-pocket, and even snooker, etc., I firmly think we need to come to, and as editors enforce in article texts, a consensus on spelling conventions and implement it consistently throughout all of the cue sports Wikepedia articles. I advocate (and herein attempt to justify) a system of standardized spellings, based on 1) general grammar rules; 2) basic logic; and 3) disambiguation.

This is a draft submission to the active editor community of billiards-related articles on Wikipedia. It is intended to ultimately end up being something like " Wikipedia:[something:]Billiards/Spelling guidelines", or part of an official Wikipedia cue sports article-shepherding Project, likely it's first documentation output.

Anyway, please help me think this through. The point is not for me to become world famous™ for having finally codified billiards terms and united the entire English-speaking world in using them (hurrah). I simply want the articles here on pool and related games to be very consistent in application of some new consensus Wikipedia editing standards about spelling/phrasing of easily confusable billards terms that may be ambiguous to many readers in the absence of that standard.

Compare: That's the super-simple "use case" I make for this proposed nomenclature. If you think that the differentiation didn't cut it please TELL ME, and say how you would improve it.
 * 1) "While 9-ball is a 9-ball game, the 9-ball is the real target; pocket it in a 9-ball run if you have to, but earlier is better." (Huh?)
 * 2) "While nine-ball is a nine ball game, the 9 ball is the real target; pocket it in a nine ball run if you have to, but earlier is better." (Oh, right!)

So, here's the article draft so far (please do not edit it directly! Post on its Discussion page instead; thanks.): User:SMcCandlish/Pool_terms

(PS: This intro text is repeated at the top of it.) —  SMcCandlish [talk] [contrib] ツ 04:59, 16 November 2006 (UTC)
 * Marking this topic "Resolved" as the document in question is now "live" at WP:CUESPELL and has its own talk page for any further discussion. — SMcCandlish [talk] [contrib] ツ 08:52, 29 January 2007 (UTC)

Phenolic resin
Please do not add spammy claims to the article that only Aramith/Saluc uses phenolic resin. This is totally false, whatever claims they may make on their website. While some cheaper brands like Action do in fact use polyester, Elelphant among others also use phenolic resin (and as with Aramith, other materials in addition to phenolic resin when it comes to adding sparkles and swirls and fluorescence and so forth.) — SMcCandlish [talk] [contrib] ツ 19:24, 7 February 2007 (UTC)

 * FYI, Saluc will send any company 'claiming' to have phenolic resin casting abilities a Cease and desist letter. They are the only manufacturer making phenolic resin balls.  THAT IS WHY THEY POST THAT ON THEIR WEBSITE!  It's published, sourced, and undisputable information.  I'm going to add this into the article, unless you can prove otherwise, which you can't.  Also, Elelphant uses a PDA resin - made in China.  They actually uses pieces of bamboo to hold the number plugs apart in the casting mold.  Donny  417  16:29, 2 May 2007 (UTC)
 * I think we're past this debate now, in user talk and edit summaries to this article. I'd never heard the bamboo placeholder story before though.  That would make an interesting addition to the article if reliably sourceable!

Sphere
A sphere's "size", for any purposes relevant to this article, is its diameter, so we do not need longer-winded phrases like "size, including diameter". That will just be confusing to the reader - "what other kind of size could this mean?". — SMcCandlish [talk] [contrib] ツ 19:24, 7 February 2007 (UTC)

Cue ball size
Just to clarify my addition the other day - I know for a fact that at least in one coin-op model found in the US (couldn't tell you which, as it's been a while since I went to this particular bar), the cue ball is smaller, though only slightly. I'm pretty sure this is how the table distinguishes it from the other balls so as to return it into play when scratched. And this was a standard American 8-ball table, not some UK variant. (At least it took US currency to play it, obviously.) Anyhow, seems to be resolved, just thought I'd explain myself there. Lurlock 17:23, 9 April 2007 (UTC)
 * I'd be willing to bet money that it is one of the older tables that sorts by weight, and that the cue ball is slightly heavier than the object balls (one of the ceramic ones; they feel different, and are usually colder to the touch, and wear differently, getting odd micro-pits in them after several years). That it is also slightly smaller probably simply means that the cue ball is a replacement and the bar (or more likely the vending machine company that actually owns the table) didn't bother to ensure that the ball sizes matched.  Unless it's very old, very new or very local, there is no US- or Canada-based manufacturer of bar tables that intentionally uses smaller cue balls.  I've played in both countries, on both coasts and many places in between, since ca. 1990, and like you I have occasionally seen cue balls that obviously don't match the rest of the set and were undersized; in those cases they were definitely the heavy, cheap ceramic balls ("rocks"), with no brandname/logo on them, and the tables were standard Dynamo and Viking tables, unremarkable in any way.  The shop I used to frequent in San Francisco had about a dozen kinds of cue balls, and these were by far the cheapest and least desired (I think they were $4.99). —  SMcCandlish [talk] [contrib] ツ 23:45, 9 April 2007 (UTC)
 * I figured that the balls went down a track with a hole in it large enough for the cue ball to fall through but not the others. Without disassembling the table, it'd be hard to tell, though.  I didn't notice any weight difference between the balls, but a.) I wasn't thinking about it at the time, b.) I might have had some drinks in me, though I rarely drink enough to be really impaired, and went frequently enough that that couldn't have been the case every time, and c.) the difference might not be obvious enough to be easily detectable by humans.  Anyhow, yes, it's anecdotal, but I distinctly remember a smaller cue ball on not just one but all of the tables at that bar.  (I think there were 3 or 4.) Lurlock 13:32, 10 April 2007 (UTC)
 * Ok, first, coin-op tables use a magnetic cue ball. There is NO, NONE, ZERO cue balls made that are smallers, heavier, flatter, spiker, smellier, rounder, etc.  There is a little piece of metal in the center of the cue ball, and there is a large magnet in a coin-op table that seperates the cue ball from the other balls when pocketed.  Other than that, they are identical in weight and size PER BCA REGULATION .   Donny  417  16:04, 2 May 2007 (UTC)

 * I think it's more plausible to state that none of the current North American industry players in this field still make tables that don't use a magnetic mechanism (even that would need sources! >;-) I know from direct experience that even major US-based bar table manufacturers including Viking and several others have used other mechanisms in the past and that these older tables are still in play. I encountered THREE of them tonight alone (I went to four different bars looking for a game, and trust me, in New Mexico if you paid $11K for a table back in '85, your bar still has that table!)  Good, modern tables use the mechanism Donny describes (but is relatively recent; I recall when Billiards Digest reported on its invention!), and Saluc/Aramith even produce a regulation size/weight ball for such tables (expensive little buggers too; I know - I bought 3 of them for my "home bar" in SF because @#$%ers kept stealing them for their bars.)

 * Even so, a heavier ball (either larger and phenolic, or normal-sized and heavy ceramic - and yes they DO exist; they're quite common in fact, despite your assertions above), still to this day works just fine in these tables, because the ball-sorting mechanism works by tilting "trap door" (not a round hole as someone above theorized). Whatever causes the cue ball to go a bit off to the right side on its way toward the ball collection chamber will do it. They are sloped just so, such that a heavy ball will do it, meanwhile the magnet will pull a "proper" cue ball the same direction, and either way it gets off to the  outer side of the track, it causes the trap to drop and the ball falls through.  Sometimes this trap doesn't snap shut as fast as it needs to, which is why you sometimes end up with a 10 (or whatever) ball in the cue ball receptacle along with the cue ball.  Basically, there are many many tables still in play that do not work at all with the reg. size/weight magnetic cue balls (it's cost me plenty of quarters getting them back, lemme tell you!), meanwhile I have never in my life encounted a table in N.Am. that would not return either an oversized ball or a dense one, but that would also return a reg. size/weight magnetic one.  PS: Saluc also recent-ish-ly (i.e. after 2003, I can't be any more specific than that in this case) introduced a new mag. ball that instead of having an iron core has iron flakes distributed throughout most of the ball's mass.  Still works with the magnet but apparently plays more "true" - they'd gotten complaints that the iron-core magnetic balls didn't quite play right, even though they certainly played better than the "grapefruit" and "rock" balls.

