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Saul Bass

Saul Bass (May 8, 1920 – April 25, 1996) was an American graphic designer and Oscar-winning filmmaker, best known for his design of motion-picture title sequences, film posters, and corporate logos.

During his 40-year career, Bass worked for some of Hollywood's most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick, and Martin Scorsese. Among his best known title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho.

Bass designed some of the most iconic corporate logos in North America, including the Geffen Records logo in 1980, the Hanna-Barbera "swirling star" logo in 1979, the sixth and final version of the Bell System logo in 1969, as well as AT&T Corporation's first globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 jet stream logo, United Airlines' 1974 tulip logo (which became some of the most recognized airline industry logos of the era) and the 1972 Warner Bros. "Big W" logo (which is WB's second most recognizable logo after the classic WB shield; currently also used as the Warner Music Group logo). He died from non-Hodgkin's lymphoma in Los Angeles on April 25, 1996, at the age of 75.

Early life
Saul Bass was born on May 8, 1920, in the Bronx, New York, United States, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College. In 1938, Saul married Ruth Cooper and they had two children, Robert in 1942 and Andrea in 1946.

He began his time in Hollywood in the 1940s, designing print advertisements for films including Champion (1949), Death of a Salesman (1951) and The Moon Is Blue (1953), directed by Otto Preminger. His next collaboration with Preminger was to design a film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass's work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create a title sequence which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.

Film title sequences
Bass became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie. In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object." One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.

Bass once described his main goal for his title sequences as being to "try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story". Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way. Examples of this or what he described as "making the ordinary extraordinary" can be seen in Walk on the Wild Side (1962) where an ordinary cat becomes a mysterious prowling predator, and in Nine Hours to Rama (1963) where the interior workings of a clock become an expansive new landscape. In the 1950s, Saul Bass used a variety of techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for the Best Picture Oscar winner Around the World in 80 Days (1956), and live-action sequences.

On occasion, Bass' title sequences were said to outshine the films they introduced. When Billy Wilder's The Seven Year Itch (1955) was released, a film critic wrote, "If the film had lived up to the titles, it would have been a good picture." In reviewing A Walk on the Wild Side (1962), more than half of New York Critics claimed that Bass' titles were better than the film itself. In 1962, Variety even suggested that Bass might no longer find work in the title field since there has been too frequent the use of the line: "The best thing about the film is the Saul Bass credits."

In 1955, Elaine Makatura came to work with Bass in his Los Angeles office. With the opening to Spartacus (1960), she was directing and producing title sequences, and in 1961 the couple married, beginning more than 30 years of close collaboration. After the birth of their children, Jennifer in 1964 and Jeffrey in 1967, they concentrated on their family, film directing, and title sequences. Saul and Elaine designed title sequences for more than 30 years, continuously experimenting with a variety of innovative techniques and effects, from Bunraku-style maneuvers in Spartacus (1960), live-action sequences in Walk on the Wild Side (1962), to time-lapse photography in The Age of Innocence (1993), and even chopped liver in Mr. Saturday Night (1992). Their live-action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes. These "time before" title sequences either compress or expand time with startling results. The title sequence to Grand Prix (1966) portrays the moments before the opening race in Monte Carlo, the title sequence to The Big Country (1958) depicts the days it takes a stage coach to travel to a remote Western town, and the opening montage title sequence to The Victors (1963) chronicles the twenty-seven years between World War I and the middle of World War II, where the film begins.

From the mid-1960s to the late '80s, Saul and Elaine moved away from main titles to focus on filmmaking and their children. About this time away from title design, Saul said:

"Elaine and I feel we are there to serve the film and to approach the task with a sense of responsibility. We saw a lot of pyrotechnics and fun and games and I suppose we lost interest. At the same time, an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it. Whatever the reasons, the result was "Fade Out." We did not worry about it: we had too many other interesting projects to get on with. Equally, because we still loved the process of making titles, we were happy to take it up again when asked. "Fade In"..."

In the 1980s, Saul and Elaine were rediscovered by James L. Brooks and Martin Scorsese, who had grown up admiring their film work. For Scorsese, Saul and Elaine Bass created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), their last title sequence. This later work with Martin Scorsese saw the Basses move away from the optical techniques that Saul had pioneered and move into the use of computerized effects. The Basses' title sequences featured new and innovative methods of production and startling graphic design.

Screenwriter Nicholas Pileggi said of Saul and Elaine Bass, "You write a book of 300 to 400 pages and then you boil it down to a script of maybe 100 to 150 pages. Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark. They have boiled it down to four minutes flat."

In a sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of the Basses' innovative work. In particular, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of Saul Bass's animated sequences from the 1950s. Some examples of title sequences that pay homage to Bass's graphics and animated title sequences are Catch Me If You Can (2002), X-Men: First Class (2011), and the openings to the AMC series Mad Men and TBS's Conan.

Selected film title sequences

 * Carmen Jones (1954)
 * The Big Knife (1955)
 * The Man with the Golden Arm (1955)
 * The Racers (1955)
 * The Seven Year Itch (1955)
 * The Shrike (1955)
 * Around the World in Eighty Days (1956)
 * Storm Center (1956)
 * Attack (1956)
 * Johnny Concho (1956)
 * Edge of the City (1957)
 * Saint Joan (1957)
 * The Pride and the Passion (1957)
 * The Young Stranger (1957)
 * Bonjour Tristesse (1958)
 * Cowboy (1958)
 * Vertigo (1958)
 * The Big Country (1958)
 * Anatomy of a Murder (1959)
 * North by Northwest (1959)
 * Psycho (1960)
 * Spartacus (1960)
 * The Facts of Life (1960)
 * Exodus (1960)
 * Ocean's 11 (1960)
 * West Side Story (1961)
 * Something Wild (1961)
 * Advise & Consent (1962)
 * Walk on the Wild Side (1962)
 * The Victors (1963)
 * Nine Hours to Rama (1963)
 * It's a Mad, Mad, Mad, Mad World (1963)
 * The Cardinal (1963)
 * In Harm's Way (1965)
 * Bunny Lake Is Missing (1965)
 * Grand Prix (1966)
 * Not with My Wife, You Don't! (1966)
 * Seconds (1966)
 * Such Good Friends (1971)
 * That's Entertainment, Part II (1976)
 * Broadcast News (1987)
 * Big (1988)
 * Tonkō (1988)
 * The War of the Roses (1989)
 * Goodfellas (1990)
 * Cape Fear (1991)
 * Doc Hollywood (1991)
 * Mr. Saturday Night (1992)
 * The Age of Innocence (1993)
 * Higher Learning (1995)
 * Casino (1995)
 * A Personal Journey with Martin Scorsese Through American Movies (1995)

Logos and other designs
Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969) and United Airlines (1974). Later, he produced logos for a number of Japanese companies as well.