 * Yes all of that it anectdotal; not a word of it can be used in the article at this point. I know it is true, but tough cookies.  WP:V says "show me da sources!"  I've had my hands and eyeballs inside more tables than I can count, and I know these mechanism work the way I say because I've literally tested them, with the tables splayed open, with all three cueball types (four, really - also a regular tournament cue ball, which of course went straight into the big chamber along with the object balls).  I've gotten to where I can guesstimate pretty accurately by looking at the table whether it will work with a magno-ball at all. Early models were sketchy, and only properly return iron core balls about 3/4 of the time; The early magnets weren't quite strong enough. The tables look pretty much the same, parts-wise, but you can guesstimate the age by the wear (modulo the bar itself; if it's upscale and neat, subtract a few years; if it's dingy and has broken windows and a malfunctional jukebox from being kicked too many hundreds of times, add a few years). —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 10:01, 4 May 2007 (UTC)

 * PS: It is getting to be pretty well-sourced by this point that UK tables for blackball (which is still often referred to as eight-ball, though the games differ signifcantly) actually does in fact use under-sized cue-balls. Steve Davis, of snooker fame, recently blasted that version of the game as "Mickey Mouse" because of the diminutive ball (if anyone wants a source on that, I think I still have that copy-pasted at the top of my userspace sandbox, so I can dig that up).  I'm not on that side of the pond and so can't dig around in their table guts to find out myself, but I suspect that the mechanism theorized by Lurlock's second post above accounts for this. That's absolutely positively (again, this is my personal anecdotal assertion based on futzing with the parts directly) not how US/Canadian tables work.  Or by and large, anyway; Lurlock's first post here mentioned having seen US tables that also used munchkin cue balls.  Never encountered that personally, having played in New Mexico, Calif., DC, Maryland and Toronto, Canada, among other places on the continent, but I guess it could happen. Must be a minor manufacturer using UK-style ball sorting techniques, I would surmise. Seems rare, from my travels. —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 10:11, 4 May 2007 (UTC)

John Hyatt
I was trying to find more information on this person ( John Wesley Hyatt ) because he has a "stub" as a bio. I noticed that I couldn't find anything claiming he won that $10,000 prize. I did find a site claiming that he never won the prize [].

Anyways, the site I listed might not be as reliable as the one the article is sourced on. None the less, I'm not preforming any major changes until some of the Cue Sport project contributors can react. On a different note, if anyone has any good sources they haven't had time to explore for cue sport bio's, the info would be really helpful. It will take some time for me to compile credible sources for all the bio's that need to be expanded/created. Donny 417  04:28, 4 May 2007 (UTC)

 * Hell if that "gospel" is challengeable, then by all means challege it! —  SMcCandlish  [talk] [cont] ‹(-¿-)› 09:35, 4 May 2007 (UTC)

Exploding celluloid balls
An unreliable source (no author, no references, clearly someone gathering facts and alleged facts from all over and assembling them without any personal expertise) has some interesting bits on this, but it is not enough to include this tale in the article here:. That a flammable material might ignite during manufacturing is one thing, but just from the friction of impact on the pool table is rather hard to credit. I strongly suspect that this is simply a mis-remembered or intentionally exaggerated "adaptation" of the story of Willie Hoppe or someone even before his time, having a clay ball split into two during a championship or challenge match, because the table was too close to an open window in the wintertime and the balls hardened in the cold (in this story, the shot was going to score, but the ball split in two after coming off the cushion, and the two halves forked, of course, away from each other, neither hitting the object ball. The ref ruled that it was a miss, and an "act of God", but that if either half had struck the object ball, it would have been a legal point.) —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 00:56, 29 May 2007 (UTC)

21 Ball
I saw pictures of #16 balls, #17 balls, #18 balls, #19 balls, #20 balls, and even #21 balls on Google! Go find them if you don't believe me!--Mathexpressions 04:20, 1 August 2007 (UTC)
 * Huh? Why the combative tone? How could anyone present the stance that they don't believe you, before you've even presented anything to disbelieve? Aside from that fact that "I saw it on Google!" is about the most meaningless thing that could possibly be said, in this case you happen to be correct (by chance, having found something real instead of random photoshop hijinks).  See Baseball pocket billiards.  This is hardly news.  :-)  —  SMcCandlish  [talk] [cont]  ‹(-¿-)› 08:18, 1 August 2007 (UTC)
 * I cannot find any images of these balls online. Anyone able to upload these?? Georgia guy (talk) 22:49, 17 December 2009 (UTC)

Snooker ball size in inches
It is true 52.5 mm is close to 2 1⁄15 inches. But, as mentioned in inch article, "Subdivisions of an inch are typically written using dyadic fractions". What means they should be powers of two, for example 1/2, 1/4, 1/8, 1/16 and 1/32. Though it requires quite large divider to get close enough to 52.5 mm. 85.217.33.150 (talk) 15:35, 15 December 2012 (UTC)

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English dialect
Please see Talk:Billiard table; the discussion there about which variant of English to use has implications for this article as well. — SMcCandlish ☏ ¢ >ʌⱷ҅ᴥⱷʌ<  13:09, 16 December 2017 (UTC)

File nominated for deletion on commons
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Billiards
The article makes no mention of the game if billiards. Played with three ivory balls, historically. 166.181.80.62 (talk) 18:52, 3 January 2022 (UTC)

title: Talk:Billiard ball


text: User talk:68.58.144.38

title: User talk:68.58.144.38


text:
Smith number

In number theory, a Smith number is a composite number for which, in a given number base, the sum of its digits is equal to the sum of the digits in its prime factorization in the same base. In the case of numbers that are not square-free, the factorization is written without exponents, writing the repeated factor as many times as needed.

Smith numbers were named by Albert Wilansky of Lehigh University, as he noticed the property in the phone number (493-7775) of his brother-in-law Harold Smith:
 * 4937775 = 3 · 5 · 5 · 65837

while
 * 4 + 9 + 3 + 7 + 7 + 7 + 5 = 3 + 5 + 5 + (6 + 5 + 8 + 3 + 7)

in base 10.

Mathematical definition
Let $$n$$ be a natural number. For base $$b > 1$$, let the function $$F_b(n)$$ be the digit sum of $$n$$ in base $$b$$. A natural number $$n$$ with prime factorisation $$ n = \prod_{\stackrel{p \mid n,}{p\text{ prime}}} p^{v_p(n)} $$ is a Smith number if $$ F_b(n) = \sum_ v_p(n) F_b(p). $$ Here the exponent $$v_p(n)$$ is the multiplicity of $$p$$ as a prime factor of $$n$$ (also known as the p-adic valuation of $$n$$).

For example, in base 10, 378 = 21 · 33 · 71 is a Smith number since 3 + 7 + 8 = 2 · 1 + 3 · 3 + 7 · 1, and 22 = 21 · 111 is a Smith number, because 2 + 2 = 2 · 1 + (1 + 1) · 1.

The first few Smith numbers in base 10 are
 * 4, 22, 27, 58, 85, 94, 121, 166, 202, 265, 274, 319, 346, 355, 378, 382, 391, 438, 454, 483, 517, 526, 535, 562, 576, 588, 627, 634, 636, 645, 648, 654, 663, 666, 690, 706, 728, 729, 762, 778, 825, 852, 861, 895, 913, 915, 922, 958, 985.

Properties
W.L. McDaniel in 1987 proved that there are infinitely many Smith numbers. The number of Smith numbers in base 10 below 10n for n = 1, 2, ... is given by
 * 1, 6, 49, 376, 3294, 29928, 278411, 2632758, 25154060, 241882509, ....

Two consecutive Smith numbers (for example, 728 and 729, or 2964 and 2965) are called Smith brothers. It is not known how many Smith brothers there are. The starting elements of the smallest Smith n-tuple (meaning n consecutive Smith numbers) in base 10 for n = 1, 2, ... are
 * 4, 728, 73615, 4463535, 15966114, 2050918644, 164736913905, ....

Smith numbers can be constructed from factored repunits. , the largest known Smith number in base 10 is
 * 9 × R1031 × (104594 + 3 + 1)1476

where R1031 is the base 10 repunit (101031 − 1)/9.

title: Smith number


text:
Wikipedia:Articles for deletion/Petrarch Bio

 * Odd kind of copy-paste prose. Some useful information, but far from encyclopedic. Article already exists at Petrarch. Suggest merge with that page and then delete. Toby W 18:28, 2 May 2004 (UTC)
 * Copied from . Copyright license seems a bit murky . Recommend deletion without merge. -- Cyrius|&#9998 20:00, May 2, 2004 (UTC)
 * Delete. copyvio. Someone may also want to take a look at another from this contributor: Laura. Alcarillo 16:00, 3 May 2004 (UTC)
 * Agreed. Delete both articles as copyvios. - Lucky 6.9 18:10, 3 May 2004 (UTC)


text:
Davenport (federal electoral district)

Davenport is a federal electoral district in Toronto, Ontario, Canada, that has been represented in the House of Commons of Canada since 1935.

Demographics
The Davenport riding has the highest percentage of ethnic Portuguese of all Canadian federal ridings (27.4%), and the highest percentage of European immigrants (28.5%, of whom 25.0% are from Southern Europe, and 19.2% from Southern European countries other than Italy), in all of Canada. It also has the highest percentage of native speakers of Portuguese (20.7%) and of Romance languages other than the French language of Canada (32.0%, with many Italian and Spanish). The same holds true for home language (Portuguese: 14.0%; non-French Romance languages: 21.2%, both Canadian riding records)

 * ''According to the 2021 Canadian census; 2013 representation

Languages: 54.2% English, 14.3% Portuguese, 4.9% Spanish, 3.4% Italian, 2.3% Yue, 1.6% Vietnamese, 1.5% French, 1.3% Tagalog, 1.1% Mandarin

Religions: 48.2% Christian (35.6% Catholic, 1.9% Christian Orthodox, 1.3% Anglican), 40.5% No religion, 3.4% Jewish, 3% Muslim, 2.3% Buddhist, 1.4% Hindu

Median income (2020): $40,400

Average income (2020): $55,550

Geography
The district includes parts of west-end Toronto, and includes the neighbourhoods of Fairbank, Oakwood-Vaughan, St. Clair Gardens, Corso Italia, Dovercourt Village, Bloordale Village, Bloorcourt Village, Brockton Village, the Junction Triangle and the western part of Rua Acores.

History
The federal electoral district was created in 1933 from parts of Parkdale and Toronto Northwest ridings.

The federal riding of Davenport has been one of the most consistently Liberal ridings in Canada over the last century.

In 1958, Progressive Conservative Member of Parliament Douglas Morton was elected. Since then, Liberals Walter Gordon and Charles Caccia (who himself held the seat for nearly 40 years) won the seat by increasing margins, finally culminating in a 17,500-vote majority in 1993. Meanwhile, the opposition parties in the constituency were shifting, and the New Democratic Party candidate beat the Progressive Conservative or Conservative candidate in every election since 1979.

In late 2003, Charles Caccia lost the Liberal nomination for the seat to local city councillor Mario Silva, who then went on to win the election and serve as Davenport's Member of Parliament.

In 2011, Andrew Cash of the New Democratic Party won the seat, becoming the first non-Liberal in 49 years to represent the riding. In 2015, Cash was defeated by Liberal candidate Julie Dzerowicz, who became the first female Member of Parliament for Davenport. Dzerowicz ran for re-election in 2019 and won, again defeating Andrew Cash.

This riding lost a fraction of territory to Toronto—St. Paul's during the 2012 electoral redistribution.

Members of Parliament
This riding has elected the following members of Parliament:

title: Davenport (federal electoral district)


text:
Wikipedia:Articles for deletion/Worsthorne

Same author as Parco dei Principe. Seems likely copyvio: http://www.lancstowns.co.uk/worsthorne.htm Niteowlneils 18:31, 2 May 2004 (UTC)
 * Their copyright license is relatively free, but places a non-commercial restriction on the material. Delete. -- Cyrius|&#9998 20:00, May 2, 2004 (UTC)
 * Comment. FWIW, the original/only contributor to the article has removed the VfD text with the comment "Deleted pointless information". Niteowlneils 21:32, 2 May 2004 (UTC)
 * Comment. I restored it, since it was still a copyvio if the copyright isn't appropriate, plus the edit removed the VfD header.  If this is a copyvio, it should be listed on Copyright problems.  RickK 21:52, 2 May 2004 (UTC)
 * I think in the strictest terms, it's not a copyvio, because their license gives us permission to use it. We'd only be vioing their copy if we distributed it for-profit. However, their license is incompatible with the GFDL, so we can't use it because of our own self-imposed restrictions. Does Copyright problems handle that problem? -- Cyrius|&#9998 00:32, May 3, 2004 (UTC)
 * I think so. RickK 03:02, 3 May 2004 (UTC)

 * Keep, if not copyvio. Alcarillo 16:01, 3 May 2004 (UTC)
 * Seems like a copyvio; the terms of use don't seem compatible with GFDL. Try to resolve copyright issue, if not a problem then keep it, otherwise delete. Wile E. Heresiarch 04:32, 5 May 2004 (UTC)


text:
Talk:Makalu

Makalu Mountain?
Has this rename been discussed somewhere? It seems passing strange... Ratagonia (talk) 22:01, 21 November 2009 (UTC)

 * It's a completely inappropriate move regardless. The usage in English is simply "Makalu". This seems to be some sort of misguided attempt at standardization of mountain names of Chinese (or Chinese border) peaks. -- Spireguy (talk) 03:14, 22 November 2009 (UTC)

 * Yo, Spire Dude - would you move it back (I suspect you are more wikiadept than I). Ratagonia (talk) 18:33, 22 November 2009 (UTC)

 * First I'll see if this is supposedly backed up by some Wikiproject or if it's just one user. -- Spireguy (talk) 20:28, 22 November 2009 (UTC)

 * I did the move. TrueColour, if you have objections, please address them on this talk page. -- Spireguy (talk) 20:43, 22 November 2009 (UTC)

 * It's not because of the Chinese. That's what the locals call it. 143.232.210.38 (talk) 22:13, 8 May 2013 (UTC)

Elevation
This article gives an elevation of 8,481m. List of highest mountains gives an elevation of 8,485m. List of mountains gives an elevation of 8,463m. The supporting reference in this article is that "The height is often given as 8,481 m or 8,485 m." which is unfortunately rather vague. The 8,463m figure appears on the Jagged Globe and Seven Summit Treks websites so it appears to be a genuine measurement. Is the variance caused by different survey methods or official recognition by one or more nations? Is it worth clarifying in the article? Road Wizard (talk) 10:05, 28 October 2012 (UTC)

 * I have found several sources supporting each of the three figures. I personally prefer Peaklist.org in situations like this if they also give an explanation of their primary sources. Where did the measurements come from; how and when were they made? In this particular case, peaklist states in footnote 8:

 * Makalu: The world's fifth highest mountain and fourth highest ultra.  The 8485 meter elevation comes from the modern Finnmap survey (see note above.)  Most sources still cite the 8463 meter elevation that is found on the Schneider maps as well as the Chinese Snow Map series.  The saddle elevation is also taken from Finnmap. - Peaklist