Selected logos by Saul Bass and their respective dates (note that the links shown point to articles on the entities themselves, and not necessarily to the logos):

 * Alcoa (1963)
 * Ajinomoto (1973)
 * AT&T Corporation (1984)
 * Avery International (1975)
 * Bell System (1969)
 * Boys Clubs of America (1980)
 * Celanese (1965)
 * Continental Airlines (1967)
 * Dixie (1969)
 * Frontier Airlines (1978)
 * Fuller(-O'Brien) Paints (1963)
 * Geffen Records (1980)
 * General Foods (1984)
 * Girl Scouts of the USA (1978)
 * Hanna-Barbera (1979)
 * Japan Energy Corporation (1993)
 * J. Paul Getty Trust (1993)
 * 京王百貨店 (1964)
 * 紀文食品 (1984)
 * Kleenex (1961)
 * Kosé Cosmetics (1991)
 * Lawry's Seasoned Salt and Lawry's The Prime Rib (1960)
 * Maeda Corporation (1991)
 * Minami Sports (1991)
 * Minolta (1981)
 * NCR Corporation (1996)
 * Quaker Oats Company (1970)
 * Rockwell International (1968)
 * Security Pacific Bank (1966)
 * Southern California Rapid Transit District (1980)
 * United Airlines (1974)
 * United Way and United Way Centraide Canada (1972–75)
 * University of Southern California (1994)
 * US postage stamp, "Science and Industry" (1983)
 * Warner Communications (1972)
 * Wienerschnitzel (1978)
 * Wesson Oil (1964)
 * YWCA USA (1988)

An analysis of a sample of Bass's corporate logos in 2011 found them to have an unusual longevity. The most common cause of the end of a Bass corporate logo (in the selection analyzed) was the demise or merger of the company, rather than a corporate logo redesign. The average lifespan of a Bass logo was more than 34 years as of 2013. In 2014, Frontier Airlines resurrected the stylized F logo originally designed for Frontier by Bass in 1978, and discontinued when the airline went bankrupt in 1984. Bass created the sculpture which each of the World Food Prize laureates receive.

Movie posters
Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass's seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass's posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for The Man with the Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist's struggle with heroin addiction. Bass's iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film's title and captures the moral ambiguities within which this court room drama is immersed.

He created some of his best known posters for films directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick among others. His last commissioned film poster was created for Steven Spielberg's Schindler's List (1993), but it was never distributed. His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass's film posters are characterized by a distinctive typography and minimalistic style.

Selected posters by Saul Bass, and their respective dates:

1950s

 * Carmen Jones (1954)
 * The Man with the Golden Arm (1955)
 * Edge of the City (1956)
 * Storm Center (1956)
 * Love in the Afternoon (1957)
 * Saint Joan (1957)
 * Bonjour tristesse (1958)
 * The Big Country (1958) (style b poster)
 * Vertigo (1958)
 * Anatomy of a Murder (1959)

1960s

 * Exodus (1960)
 * The Magnificent Seven (1960) (design not used)
 * One, Two, Three (1961)
 * Advise & Consent (1962)
 * Birdman of Alcatraz (1962)
 * It's a Mad, Mad, Mad, Mad World (1963)
 * The Cardinal (1963)
 * In Harm's Way (1965)
 * Bunny Lake Is Missing (1965)
 * The Firemen's Ball (1967)
 * The Two of Us (1967)
 * Why Man Creates (1968)
 * Very Happy Alexander (1969)

1970s

 * Tell Me That You Love Me, Junie Moon (1970)
 * Such Good Friends (1971)
 * Rosebud (1975)
 * Brothers (1977)
 * Notes on the Popular Arts (1977)
 * Bass on Titles (1978)
 * The Human Factor (1979)
 * The Solar Film (1979)
 * The Double McGuffin (1979)

1980s and 1990s

 * The Shining (1980)
 * Return from the River Kwai (1989) (not distributed)
 * Schindler's List (1993) (rejected poster)

He received an unintentionally backhanded tribute in 1995, when Spike Lee's film Clockers was promoted by a poster that was strikingly similar to Bass's 1959 work for Preminger's film Anatomy of a Murder. Designer Art Sims claimed that it was made as an homage, but Bass regarded it as theft. Many film posters have been considered to be homages to Saul Bass's posters. Some recent examples include the theatrical release poster for Burn After Reading (2008) which incorporates Bass's typography and style of figurative minimalism, and a poster for Precious (2009) which includes elements from several of Bass's posters, including Anatomy of a Murder. The cover art for The White Stripes' single The Hardest Button to Button is clearly inspired by the Bass poster for The Man with the Golden Arm.

The comic book artist J. H. Williams III's designs for the Batman story "The Black Glove" pay homage to Bass's designs as well.

In addition to movie posters, Bass designed numerous posters for film festivals, and several magazine, book, and album covers. He also designed five Academy Award Presentation posters and the Student Academy Award for the Academy of Motion Picture Arts and Sciences. In 1962 he illustrated his only children's book, Henri's Walk to Paris, written by Lenore Klein.