 * In a section above, a sort of lead section to the footnotes, peaklist explains the primary source data:

 * Research in Nepal has been aided greatly by access to a new topographical survey at 1:25,000 and 1:50,000 conducted between 1995 and 2002. This survey extensively employed new aerial photography with GPS positioning and GPS surveying.  The survey was conducted jointly by FinnMap, a survey company based in Finland, and the HMG Survey Department of Nepal.  The Finnmap series establishes many new elevations for the Nepali summits.  Most of the saddle elevations and some of the summit elevations are derived from Soviet topographic mapping and analysis of the SRTM data.  Where there is a high degree of concurrence, published elevations are used.  However in some regions, where SRTM strongly disagree with published elevations, we  provisionally favor the SRTM data. - Peaklist

 * So according to to all this 8,485 m is from the FinnMap survey conducted between 1995 and 2002. It is implied that this measurement is compatable with the SRTM data. Also the primary sources of the 8463 m figure is revealed as from the Schneider maps and Chinese Snow maps, which I believe are detailed but older topographic maps. Please note, this is not an open-and-shut case as far as I'm concerned because unfortunately I have yet to spend any time and effort to find any info on the primary source of the other figure (8,481) so it's possible there have been more recent and more accurate surveys conducted since then. My point to all this is I would go with the source that has the most information on the most recent primary source (survey). Good luck. -- Racer X11  Talk to me Stalk me  14:13, 12 November 2012 (UTC)

title: Talk:Makalu


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Emperor of the French

Emperor of the French (French: Empereur des Français) was the title of the monarch and supreme ruler of the First and the Second French Empires.

Details
A title and office used by the House of Bonaparte starting when Napoleon Bonaparte was proclaimed Emperor on 18 May 1804 by the Senate and was crowned Emperor of the French on 2 December 1804 at the cathedral of Notre-Dame de Paris, in Paris, with the Crown of Napoleon.

The title emphasized that the emperor governed over "the French people" (the nation) with their consent, did not rule over France (the state), and was an office under the French Republic similar to the previous office of First Consul. The old formula of "King of France" indicated that the king owned France as a personal possession. The new term indicated a constitutional monarchy. The title was purposely created to preserve the appearance of the French Republic and to show that after the French Revolution, the feudal system was abandoned and a nation state was created, with equal citizens governed by their emperor. It was only after 1 January 1809 that the state was officially referred to as the French Empire and not the French Republic.

The title of "Emperor of the French" was also supposed to demonstrate that Napoleon's coronation was not a restoration of the monarchy, but an introduction of a new political system: the French Empire. Taking the title "emperor" also emphasized that the will of the citizens of France was equal in sovereignty to anyone's, and especially to what had been until this time the highest sovereignty in the Western world: the (Holy) Roman Emperor, who claimed continuity with the ancient Roman Emperors, and whose coronation by the Pope was used to claim authority by divine right.

Emperor also harkened back to the Roman Republic title of Imperator, a magistrate who exercised Imperium or command, esp. over an army. After an especially great victory, an army's troops in the field would proclaim their commander imperator, an acclamation necessary for a general to apply to the Senate for a triumph. After being acclaimed imperator, the victorious general had a right to use the title after his name until the time of his triumph.

Napoleon's reign lasted until 22 June 1815, when he was defeated at the Battle of Waterloo, exiled, and imprisoned on the island of Saint Helena, where he died on 5 May 1821. His reign was interrupted by the Bourbon Restoration of 1814 and his exile to Elba, from where he escaped less than a year later to reclaim the throne, reigning as Emperor for another 111 days before his final defeat and exile.

Less than a year after the 1851 French coup d'état by Napoleon's nephew Louis-Napoléon Bonaparte, which ended in the successful dissolution of the French National Assembly, the French Second Republic was transformed into the Second French Empire, established by a referendum on 7 November 1852. President Bonaparte, elected by the French people, officially became Napoleon III, Emperor of the French, from the symbolic and historic date of 2 December 1852. His rule would de facto end on 28 July 1870 - the power of the head of state was transferred to his wife Eugenie de Montijo who would rule as empress regent of France while Napoleon III left with his army. His reign would nominally continue until 4 September 1870, as he was officially deposed after his defeat and capture at the Battle of Sedan during the Franco-Prussian War. In March 1871, he would be released from Prussian custody and exiled to the United Kingdom, where he died on 9 January 1873.

Since the death of Napoleon III's only son, Louis-Napoléon in 1879, the House of Bonaparte has had a number of claimants to the French throne. The current claimant is Charles, Prince Napoléon, who became head of the House of Bonaparte on 3 May 1997. His position is challenged by his son, Jean-Christophe, Prince Napoléon, who was named as heir in his late grandfather's testament.

Honours
Among the honours Napoleon I instituted or received were:
 * First French Empire: Grand Master of the Legion of Honour
 * First French Empire: Grand Master of the Order of the Reunion
 * Flag_of_the_Napoleonic_Kingdom_of_Italy.svg Kingdom of Italy: Grand Master of the Order of the Iron Crown
 * Austrian Empire: Grand Cross of the Order of St. Stephen, 1810
 * Kingdom of Bavaria: Knight of the Order of St. Hubert, 1805
 * Kingdom of Denmark: Knight of the Order of the Elephant, 18 May 1808
 * Kingdom of Portugal: Grand Cross of the Sash of the Three Orders, 8 May 1805
 * Kingdom of Prussia: Knight of the Order of the Black Eagle, 1805
 * Russian Empire: Knight of the Order of St. Andrew, July 1807
 * Kingdom of Spain: Knight of the Order of the Golden Fleece, 1805
 * Kingdom of Sweden: Knight of the Order of the Seraphim, 3 February 1811

Hundred Days
Regarded as a continuation of the First French Empire despite the brief exile of the Emperor Napoleon I

title: Emperor of the French


text:
Housatonic

Housatonic may refer to:

Place names in the United States

 * Housatonic, Massachusetts, a census-designated place in the town of Great Barrington
 * Housatonic River, a river in western Massachusetts and western Connecticut, and the source for other uses of the word
 * Housatonic Valley, the valley and watershed of the Housatonic River

Schools

 * Housatonic Community College, in Bridgeport, Connecticut
 * Housatonic Valley Regional High School, Falls Village, Connecticut

Transport

 * Housatonic Railroad, a railroad that operated independently 1836–1892, as a subsidiary 1892–1970s, and a separate company started in 1983 in western Connecticut
 * SS Georgia (1890), a German passenger liner seized by the United States during World War I, renamed Housatonic, and sunk by a German submarine
 * USS Housatonic, three United States Navy vessels, including the first ship to be sunk by a submarine

Other uses

 * Housatonic, a dialect of the Unami language
 * Housatonic (aka Housatannuck), reference to the Stockbridge Indians
 * Housatonic, an American nuclear weapon test of the Operation Dominic I and II series

title: Housatonic


text:
Biwa hōshi

Biwa hōshi (琵琶法師), also known as "lute priests", were travelling performers in the era of Japanese history preceding the Meiji period. They earned their income by reciting vocal literature to the accompaniment of music. were mostly blind, and adopted the shaved heads and robes common to Buddhist monks. The occupation likely had its origin in China and India, where blind Buddhist lay-priest performers were once common.

The musical style of the is referred to as heikyoku (平曲), which literally means " music". Although these performers existed well before the events of the Genpei War, they eventually became famous for narrating tales about this war. Before sang, they were entertainers and ritual performers. They took on a broad range of roles, including poetry and song, plague prevention, and spiritual purification; actually, it was probably because of their ritualistic duties that they became the caretakers of The Tale of the Heike (平家物語).

The are considered the first performers of the Tale of the Heike, which is one of Japan's most famous epics. It details battles between two powerful clans, the Minamoto and the Taira around the 12th century. The Taira (or Heike) were eventually annihilated by the Minamoto (sometimes called the Genji), who systematically killed every male descendant of the Taira. Religion in Japan at the time incorporated many native animistic (Shinto) beliefs into its Buddhist theological framework, leading many court nobles and religious leaders to worry about angry Taira spirits disrupting the peace. The great earthquake around 1185 CE contributed to this sentiment. Since their rituals included placating spirits and preventing plagues, music became a vehicle for placating lingering, resentful Heike spirits. and became immensely popular for the next several hundred years.

Etymology
Biwa hōshi (琵琶法師) literally means "lute priest". Hōshi (法師) is derived from buppō no kyōshi (仏法の教師), which translates as a teacher who explains Buddhist precepts. The two characters hō (法) and shi (師) mean "Buddhist doctrine" and "teacher" respectively. referred to blind priests who played the to accompany their songs about legends, wars, histories, and mythologies. Eventually, referred to non-blind and blind performers and was also used as a suffix to a series of other types of people, such as dancing musicians (田楽法師), Chinese-style entertainers (散楽法師), outcast artists (絵取り法師), and men from Sanjō or men from temporary quarters (三条法師).

are referred to in Japanese iconography that dates back to the late Heian period (794–1185 CE). They are also referred to in the, written by Fujiwara no Akihira (989–1066).

Origins and proliferation
Shōbutsu, a Buddhist monk of the Tendai school, was, according to tradition, the first to sing the, around the year 1220. Subsequently, two different factions of were formed. These were the Ichikata school, founded by Akashi Kyoichi, and the Yasaka School, founded by Yasaka Kigen. Ranks were assigned to on the basis of skill, the highest being kengyō (検校), followed by kōtō (勾当), bettō (別当) and zatō (座頭).

The proliferation of the Yasaka and Ichikata factions heightened with the contributions of Akashi Kakuichi (1300–1371). A noted, Kakuichi's narration is currently accepted as the definitive version of the. A documented reason for this is that Kakuichi was largely responsible for forming the Ichikata guild. This preceded the formation of the Tōdō (当道), a self-governing guild of. The Tōdō received income in two ways: patronage from the Kyoto aristocracy and military, and its monopoly over the teaching and transmission of. To be accepted as a disciple, an aspiring student would have to pay a fee, after which the study of each new piece of music required payment.

By the 13th and 14th centuries, performed for the military elite and the aristocracy, including the regional  feudal lords. Public performances were also given during Buddhist temple services. The general population had the further option of attending Kanjin performances, which they were required to pay a fee to see.

Sengoku to Edo period
The Ōnin War (1467–1477) proved a trying occurrence for the proliferation of the. The war instigated the Sengoku period (15th–17th centuries), an era of civil war and political–military conflict that lasted for nearly two centuries. In this time, many musicians turned their attention to the  or the  three-stringed lute. Therefore, not only did the conflict cause a loss of performers, but also a decline in the number of listeners of the.

However, the complete demise of the was prevented by the  Tokugawa Ieyasu who favored the art of  performance. Ieyasu ultimately reunified the country by establishing the Tokugawa shogunate, and became a fervent patron of the.

During the Edo period (1600–1868), the Tokugawa shogunate provided the Tōdō with special privileges and substantial financing, which the Tōdō then distributed to members according to rank. The Edo period also marks the era in which the shogunate designated as one of its official ceremonial forms of music. Accordingly, new schools of appeared, many of which were influenced by the newly introduced  and its accompanying styles of music. The two predominant schools that came about during the Edo period were the Maeda-ryū founded by Maeda Kyūichi, and the Hatano-ryū founded by Hatano Kōichi. Both figures were members of the Shidō-ha, which was the most active branch of the older Ichikata school.

Collaborations were formed between amateur aficionados of the who, over the course of the Edo period, made small revisions to the musical notation of the  score. The ceremonial form of the performed for the shogunate became increasingly solemn and refined to meet the standards of the intellectual class. Moreover, to ensure the development of the score, improvisation notably declined.

Meiji period to present
In 1868, the Meiji Restoration heralded the collapse of the Tokugawa shogunate. This ultimately contributed to the abolition of the Tōdō, which undermined social privileges for the musicians and reduced the availability of avenues for performance. The Hatano-ryū, in particular, underwent a debilitating decline in popularity, so much so that it struggled to survive in Kyoto until the middle of the 20th century. In addition, the rise in popularity of the, which accompanied contemporary songs and narratives, made the ancient tales of the Heike appear antiquated. By the end of the Edo period, the had replaced the  as the most common instrument used among blind musicians.

The tradition persisted, however, through the Tsugaru lineage (transmitted by sighted performers) and the Nagoya lineage (transmitted by professional blind musicians of the Tōdō tradition), both of which belonged to the Maeda-ryū. The Tsugaru lineage consisted of Kusumi Taisō (1815–1882), who learned the of the Edo Maeda-ryū, as well as his sons Tateyama Zennoshin and Tateyama Kōgo, both of whom lamented the decline of  in the late years of Meiji and sought to foster a number of pupils. In Nagoya, a city which had been a thriving centre for performance, a small faction of blind male players continued to transmit  alongside other mediums of music of growing popularity, such as the  and. Differences exist between these lineages due to geographical separation and changes that have occurred uniquely in time. For example, the Nagoya lineage relied almost entirely on oral transmission. Nevertheless, the Nagoya and Tsugaru  were both nominated by the Japanese government as "Intangible Cultural Properties" in 1955 and 1959 respectively, with Nagoya performers Inokawa Kōji, Doizaki Masatomi and Mishina Masayasu nominated as national treasures.

The libretto notation on which remaining performance is based today in Nagoya is called Heike Shosetsu. It was composed by Ogino Tomoichi (1732–1801), initially a disciple in the Hatano-ryū faction, before acquiring the post of in the Kyoto branch of the Maeda-ryū school; Tomoichi had great knowledge of both major schools as a Hatano-ryū disciple master. As such, he played a fundamental role in the revival of the.

Toru Takemitsu also contributed to the continuation of the by collaborating with Western composers. Recognising that traditional Japanese music, and interest in it, was quickly falling out of fashion, Takemitsu, as well as a number of composers before him, noted that studies in music theory and music composition almost entirely consisted of Western theory and instruction. Though some Western composers had begun to incorporate Japanese music and Japanese instruments into their compositions, these composers often focused on those Japanese instruments most similar to Western ones; for example, Michio Miyagi's utilization of the. Takemitsu, on the other hand, collaborated with Western composers and compositions to include the distinctly Asian-sounding. His well-received compositions revitalized interest in the in the modern day.

According to Hugh de Ferranti, modern, live performances of narrative singing are rare, with almost all performers being "practitioners of Chikuzen-biwa and Satsuma-biwa". The "emerged from interaction between moso and the samurai class" in Satsuma Province, starting a period of popularity for "modern " until the 1930s, while the  had its origin in the 1890s in the Chikuzen region of Kyushu, drawing upon aspects of  music,, and the  technique. These traditions enjoyed widespread appreciation during the early 20th century due to the "nationalist, militarist sentiments of late-Meiji imperialist ideology". In the post-war era, these traditions were considered "refined classical pursuits", resulting in their popularity beyond. The itself is also depicted with the image of goddess Benzaiten at her shrines, and in images of the  "in homes, shops, and offices".

However, modern associations with are mainly connected to the, themselves linked to the Tale of Heike and Hōichi the Earless, well-known works taught in schools and readapted for television series, manga, popular literature and other media. As such, "most Japanese come to think of the biwa as a battered old string instrument played by a decrepit blind man who looks like a Buddhist priest and wanders about chanting old tales about war and ghosts". According to Ferranti, "outside of the realms of scholarship and the few who are involved in learning and performing", few Japanese civilians are familiar with the aural qualities of the and cannot recognize its tones with references to ancient war-tales. The instrument is viewed as antiquated, a relic of the past that "cannot be a thing of contemporary Japanese life and experience, but is tied forever to the world of the Tale of the Heike; a gloomy world of martial valour and samurai ghosts".