Filmmaker
During the 1960s, Bass was asked by directors and producers to produce not only title sequences for their films, but also to visualize and storyboard key scenes and sequences within them. Bass has the unusual credit of "visual consultant" or "pictorial consultant" on five films. For Spartacus (1960), Bass as "visual consultant" designed key elements of the gladiator school and storyboarded the final battle between slaves and Romans. John Frankenheimer, the director of Grand Prix (1966), had Bass storyboard, direct, and edit all but one of the racing sequences for his film. For West Side Story (1961) Bass filmed the prologue, storyboarded the opening dance sequence, and created the ending title sequence.

It is Bass's credited role as "pictorial consultant" for Alfred Hitchcock on Psycho (1960); however, that has caused some controversy and debate. Bass claimed that he participated in directing the highlight scene of Psycho, the tightly edited shower-murder sequence, though several on set at the time (including star Janet Leigh) disputed this claim.

The research of several film scholars on Hitchcock's production of Psycho validates the claim that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene. Hitchcock had asked Bass to design and produce storyboards for the shower murder scene and for some other scenes in the film. For this, Bass received a credit as Pictorial Consultant as well as Title Designer. Janet Leigh told Donald Spoto that "the planning of the shower scene was left up to Saul Bass, and Hitchcock followed his storyboard precisely. Because of this ... [the shooting] went very professionally," and she told Stephen Rebello that "Mr. Hitchcock showed Saul Bass's storyboards to me quite proudly, telling me in exact detail how he was going to shoot the scene from Saul's plans".

Bill Krohn has noted that Bass's 48 story board panels for the scene introduced all the key aspects of the final shower murder scene – most notably, the fact that the attacker appears as a silhouette, close-ups of a slashing knife, the shower curtain torn down, a shot of the shower head from below, Marion's desperate outstretched arm, and the famous shot of the transition from the drain hole of the bathtub to Marion Crane's dead eye. Krohn notes that this final transition is highly reminiscent of Bass's iris titles for Vertigo. Krohn also concludes that Bass did not literally direct the shower scene, proving Hitchcock's presence on the set throughout the shooting of that scene.

Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent, bloody murder as an impressionistic and nearly bloodless one. Hitchcock felt uncertain about Bass's conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence. In an interview with film historian Pat Kirkham, Bass recalled, "Having designed and storyboarded the shower sequence, I showed it to Hitch. He was uneasy about it. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot [sic]".

To convince Hitchcock that the scene would work as planned, eight days before shooting of the final shower scene, Bass used a newsreel camera and Janet Leigh's stand-in Marli Renfro to shoot footage on the set to plan the shots in more detail. Working with Hitchcock's editor George Tomasini, he edited this footage following the storyboards to show Hitchcock how the scene could work. In the end, Hitchcock gave his approval but, according to Kirkham, made two additions: a spray of blood on the chest of Marion Crane/Janet Leigh as she slides down the tiles, and a close-up of her belly getting stabbed.

In 1964, Saul and his wife and creative partner Elaine directed the short film The Searching Eye shown during the 1964 New York World's Fair, co-produced with Sy Wexler. The Basses also directed a short documentary film called Why Man Creates which won the Academy Award for Documentary Short Subject in 1968. An abbreviated version of that film was broadcast on the first episode of the television newsmagazine 60 Minutes. In 2002, this film was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Saul and Elaine directed several other short films, two of which were nominated for Academy Awards: Notes on the Popular Arts, in 1977,  and The Solar Film, in 1979.

In 1974, Saul Bass made his only feature-length film as a director, the visually splendid though little-known science fiction film Phase IV, a "quiet, haunting, beautiful, ... and largely overlooked, science-fiction masterwork".

Legacy
The moving image collection of Saul Bass is held at the Academy Film Archive and consists of 2,700 items. The film material is complemented by the Saul Bass papers at the Academy's Margaret Herrick Library. The Academy Film Archive has preserved two of Bass's films: Why Man Creates, in 2011, and Notes on the Popular Arts (also known as An Essay:  The Popular Arts Today), in 2012.

On May 8, 2013, Bass's 93rd birthday was celebrated by a Google Doodle, which featured the tune "Unsquare Dance" by Dave Brubeck.

title: Saul Bass


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1999–2000 Heineken Cup

The 1999–2000 Heineken Cup was the fifth edition of the Heineken Cup of rugby. Teams from France, Ireland, Italy, Wales, England and Scotland were divided into six pools of four and played home and away matches against each other. The pool winners and two best runners-up qualified for the knockout stages.

Pool stage
In the pool matches teams received
 * 2 points for a win
 * 1 points for a draw

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

title: 1999–2000 Heineken Cup


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User talk:Loklok

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Mateja Kežman

Mateja Kežman (Матеја Кежман, ; born 12 April 1979) is a Serbian sports agent and former professional footballer who played as a striker.

Upon playing in his homeland, Kežman went on to play top-flight football in the Netherlands, England, Spain, Turkey, France, Russia, Hong Kong and Belarus. He is arguably best known for his career at PSV, earning numerous awards and worldwide recognition as having the potential to be one of the greatest strikers of his generation, being named Dutch Footballer of the Year in 2003. Kežman was subsequently labeled as a flop after his spell at Chelsea, as there were extremely high expectations of him. By the end of his illustrious career, he had amassed a record number of championship medals in the top-tier competitions of five different countries. Internationally, Kežman represented FR Yugoslavia / Serbia and Montenegro in one European Championship and one World Cup.

After finishing his professional playing career, Kežman became a sports agent, currently representing Sergej Milinković-Savić among other players. He also served as a director of football at Vojvodina in 2013.

Early and personal life
Kežman's father Zlatko was also a footballer who played as a goalkeeper, spending the majority of his career with Zemun.

His early career at Partizan was disrupted by NATO's airstrikes on Belgrade in 1999. In 2003, he took protection when a Yugoslav criminal threatened to kidnap him and hold PSV to ransom.

Kežman is a devout member of the Serbian Orthodox Church. During his time in the Netherlands, he prayed in the German city of Dortmund to retain his privacy. Although he considers his addiction to tattoos to be a vice, his tattoos are of a religious theme, and while playing he wore an undershirt with a printed icon of Jesus; this drew media attention during his spell in Turkey. He pledged to become a monk in the church.