Blindness
For most of Japan's recorded history, music along with narrative performance have been frequent professions for the blind, whose importance in most other major genres is also unavoidable, save for court and theatre music, from the 13th century until the 19th. Folk and literature attest "invariably about blind and ", and only in modern times do sighted musicians master such instruments like the.

According to De Ferranti, the act of playing lutes for alms by blind musicians finds its roots in Indian Buddhist culture during the 1st millennium CE. As early as the 4th century, blind itinerants in South Asia, described by texts such as the as holy men, played lutes for alms. A 7th-century text from China and Japan's early 12th-century recount this story, while other "scattered accounts" of blind lute-laying priests can be found in Tang-period volumes from the Chinese mainland. In the Shanbei region near Inner Mongolia, "blind beggars who recited tales and travelled with pipa accompanists were common", prior to the 1949 revolution. Under Mao Zedong, blind itinerants called   played a three-string lute in "household ritual contexts" using their narrative "as a potent force for social reform" by the Communist Party.

Prior to the spread of Buddhism during the 6th to 9th centuries, it was "generally acknowledged that in Japanese ritual life blind men and women [were] respected as shamanic celebrants who bore numinous power because of their separation from the world experienced by others". Historically, the blind performed healing rituals for curing illness and exorcising spirits. For music, plucking or striking string instruments also have ritual meanings, and were tasks probably given to blind individuals to perform in belief of their shamanistic abilities. The Azusa Yumi was utilized for summoning deities in a pre-Buddhist ritual, likely involving the blind. The role of early in delivery the vocal performance of battle tales "to allay the fury of slain warriors' ghosts" further implies a shamanistic qualification of the blind. Historical references suggest were involved in both divination and also in this fundamental role of placating aggravated spirits, especially those killed in battle.

The intimate ties between the and the blind in the Tōdō and various regional groups for "blind priests" (盲僧) further cement this inseparable relationship. Blindness was a necessary condition for membership in these organizations, which looked after blind performers and professionals and blind  ritualists respectively. In the Tōdō, performers came to control the guild, and thus the lives of many Japanese blind people. According to the legends of these institutions, "the lineage of blind players ultimately is traced to ... a blind disciple of the historical Buddha Shakyamuni, called Gankutsu Sonja".

However, according to Hugh de Ferranti, not all blind players of antiquity "were completely lacking the sense of vision and knowledge of music". Indeed, many people called blind were likely "only impaired in their vision", evidenced by the denotation of words for blind people such as mōjin (盲人),, and mekura (盲). Also, many blind individuals gain the ailment gradually, resulting from aging, illness, or accident, meaning literacy may have been acquired earlier in life. Hugh de Ferranti states that notable numbers of performers "were sighted and in some cases literate", evidenced by records of the Jojuin  tradition and historical membership of the Gensei Hōryū  group. Such individuals thus must be acknowledged for potential importance in producing written texts and in the "transmission of repertory".

Religious significance
Buddhist iconography throughout East and South-East Asia depict short-necked lutes being played by celestial beings as well as the Hindu goddess Saraswati, who led such divine musicians. Avatars of Sarasvati, "the -playing Hindu goddess of music, wisdom, and eloquence", also play the lute in Tibetan and Chinese iconographic displays; such avatars correspond to Benzaiten, a Japanese deity known for holding a in her benevolent arms.

Japanese iconography indicates two female lute-playing deities: the aforementioned Benzaiten and Myōonten; their identities are often fused together, but both have their roots in the continental Asian tradition, and can be traced from Sarasvati through various forms. Benzaiten represents eloquence while Myōonten epitomizes music itself. As the bodhisattva named "Miraculous Sound", Myōon Bōsatsu is described in the Lotus Sutra and was important for players in court society. Her influence would spread beyond the court, integrating itself especially in the tradition. After the early 8th century however, most sculptures and iconographic depictions show the pipa instead of the lute.

Locations whose name contain the characters or sounds also have sanctified lore. Lake Biwa is famous for Chikubu-shima, where Taira no Tsunemasa performs at the Benzaiten shrine, whose deity appears in the form of a white dragon. Especially in Kyushu, there are hills, valleys, ponds, and bridges throughout Japan, where performers supposedly buried or offered instruments to the local waters. Other legends of certain sects and accounts from ancient texts further the sacred associations of the instrument.

Women
Despite the depiction of Benzaiten, the patron deity of music revered by and, as a female entity and the existence of highly celebrated female  players in 20th century, with the "exception of avocational performance by women in the court music tradition", professional  players were men until the 's use in the 16th century. Along with blindness, maleness was a necessary condition for admission to the and Tōdō. However, it was common in Tang China for women to play the pipa, as it was also common for courtly women from the Heian through Muromachi periods to learn in childhood. There are also a few rare references to both sighted and blind female entertainers who may have played, though in the Edo period, some female enthusiasts learned from professionals as a recreational activity.

Itinerant women performers did still exist in medieval Japan, though they are most frequently shown playing the drum. In the Edo period, singers called often accompanied themselves on the  or, the latter of which was played by "affluent blind women who taught it to the wives of samurai and merchants". The former along with its wooden imitation, were played for performance to procure alms, house to house; this was called  (門付). In Kyushu, were not uncommon with such performers mentioned in the Tōdō's late-18th-century accounts. Although not bona fide members of the guild, held annual festivals, and this profession continued to be viable into the mid-1900s.

Social status
Though blindness in Japanese society has historically been stigmatized "as the result of a Buddhist interpretation of the condition as a form of karmic punishment", other factors also led to the marginalization and discrimination of blind musicians. In general, the blind were treated according to the restrictions of their societal rank. In other words, commoner townsmen and warrior–rank blind people "were allowed to engage in the professions available to all of similar rank, within the constraints of their visual impairment", while those in agrarian households were expected to contribute to the payment of land taxes via any means of labor possible. However, the most common professions for all such peoples included music, massage, acupuncture and moxa therapy, while ritual work was common in specialized locations.

As for itinerant performers, the most affluent could "make a living during the Edo period as teachers and performers based at their homes", while the rest (representing the majority of and ) relied on, regarded as a form of begging, despite its ritual associations. Door-to-door performances delivered by professionals associated to shrines and temples also occurred in the historical practice of seasonal rites and celebrations for farming areas; they were considered to be of low status by the middle class, however, and were affiliated with the Sanjō districts in which "the discriminated classes" lived. However, folk beliefs in the visits of during such harvest festivals to rid villagers of impurity upon receiving gifts from householders may have provided a socio-cultural basis for the willingness to offer food and money to itinerant performers; further,  was seen as an act of merit.

According to Hugh de Ferranti, iconographic and literary sources generally portray as solitary and pitiable figures, though wealthy and powerful individuals also exist in such representations. Sometimes they are depicted as mysterious, frightening, and potentially dangerous individuals while in other sources, they are "ridiculous" characters "to be made fun of, at times with unbridled cruelty". Folklore links to ghosts through their placation of wronged spirits and the chinkon ritual performance, accounts for their fearful quality. However, plays called  feature deliberate tricking of a blind  so that he becomes lost and disoriented, or suffers losses and misunderstanding. Such action is provoked by sighted individuals for pure amusement, as in the stories of Saru and Tsukimi. Picture scrolls marry this "similar sense of as bizarre, somewhat frightening figures who can nevertheless be taunted". In these images, people "look out from their houses at the players and appear to be laughing or jeering at them", while children run away from and dogs bark at them.

Development of the style
The present trend of scholarly analysis is to consider the 's origin as having arisen first as a recitation for the purpose of spreading Buddhism. According to the or Essays in Idleness, in the reign of the cloistered emperor Go-Toba, Yukinaga – the man in charge of the household of the chief advisor to the emperor, Fujiwara Kanezane – often exchanged poems with the imperial court. He was invited to an imperial discourse on poems, and unable to recall two of the seven virtues, was thus named the Jack of Five Virtues. Embarrassed, he gave up on learning poetry and took the tonsure, and became a monk under the abbot Jien of the Tendai sect. Jien was known to gather talent at the Shōren-in temple on Mount Hiei in Kyoto to discuss ways of spreading the Tendai faith. Many here were. It is in this way that Yukinaga legendarily wrote the script of the Tale of the, and taught it to a from eastern Japan named Shōbutsu, renowned for his impressive narrative delivery and extensive knowledge of warriors, bows, and horses.

According to George Gish, there were five essential ingredients for the development of the :

 * 1) Chinese popular sermons designed to appeal to the masses, known as zokkō (俗講)
 * 2) Epic ballad narration entitled wasan (和讃), later revised into a new shōmyō (声明) or Buddhist chant called the Rokudō kōshiki (六道講式) in reference to the six worlds of Buddhism, which became the chief model for the singing
 * 3) Shōdō (唱導) style of Buddhist preaching with melody, a style favored by Jien
 * 4)  influence from the Kyoto- school from which idea of accompanying narration with  derives
 * 5) The  story itself chronicling the Taira/Genji Heian period, oft interpreted as one phase of Buddhism's six worlds. The story is treated as a, or sermon with the purpose of enlightenment.

musically is influenced by Buddhist chant, and the and  traditions of the  from the 11th and 12th centuries. Indeed, it is a combination of the style practiced by  and, and  narrative. Author Yukinaga brought elements of the court tradition, while Jien offered shomyo aspects. Shōbutsu as a Kyoto- and a brought unique perspectives as well.

The instrument itself is a combination of  and  predecessors. Indeed, the relative average distance between the frets is equal to that of, as are the relative height of the frets. From Shobutsu, two schools emerged, the Yasaka-ryū school, led by Jōgen, and Ichikata-ryū school, headed by Jōichi. Akashi Kakuichi was Jōichi's disciple and a favorite of Ashikaga Takauji, possibly due to blood relations. Kakuichi soon gained the rank of, the head of guild for the blind, the Tōdō; he died in 1371 during the peak of the.

Musically, development continued with the Ichikata-ryū, with it spreading into four separate branches. During the Edo period, the main branches split further with the influence of the style. The main schools were Hatano-ryū and Maeda-ryū, named after their respective founders; intense rivalry between the schools, compounded by changes in the music world at large, contributed to the decline of the tradition.

The growing utilization of the by the mid-16th century precipitated new innovations in popular music. Some of the earliest innovations were carried out by players. They would use a -type plectrum on the to emulate the  buzzing effect and sounds. The opportunities with the attracted others, and their patrons and listeners along with them. The new idiom of song made the old styles of antiquated, especially with the  as a new instrument.

title: Biwa hōshi


text:
Talk:Shuttlecock

Images
This page seems to need another image (The "Diagram" looks quite ugly)

I've come up with my own "Diagram", which is this:

(Yes, I'm no Ascii art fan.)

--bodq 11:44, 3 May 2004 (UTC)

TODO I shall make a photo as soon as I'd get my hands on digital camera I don't own any fearher shuttlecocks, but I might as well borrow it.

--bodq 18:39, 5 May 2004 (UTC)

So here is the promised picture.

It would probrably look better with border, but I don't know how ho achieve that.

--bodq 14:30, 6 May 2004 (UTC)

birdie
It seems to me, that every dictionary I've looked in, and all the top hits on Google, say that a shuttlecock is a name for the 'birdie' of badminton. This comes from the original game, shuttlecock and battledore, where the shuttlecock was the object hit back and forth and the battledore was the paddle used to hit it with. I'm going to revert the article and then add back some relevant information about this sport of shuttlecock, but I think that the far more common definition as a birdie should take priority in this article. QVanillaQ 04:26, 4 October 2005 (UTC)

Jianzi
I just added back a link to the sport of Jianzi, which is what the rewrite of the page was about. QVanillaQ 04:35, 4 October 2005 (UTC)

 * The shuttlecock, called a jianzi in the Chinese game and also known in English as a 'Chinese hacky sack' or 'kinja', typically has four feathers fixed into a rubber sole or plastic discs. Some handmade jianzis make use of a washer or a coin with a hole in the center.

 * During play, various parts of the body, but not the hands, are used to keep the shuttlecock from touching the ground. It is primarily balanced and propelled upwards using parts of the leg, especially the feet. Skilled players may employ powerful and spectacular overhead kicks —Preceding unsigned comment added by 113.22.26.62 (talk) 09:34, 3 May 2010 (UTC)

Shuttlecock sport and Shuttlecock Sport
These were both recently created by User:62.74.5.158 and User:Jostar (who may be the same person); I redirected the latter (which was identical) to the former, but presumably both should be merged here (if not deleted). — MC MasterChef  ::  Leave a tip — 08:20, 22 October 2005 (UTC)

Pricing of feather/plastic
I changed the part where it said that the price of plastics were very similar to those of feathers. HELLO?? Pricing is not even close. Because of this change, I also had to make a slight correction to the first sentence of the next paragraph. Tingalex 21:53, 10 December 2006 (UTC)

Birdies
Should there be mention of this name (Birdy) in the article, because this is what I hear most commonly in reference to shuttlecocks-(at least in middle school)?

 * It already is there: "The name shuttlecock is frequently shortened to shuttle; a shuttlecock may also be known as a bird or birdie." If you think the correct singular for this slang noun is "birdy" rather than "birdie", go ahead and edit that spelling :) --Mike Hopley 22:36, 2 January 2007 (UTC)
 * Could this be given some sort of clarification - perhaps saying that it might be called that in some geographical area, perhaps? I played badminton for many years, and I never once heard *anyone* call the shuttlecock a “birdie”; I’ve never seen anyone call it that on the odd occasion that I’ve seen a televised match, so I can’t see that it is anything other than a Bowdelerized term to avoid a word with “cock” in it… As it stands, the article makes this seem like some sort of official term in the game of badminton, and I don’t believe that it is the case, could it be downgraded in status in the text in some way?Jock123 (talk) 10:45, 8 December 2009 (UTC)

 * My guess is that Jock123 is probably right about the origin of the term "birdie" (which I have always seen spelled "birdie").

 * But I have always heard the term "birdie" when playing badminton in the Northeast U.S., at least. There is no justification for "bowdlerizing" an established usage from Wikipedia. 2601:200:C000:1A0:E00B:E959:D81E:1809 (talk) 03:16, 18 April 2022 (UTC)

Source of Feathers
Are there any animal rights issues surrounding the use of feathered shuttlecocks? Were do the feathers come from? Are certain species of animals used and raised in captivity? It'd be an interesting topic.

 * The feathers are typically taken from live geese. Most come from China and India. Only a few feathers from each bird can be used, so it takes about three birds to fletch two shuttlecocks. Most of the birds go on to be killed for meat. 314159 (talk) 19:14, 8 May 2013 (UTC)

History
Anyone got anything to contribute?  Tu rk ey ph an t 15:59, 16 April 2008 (UTC)

Olympics using plastic shuttlecocks?
I paused my DVR and could swear that plastic shuttlecocks are being used in the 2008 Summer Games. I'm no expert on badminton by any stretch, so I don't want to edit the page really, but this line seems to contradict what I'm seeing on my television: "all senior international tournaments use only feather shuttlecocks of the highest quality." Additionally, this sentence seems to contradict WP:WEASEL anyway so maybe it should just be removed. Thx1200 (talk) 05:19, 11 August 2008 (UTC)

The olympic.org website defines a shuttlecock this way: "A piece of cork covered in goat skin with 16 goose feathers attached to one end. It can be made from natural or synthetic materials." (emphasis mine). Sounds like article needs to be updated. 00:17, 28 February 2013 (UTC) — Preceding unsigned comment added by 24.247.126.45 (talk)

Just no
"The object resembles a hawk's lure, used from ancient times in the training of hunting birds.[citation needed] It is frequently shortened to shuttle."