Partizan
In the summer of 1998. At the age of 19, Kežman joined Partizan. In the 1998/99 season. He scored six goals in 22 league games, and won the championship title. In that season, he drew attention to himself when, in the 111-th Eternal derby against Red Star, he scored a goal in the last minute, which gave Partizan a 2–1 victory.

In the 1999/00 season. Coach Miodrag Ješić takes the helm on the Partizan bench and then Kežman plays even better games. He scored 27 goals in 32 league games. However, (The Black-Whites) ended that season without a trophy. In his two seasons at the club, Kežman made a name for himself as a prolific striker and became a favourite among the fans of the club. He scored a total of 33 league goals in 54 appearances and was the top scorer of the national championship in the 1999–2000 season. He was especially good in the eternal derbies with Red Star, because he scored the same number of goals in 5 games he played.

PSV
In the summer of 2000, Kežman completed his move to Dutch club PSV. In his debut season, he was the league's top scorer, achieving 24 goals in 33 games as PSV won the title. He also picked up the nickname 'Batman', because the famous theme song was played at Philips Stadion every time he scored. He formed a successful partnership with Arjen Robben, and they gained the epithet 'Batman and Robben', a pun on Batman and Robin.

Kežman went to score 81 goals over the following three seasons with PSV. His best season in terms of both goals and appearances was 2002–03 when he played 33 out of 34 of PSV's matches and scored 35 goals to help them win the title.

Chelsea
Kežman spent the 2004–05 season at Chelsea and scored seven goals in 40 appearances in all competitions. He was signed for the club on 13 July 2004 for £5.3 million by José Mourinho. He wore the number 9 shirt left vacant by Jimmy Floyd Hasselbaink's transfer to Middlesbrough.

He played 24 league games and scored four goals. The first goal came on 4 December 2004 in a 4–0 victory over Newcastle United at home, with an injury time penalty after coming on as a substitute in the 61st minute. He did not score again until 11 March 2005 in a 3–1 away victory over Norwich City, who were relegated at the end of the season. Eight days later he scored twice at home against another team that would be relegated, Crystal Palace, as Chelsea won 4–1. At the end of the season Chelsea won their first league title since 1954–55.

His first ever goal for Chelsea was in League Cup third round at home to West Ham United on 27 October 2004. It was the only goal of the game. He scored a goal in extra time (112th minute) of the 2005 League Cup Final against Liverpool. Chelsea won 3–2 after it finished 1–1 after 90 minutes.

Kežman scored a goal in the 3rd round of that season's FA Cup against Scunthorpe United as Chelsea won 3–1 at home. His attack down the right wing set up Chelsea's first goal in the 4-2 win against Barcelona in the Champions League Round of 16, in a "brilliant" play with the scorer Eiður Guðjohnsen.

In 2011, Kežman revealed to Sky Sports that his time at Chelsea was the best he has ever had in football, despite failing to make an impact for the club: "Chelsea was the best thing in my career. That was the climax of my career, for sure. Living and playing in London was something that I will never forget. I don't know if I made a mistake because I moved away so quickly. Maybe I do and maybe I don't regret it, but I always believe in my decisions. But the transfer to Chelsea made my dreams come true. That was the best thing that ever happened to me. Maybe I could achieve more and I could have been more successful at Stamford Bridge, but I don't regret anything."

Atlético Madrid
Kežman left Chelsea for Atlético Madrid of Spain's Primera División on 29 June 2005 for £5.3 million, the same price as he had joined Chelsea. He soon suffered a knee injury, which he did not recover from until after New Year's in 2006. Initially, the appointment of José Murcia as coach allegedly boosted Kežman's confidence, but by the end of his spell in Madrid, Kežman actually scored more goals (six) under Carlos Bianchi than with Murcia (with whom he scored a total of two goals in the remainder of the season). Atlético ended the season in 10th and were knocked out by Real Zaragoza in the Copa del Rey round of 16. Kežman scored a total of eight goals in 30 league matches, often in a strike partnership with Fernando Torres.

Fenerbahçe
In the summer of 2006, Kežman was transferred to Fenerbahçe on a four-year contract. He played a central role in Fenerbahçe winning the 2006–07 Süper Lig in their centennial year. In the 2007–08 UEFA Champions League, he appeared in over half of Fenerbahçe's group stage matches against the likes of his former club PSV, Internazionale and CSKA Moscow. Ironically, he even played against Chelsea over both legs of the 2008 Champions League quarter-finals; the first of which he started and showed off with a close bicycle kick in a 2–1 win, while in the second leg he was subbed in during the dying minutes of his team's 2–0 loss at Stamford Bridge, where Fenerbahçe was eliminated in the longest-lasting Champions League campaign in the club's history. As a result of this and the preceding regular season, in which Kežman scored almost a goal every other game by statistical average, Fenerbahçe S.K. supporters revered him even in the years after he left Istanbul in his journeyman years.

Paris Saint-Germain
On 19 August 2008, Kežman signed for Paris Saint-Germain, a one-year loan with a buyout clause. He appeared in 21 league matches, mostly as substitute, and scored three goals.

On 30 August 2009, it was announced that Kežman would be joining Zenit Saint Petersburg from Paris Saint-Germain on a season-long loan, with a purchase option for an undisclosed fee. The next day, the transfer had been officially confirmed when the player passed medical examinations. He scored two goals for Zenit helping the team to finish 3rd in the Russian Premier League, but the Russian side decided not to retain his services, and he returned to Paris in January 2010.

On 3 November 2010, Kežman's contract with PSG was terminated by mutual consent.

South China
On 20 January 2011, it was announced that Kežman had signed to play for South China for the rest of the 2010–11 Hong Kong First Division League. Kežman made his debut on 29 January 2011 versus NT Realty Wofoo Tai Po which lost 1–0; he was substituted by Leung Chun Pong in the 64th minute.

On 13 February 2011, in the League Cup semi-final against league leader Kitchee, Kežman scored his first goal for the club in the 32nd minute and his second goal seven minutes before the end. South China beat Kitchee by 4–2 and entered the finals.