No, just no.

The shuttlecock is never shortened to shuttle.

The word "shuttlecock" is sometimes shortened to the word "shuttle". 2601:200:C000:1A0:E00B:E959:D81E:1809 (talk) 03:13, 18 April 2022 (UTC)

title: Talk:Shuttlecock


text:
Talk:MoinMoin

Untitled discussion
I really hate to antagonise people but important though moinmoin it, this is a definition not an entry in an encyclopedia. Either (1) it should be lengthened (with what?) (2) it should be deleted (3) WikiPedia should be combined with Wiktionary and all such pages would be solved

BozMo(talk)

 * We don't delete stub articles. Feel free to expand it.--Eloquence* 20:06, May 2, 2004 (UTC)

 * I didn't say it was a stub. If it was a genuine stub and someone had in mind a lot more to put in it, fine. But it looks like a dictionary definition

BozMo(talk)

Someone needs to disambiguate this page with this one: http://en.wikipedia.org/wiki/Moin_moin

scalability
Where does the claim, "the use of flat files does not allow for scalability" appear in cited references? I would have marked it dubious ,but chose cn instead because it really would make sense to read the citation to understand exactly what aspect of "scalability" was unavailable in a flat file system. (sdsds - talk) 02:10, 23 July 2007 (UTC)

On Portal:Free software, MoinMoin is currently the selected article
Just to let you know. The purpose of selecting an article is both to point readers to the article and to highlight it to potential contributors. It will remain on the portal for a week or so. The previous selected article was list of liberated software. Gronky 20:10, 29 July 2007 (UTC)

 * The selection has moved on again and is now Ubuntu GNU/Linux. Gronky 18:42, 5 August 2007 (UTC)

Suitable references?
I was wondering if the following were acceptable references for some of the citations needed in the article: Xapian search being faster: http://moinmo.in/HelpOnXapian Uses WYSIWYG ("gui") editor: http://moinmo.in/FCKeditor or http://moinmo.in/MoinMoinFeatures#Advanced_Features Supports ACLs: http://moinmo.in/MoinMoinFeatures#Advanced_Features Multiple parsers: http://moinmo.in/MoinMoinFeatures#Advanced_Features or http://moinmo.in/DocBook Desktop edition: http://moinmo.in/DesktopEdition indicates it still exists, but the previous releases only has up to 1.5: http://sourceforge.net/projects/moin/files/moin-desktop/ Just came across this: http://hg.moinmo.in/moin/1.8/file/tip/docs/CHANGES 231    * Removed unmaintained DesktopEdition (moin 1.5.x style) and phpwiki 232      migration scripts from contrib/ directory.

kgoetz (talk) 12:01, 6 September 2009 (UTC)

Deletion proposal
♦ I object to the deletion, so I removed the template according to its directions. Specifically, this article has been around for a long time with many editors, the talk page has proposed references, MoinMoin is one of the leading wiki engines, and the deletion template contained typos (making me believe that it was written in haste and without sufficient thought). --R27182818 (talk) 16:18, 2 March 2010 (UTC)

i18n
With a suitable source, it would be interesting to note that MoinMoin has a rather "extreme" i18n, for instance what we call special pages in MediaWiki seem to be available with any translated name: https://wiki.debian.org/ModificheRecenti

We'd also need to note the drawbacks though (for sure they have few locales). --Nemo 20:34, 15 December 2014 (UTC)

title: Talk:MoinMoin


text:
Minstrel

A minstrel was an entertainer, initially in medieval Europe. The term originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments.

Description
Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of today's buskers or street musicians.

Initially, minstrels were simply treats at court, and entertained the lord and courtiers with chansons de geste or their local equivalent. The term minstrel derives from Old French ménestrel (also menesterel, menestral), which is a derivative from Italian ministrello (later menestrello), from Middle Latin ministralis "retainer", an adjective form of Latin minister, "attendant" from minus, "lesser".

In Anglo-Saxon England before the Norman Conquest, the professional poet was known as a scop ("shaper" or "maker"), who composed his own poems, and sang them to the accompaniment of a harp. In a rank much beneath the scop were the gleemen, who had no settled abode, but roamed about from place to place, earning what they could from their performances. Late in the 13th century, the term minstrel began to be used to designate a performer who amused his lord with music and song. Following a series of invasions, wars, conquests, etc., two categories of composers developed. Poets like Chaucer and John Gower appeared in one category, wherein music was not a part. Minstrels, on the other hand, gathered at feasts and festivals in great numbers with harps, fiddles, bagpipes, flutes, flageolets, citterns and kettledrums. Additionally, minstrels were known for their involvement in political commentary and engaged in propaganda. They often reported news with bias to sway opinion and revised works to encourage action in favor of equality. The Heege Manuscript, transcribed in the English Midlands around 1480 by Richard Heege, may offer a sample of the humor favored by some medieval minstrels at festivals.

The music of the troubadours and trouvères was performed by minstrels called joglars (Occitan) or jongleurs (French). As early as 1321, the minstrels of Paris were formed into a guild. A guild of royal minstrels was organized in England in 1469. Minstrels were required to either join the guild or abstain from practising their craft. Some minstrels were retained by lords as jesters who, in some cases, also practised the art of juggling. Some were women or women who followed minstrels in their travels. Minstrels throughout Europe also employed trained animals, such as bears. Minstrels in Europe died out slowly, having gone nearly extinct by about 1700, although isolated individuals working in the tradition existed even into the early 19th century.

In literature
Minstrelsy became a central concern in English literature in the Romantic period and has remained so intermittently.

In poetry, The Lay of the Last Minstrel (1805) by Sir Walter Scott, Lalla Rookh (1817) by Thomas Moore, and The Village Minstrel (1821) by John Clare were three of many. Novels centring on minstrelsy have included Helen Craik's Henry of Northumberland (1800), Sydney Owenson's The Novice of St Dominick's (a girl using a minstrel disguise, 1805), Christabel Rose Coleridge's Minstrel Dick (a choirboy turned minstrel becomes a courtier, 1891), Rhoda Power's Redcap Runs Away (a boy of ten joins wandering minstrels, 1952), and A. J. Cronin's The Minstrel Boy (priesthood to minstrelsy and back, 1975).

title: Minstrel


text:
User:Elektron

Elektron was originally part of a (now defunct) e-mail address which I chose too quickly — I had to make one up which could collect spam (ah, the days of websites which would publish your email address), and the name stuck. It's not really related to the Greek word ήλεκτρον.

I was born in Toronto, one of the few places with the honour of having other cities named after it. I've lived in Hong Kong and Cambridge. While this may make me “very international”, what I really want to do is to settle down somewhere nice. I'm still looking for that somewhere nice.

I'm a fan of efficient government and public services — I don't believe in sales tax/VAT, toll roads (and bridges/tunnels), investment tax, and pay-per-view systems like WiFi and public toilets. I especially hate the privatisation of public services — public transport companies should be answerable to the people (just look at The Tube, or JR). And death tax is just wrong.

Some of the worst things that have come out of the software industry are "escape_string" functions, the one-URL-is-one-file paradigm, the file-extension-is-metadata paradigm, and the let's-make-it-safe-for-badly-written-code features (encoded null characters are valid in URLs). You can find all of these on your average PHP-driven website.

I've spent far too much time on Wikipedia at various points in my life, resulting in this.

title: User:Elektron