On 13 April 2011, in the 2011 AFC Cup group H match against Kingfisher East Bengal, Kežman scored his first AFC Cup goal in the 69th minute with a header, assisted by Au Yeung Yiu Chung. His goal helped South China gain victory and moved up to 3rd position in the group, but he also received a yellow card in the match, his second yellow card in the tournament and he missed the away game to East Bengal.

In May 2011, after his team failed to progress into the 2011 AFC Cup knockout stage, following 2–4 loss to Indonesian outfit Persipura Jayapura, Kežman said to the media that the AFC Cup is a strange competition and kind of stupid. He blamed the hot weather and long travel to go to Jayapura as one of the factors why his team could not progress further.

In the final match of the 2010–11 Hong Kong FA Cup, Kežman managed to take advantage of an opponent's defensive error and scored an outstanding goal in extra time to give his team a 2–1 win over NT Realty Wofoo Tai Po on 29 May 2011. The next day, Kežman finished his stint with South China after his four-month contract expired.

BATE
On 31 August 2011, Kežman joined Belarusian side BATE Borisov as a free agent until the end of the year. He was seen as a reinforcement for upcoming UEFA Champions League group stage games and as a potential replacement for seriously injured striker Vitali Rodionov. Ultimately, Kežman played six games in the Belarusian League and 5 games in the Champions League without scoring any goals. He parted ways with BATE after the last Champions League game against Barcelona.

Return to Hong Kong and retirement
In January 2012, Kežman returned to South China to play at the Asian Challenge Cup. He played his last professional match on 26 January 2012, missing the last penalty in the shoot-out series against Guangzhou R&F, in the third-place match. The club retired Kežman's number 38 after his last match.

International career
Kežman marked his senior international debut for FR Yugoslavia during March 2000 with a goal against China in a friendly match as part of the preparations for UEFA Euro 2000. Head coach Vujadin Boškov included him in the final 23-man roster that he took to Belgium and the Netherlands. Despite being the fourth attacking option behind Predrag Mijatović, Savo Milošević and Darko Kovačević, 21-year-old Kežman got his chance as substitute late in the group match versus Norway. However, after being on the pitch for about 90 seconds, he was sent off following a rash tackle on Erik Mykland.

In February 2003, after embarrassing performances of the team during UEFA Euro 2004 qualifying, Kežman announced that he retired from the national jersey. However, Kežman returned to the team few months later, after Ilija Petković was appointed as the new coach.

Kežman led Serbia and Montenegro's scoring during the 2006 FIFA World Cup qualifications with five goals, including the only goal in the final game against Bosnia and Herzegovina which in turn allowed Serbia and Montenegro to qualify directly, having come first in their group. During the competition, he was sent off in a group match against Argentina by referee Roberto Rosetti.

After his sending off against Argentina at the 2006 FIFA World Cup, Kežman did not receive any call up for his country's national team.

During his six-year career in the national team, Kežman scored 17 goals in 49 appearances.

International

 * Scores and results list Serbia and Montenegro's goal tally first, score column indicates score after each Kežman goal.

Honours
Partizan
 * First League of FR Yugoslavia: 1998–99

PSV
 * Eredivisie: 2000–01, 2002–03
 * Johan Cruyff Shield: 2000, 2001, 2003

Chelsea
 * Premier League: 2004–05
 * Football League Cup: 2004–05

Fenerbahçe
 * Süper Lig: 2006–07
 * Turkish Super Cup: 2007

Paris Saint-Germain
 * Coupe de France: 2009–10

South China
 * Hong Kong FA Cup: 2010–11

BATE Borisov
 * Belarusian Premier League: 2011

Individual
 * First League of FR Yugoslavia top scorer: 1999–2000
 * Eredivisie top scorer: 2000–01, 2002–03, 2003–04
 * Dutch Footballer of the Year: 2002–03
 * ESM Team of the Year: 2002–03

title: Mateja Kežman


text:
Split (Unix)

  is a utility on Unix, Plan 9, and Unix-like operating systems most commonly used to split a computer file into two or more smaller files.

History
The split command first appeared in Version 3 Unix and is part of the X/Open Portability Guide since issue 2 of 1987. It was inherited into the first version of POSIX.1 and the Single Unix Specification. The version of  bundled in GNU coreutils was written by Torbjorn Granlund and Richard Stallman. The split command has also been ported to the IBM i operating system.

Usage
The command-syntax is:

The default behavior of  is to generate output files of a fixed size, default 1000 lines. The files are named by appending aa, ab, ac, etc. to output filename. If output filename is not given, the default filename of x is used, for example, xaa, xab, etc. When a hyphen (-) is used instead of input filename, data is derived from standard input. The files are typically rejoined using a utility such as cat.

Additional program options permit a maximum character count (instead of a line count), a maximum line length, how many incrementing characters in generated filenames, and whether to use letters or digits.

Split file into pieces
Create a file named " " with exactly 3,000 lines of data:

Now, use the  command to break this file into pieces (note: unless otherwise specified,   will break the file into 1,000-line files): As seen above, the  command has broken the original file (keeping the original intact) into three, equal in number of lines (i.e., 1,000), files: ,  , and.

title: Split (Unix)


text:
Old Harry Rocks

Old Harry Rocks are three chalk formations, including a stack and a stump, located at Handfast Point, on the Isle of Purbeck in Dorset, southern England. They mark the most eastern point of the Jurassic Coast, a UNESCO World Heritage Site.

Location
Old Harry Rocks lie directly east of Studland, about 2.5 mi north east of Swanage, and about 5 mi south of the large towns of Poole and Bournemouth. To the south are the chalk cliffs of Ballard Down, much of which is owned by the National Trust. The rocks can be viewed from the Dorset section of the South West Coast Path.

Formation
The chalk of Old Harry Rocks used to be part of a long stretch of chalk between Purbeck and the Isle of Wight, but remained as a headland after large parts of this seam were eroded away. As the headland suffered hydraulic action (a process in which air and water are forced into small cracks by the force of the sea, resulting in enlarging cracks), first caves, then arches formed. The tops of the arches collapsed after being weakened by rainfall and wind, leaving disconnected stacks. One of these stacks is known as Old Harry. Old Harry's Wife was another stack which was eroded through corrosion and abrasion, until the bottom was so weak the top fell away, leaving a stump. Hydraulic action is the main cause of erosion (shear force of the waves) that damaged the rock and caused it to fall away.

Geology
The downlands of Ballard Down are part of the Portsdown Chalk Formation, containing some bands of flint, and were formed 84–72 million years ago in the Campanian age of the Late Cretaceous. The bands of stone have been gradually eroded over the centuries, some of the earlier stacks having fallen (Old Harry's original wife fell in 1509), while new ones have been formed by the breaching of narrow isthmuses. Across the water to the east, The Needles on the Isle of Wight are usually visible. These are also part of the same chalk band and only a few thousand years ago were connected to Ballard Down.

To form the stacks, the sea gradually eroded along the joints and bedding planes where the softer chalk meets harder bedrock of the rock formations to create a cave. This eventually eroded right through to create an arch. The arch subsequently collapsed to leave the stacks of Old Harry and his wife, No Man's Land (the large outcrop of rock at the end of the cliffs) and the gap of St Lucas' Leap.

Old Harry is formed by erosion processes, which will eventually remove the stack, whilst new stacks develop. Some people desire to preserve the rocks and protect them from the erosive processes that formed Old Harry. The National Trust, who own the stacks in perpetuity, have experience in looking after the coast, and have found that "working with natural processes is the most sustainable approach".

Legend
There are various stories about the naming of the rocks. One legend says that the Devil (traditionally known euphemistically as "Old Harry") slept on the rocks. Another local legend says that the rocks were named after Harry Paye, the infamous Poole pirate, whose ship hid behind the rocks awaiting passing merchantmen. Yet another tale has it that a ninth-century Viking raid was thwarted by a storm and that one of the drowned, Earl Harold, was turned into a pillar of chalk.

title: Old Harry Rocks


text:
Wikipedia:Articles for deletion/Bunny luv

I bounced this one from Speedy Deletes. - UtherSRG 11:31, 22 Jul 2004 (UTC)
 * this is about Dita Von Teese. Reads like a copyvio or c&p job. I think this could have been a speedy. Ianb 11:46, 22 Jul 2004 (UTC)
 * Delete. - Kenwarren 13:19, Jul 22, 2004 (UTC)
 * Delete: operators standing by, $2.99 a minute. Ad. Geogre 14:48, 22 Jul 2004 (UTC)
 * I'm no follower of the Hollywood z-list, but this reads like a copyvio and puff piece. Delete. Average Earthman 14:57, 22 Jul 2004 (UTC)
 * maybe vanity. maybe ad. definitely delete. However, it does not meet any of the criteria for a speedy. Rossami 21:28, 22 Jul 2004 (UTC)
 * Smells like copyvio. Just delete. -- Cyrius|✎ 06:05, 23 Jul 2004 (UTC)
 * Delete. Likely copyvio, but it would be nice to expand Dita Von Teese with the information.  I can't fathom why this article was created under this title—the phrase appears nowhere in the text.  Postdlf 03:28, 28 Jul 2004 (UTC)


text:
Nenets (disambiguation)

Nenets may refer to:
 * Nenets Autonomous Okrug, a federal subject of Russia
 * Yamalo-Nenets Autonomous Okrug, a federal subject of Russia
 * Nenets people, a Samoyedic people
 * Nenets languages, a small language family of two closely related Samoyedic languages spoken by the Nenets people:
 * Tundra Nenets language
 * Forest Nenets language

title: Nenets (disambiguation)


text: Talk:Nenets (disambiguation)

title: Talk:Nenets (disambiguation)


text:
Brennero

Brennero may refer to:

 * Brenner, South Tyrol, a municipality in Italy
 * Brenner Pass

title: Brennero


text:
Toupée

A toupée is a hairpiece or partial wig of natural or synthetic hair worn to cover partial baldness or for theatrical purposes. While toupées and hairpieces are typically associated with male wearers, some women also use hairpieces to lengthen existing hair, or cover a partially exposed scalp.

The toupée developed during the 18th century.

Toupées and wigs
While most toupées are small and designed to cover bald spots at the top and back of the head, large toupées are not unknown.

Toupées are often referred to as hairpieces, units, or hair systems. Many women now wear hairpieces rather than full wigs if their hair loss is confined to the top and crown of their heads.

Etymology
Toupée comes from the French toupet, meaning tuft of hair, as in a curl or lock of hair at the top of the head, not necessarily relating to covering baldness.

18th century
The toupée developed during the 18th century; large toupées were popular in the 1770s. Their popularity began to fade after the French Revolution.

19th century
In the United States, toupée use (as opposed to wigs) grew in the 19th century. One researcher has noted that this is in part due to a shift in perceptions over the perceived value of aging that occurred at that time. Men chose to attempt to appear younger, and toupées were one method used.

...since 1800, the U.S. Census generally shows far more 39-year-olds than 40-year-olds. Furthermore, the costume of men switched from a design clearly intended to make the young look older to one that was clearly intended to make the old look younger. For example, this era saw the decline of the wig and the rise of the toupée.

20th century
By the 1950s, it was estimated that over 350,000 U.S. men wore hairpieces, out of a potential 15 million wearers. Toupée manufacturers helped to build credibility for their product starting in 1954, when several makers advertised hairpieces in major magazines and newspapers, with successful results. Key to the promotion and acceptance of toupées was improved toupée craftsmanship, pioneered by Max Factor. Factor's toupées were carefully made and almost invisible, with each strand of hair sewed to a piece of fine flesh-colored lace, and in a variety of long and short hairstyles. Factor, also a Hollywood makeup innovator, was the supplier of choice for most Hollywood actors.

By 1959, total U.S. sales were estimated by Time magazine to be $15 million a year. Sears-Roebuck, which had sold toupées as early as 1900 via its mail order catalog, tried to tap into the market by sending out 30,000 special catalogs by direct mail to a targeted list, advertising "career winning" hair products manufactured by Joseph Fleischer & Co., a respected wig manufacturer. Toupées continued to be advertised in print, likely with heavier media buys taking place in magazines with the appropriate male demographic. A typical "advertorial" can be found in Modern Mechanix.

By 1970, Time magazine estimated that in the U.S., toupées were worn by more than 2.5 million men out of 17–20 million balding men. The increase was chalked up once again to further improvements in hairpiece technology, a desire to seem more youthful, and the long hairstyles that were increasingly in fashion.

21st century
Toupée and wig manufacture is no longer centered in the U.S., but in Asia. Aderans, based in Japan, is one of the world’s largest wigmakers, with 35% share of the Japanese domestic market.

From 2002 to 2004, new orders from Aderans's male customers (both domestic and international) slipped by 30%. Researchers at both the Daiwa Institute and Nomura Research – two key Japanese economic research institutes – conclude that there is "no sign of a recovery" for the toupée industry. Sales for male wearers have continued to fall at Aderans in every year since, aside from 2016 where they increased slightly.

These numbers confirm the media consensus that toupée use is in decline overall.

Manufacture
Toupées are often custom made to the needs of the wearer, and can be manufactured using either synthetic or human hair. Toupées are usually held to one's head using an adhesive, but the cheaper versions often merely use an elastic band.

Toupée manufacture is often done at the local level by a craftsman, but large wig manufacturers also produce toupées. Both individuals and large firms have constantly innovated to produce better quality toupées and toupée material, with over 60 patents for toupées. and over 260 for hairpieces filed at the U.S. Patent Office since 1790.

The first patent for a toupée was filed in 1921, and the first patent for a "hairpiece" was filed in 1956.

Hair weaves
Hair weaves are a technique in which the toupée's base is then woven into whatever natural hair the wearer retains. While this may result in a less detectable toupée, the wearer can experience discomfort, and sometimes hair loss from frequently retightening of the weave as one's own hair grows. After about six months a person can begin to lose hair permanently along the weave area, resulting in traction alopecia. Hair weaves were very popular in the 1980s & 1990s, but are not usually recommended because of the potential for permanent hair damage and hair loss.

Use and maintenance
While toupée dealers and manufacturers usually advertise their products showing men swimming, water-skiing and enjoying watersports, these activities can often cause irreversible wear to the toupée. Saltwater and chlorine can cause a toupée to "wear out" quickly. Many shampoos and soaps will damage toupée fibers, which unlike natural hair, cannot grow back or replace themselves.

While dealers of toupées can in fact help many customers to care for their toupées and make their presence virtually undetectable, the hairpieces must be of very high quality to begin with, carefully fitted, and maintained regularly and carefully. Even the best-cared-for toupée will need to be replaced on a regular basis, due to wear and, over time, to the growing areas of baldness on the wearer's head and changes in the shade of remaining hair.

Toupée wearers may choose to own two or even three toupées at a time, ensuring that they have one to wear while the other is being cleaned, and, optionally, a spare.

Alternatives
Men typically wear toupées after resorting to less extreme methods of coverage. The first tactic is to make remaining hair appear thick and widespread through a combover. Other alternatives include non-surgical hair replacement, which consists of a very thin hairpiece which is put on with a medical adhesive and worn for weeks at a time.

Medications and medical procedures
Propecia, Rogaine and other pharmaceutical remedies were approved for treatment of alopecia by the U.S. Food and Drug Administration in the 1990s. These have proven capable of regrowing or sustaining existing hair at least part of the time.

However, hair transplantation, which guarantees at least some immediate results, has often replaced the use of toupées among those who can afford them, particularly onscreen celebrities.

Baldness as fashion, acceptance of hair loss
Other trends leading to the decline in toupée use include a rise in acceptance of baldness by those men experiencing it. Short haircuts, in fashion since the 1990s, have tended to minimize the appearance of baldness, and many balding men choose to shave their heads entirely.

Humor
Toupées have a long and often humorous history in Western culture. The toupée is a regular butt of jokes in many media, with a typical toupée joke focusing on the wearer's inability to recognize how ineffective the toupée is in concealing their baldness. An early instance of "toupée humor" was an illustration by George Cruikshank in "The Comic Almanack" in 1837, in which he drew the effect of a strong wind, with a man's toupée whipped from his head.

In the 20th century, toupées were a source of humor in virtually all forms of media, including cartoons, films, radio and television. In the 21st century, toupées continue to be a source for humor, with a variety of internet sites devoted to toupées, with a special emphasis on suspected celebrity hairpiece wearers. Also, toupée is a homophone of "to pay" and has been used in many jokes.

Thaddeus Stevens, famed 19th-century U.S. Congressman and abolitionist, was known for his humor and wit. On one occasion while in the Capitol, a woman requested a lock of his hair (collecting locks of hair was common at this time). Since he was bald and wearing a toupée, he ripped it off and gave it to her.

There was a long-running gag in the Morecambe & Wise Show about Ernie Wise's wig; in reality he had a full head of hair.

Known wearers
Film and television stars of both past and present often wear toupées for professional reasons, particularly as they begin to age and need to maintain the image their fans have become accustomed to. However, many of these same celebrities go "uncovered" when not working or making public appearances.

 * Bud Abbott
 * Marv Albert
 * Steve Allen
 * Neil Aspinall
 * Fred Astaire
 * Raymond Bailey
 * Edgar Bergen
 * Humphrey Bogart
 * George Burns
 * Archie Campbell
 * Sean Connery
 * Gary Cooper
 * Howard Cosell
 * Bing Crosby
 * Peter Cushing
 * Bobby Darin
 * Ted Danson
 * Charles O. Finley
 * Bruce Forsyth
 * Paul Harvey
 * Ted Healy
 * Charlton Heston
 * Frankie Howerd
 * Gene Kelly
 * Jack Klugman
 * Frankie Laine
 * Bela Lugosi
 * Fred MacMurray
 * Miles Malleson
 * Groucho Marx
 * John L. Mica
 * Ray Milland
 * Ricardo Montalbán
 * James C. Morton
 * Charles Nelson Reilly
 * Keith Olbermann
 * Carl Reiner
 * Rob Reiner
 * Burt Reynolds
 * John D. Rockefeller
 * William Roth
 * William Shatner
 * Frank Sinatra
 * James Stewart
 * Rip Taylor
 * James Traficant
 * Billy Vaughn
 * John Wayne
 * Hank Williams

title: Toupée


text:
Relativistic Heavy Ion Collider

The Relativistic Heavy Ion Collider (RHIC ) is the first and one of only two operating heavy-ion colliders, and the only spin-polarized proton collider ever built. Located at Brookhaven National Laboratory (BNL) in Upton, New York, and used by an international team of researchers, it is the only operating particle collider in the US. By using RHIC to collide ions traveling at relativistic speeds, physicists study the primordial form of matter that existed in the universe shortly after the Big Bang. By colliding spin-polarized protons, the spin structure of the proton is explored.

RHIC is as of 2019 the second-highest-energy heavy-ion collider in the world, with nucleon energies for collisions reaching 100 GeV for gold ions and 250 GeV for protons. As of November 7, 2010, the Large Hadron Collider (LHC) has collided heavy ions of lead at higher energies than RHIC. The LHC operating time for ions (lead–lead and lead–proton collisions) is limited to about one month per year.

In 2010, RHIC physicists published results of temperature measurements from earlier experiments which concluded that temperatures in excess of 345 MeV (4 terakelvin or 7 trillion degrees Fahrenheit) had been achieved in gold ion collisions, and that these collision temperatures resulted in the breakdown of "normal matter" and the creation of a liquid-like quark–gluon plasma.

In January 2020, the US Department of Energy Office of Science selected the eRHIC design for the future Electron–Ion collider (EIC), building on the existing RHIC facility at BNL.

The accelerator
RHIC is an intersecting storage ring particle accelerator. Two independent rings (arbitrarily denoted as "Blue" and "Yellow") circulate heavy ions and/or polarized protons in opposite directions and allow a virtually free choice of colliding positively charged particles (the eRHIC upgrade will allow collisions between positively and negatively charged particles). The RHIC double storage ring is hexagonally shaped and has a circumference of $245,000,000,000,000,000,000,000,000,000,000$, with curved edges in which stored particles are deflected and focused by 1,740 superconducting magnets using niobium-titanium conductors. The dipole magnets operate at $15,500,000,000,000,000,000,000,000,000$. The six interaction points (between the particles circulating in the two rings) are in the middle of the six relatively straight sections, where the two rings cross, allowing the particles to collide. The interaction points are enumerated by clock positions, with the injection near 6 o'clock. Two large experiments, STAR and PHENIX, are located at 6 and 8 o'clock respectively. The PHENIX experiment is presently undergoing a major upgrade to become sPHENIX.

A particle passes through several stages of boosters before it reaches the RHIC storage ring. The first stage for ions is the electron beam ion source (EBIS), while for protons, the $3,834 m$ linear accelerator (Linac) is used. As an example, gold nuclei leaving the EBIS have a kinetic energy of $3,834 m$ per nucleon and have an electric charge Q = +32 (32 of 79 electrons stripped from the gold atom). The particles are then accelerated by the Booster synchrotron to $3.45 T$ per nucleon, which injects the projectile now with Q = +77 into the Alternating Gradient Synchrotron (AGS), before they finally reach $200 MeV$ per nucleon and are injected in a Q = +79 state (no electrons left) into the RHIC storage ring over the AGS-to-RHIC Transfer Line (AtR).

To date the types of particle combinations explored at RHIC are p + p, p + Al, p + Au, d + Au, h + Au, Cu + Cu, Cu + Au, Zr + Zr, Ru + Ru, Au + Au and U + U. The projectiles typically travel at a speed of 99.995% of the speed of light. For Au + Au collisions, the center-of-mass energy is typically $2 MeV$ per nucleon-pair, and was as low as $100 MeV$ per nucleon-pair. An average luminosity of $8.86 GeV$ was targeted during the planning. The current average Au + Au luminosity of the collider has reached $200 GeV$, 44 times the design value. The heavy ion luminosity is substantially increased through stochastic cooling.

One unique characteristic of RHIC is its capability to collide polarized protons. RHIC holds the record of highest energy polarized proton beams. Polarized protons are injected into RHIC and preserve this state throughout the energy ramp. This is a difficult task that is accomplished with the aid of corkscrew magnetics called 'Siberian snakes' (in RHIC a chain 4 helical dipole magnets). The corkscrew induces the magnetic field to spiral along the direction of the beam Run-9 achieved center-of-mass energy of $7.7 GeV$ on 12 February 2009. In Run-13 the average p + p luminosity of the collider reached $2 cm^{−2}⋅s^{−1}$, with a time and intensity averaged polarization of 52%.

AC dipoles have been used in non-linear machine diagnostics for the first time in RHIC.

The experiments
There are two detectors currently operating at RHIC: STAR (6 o'clock, and near the AGS-to-RHIC Transfer Line) and sPHENIX (8 o'clock), the successor to PHENIX. PHOBOS (10 o'clock) completed its operation in 2005, and BRAHMS (2 o'clock) in 2006.

Among the two larger detectors, STAR is aimed at the detection of hadrons with its system of time projection chambers covering a large solid angle and in a conventionally generated solenoidal magnetic field, while PHENIX is further specialized in detecting rare and electromagnetic particles, using a partial coverage detector system in a superconductively generated axial magnetic field. The smaller detectors have larger pseudorapidity coverage, PHOBOS has the largest pseudorapidity coverage of all detectors, and tailored for bulk particle multiplicity measurement, while BRAHMS is designed for momentum spectroscopy, in order to study the so-called "small-x" and saturation physics. There is an additional experiment, PP2PP (now part of STAR), investigating spin dependence in p + p scattering.

The spokespersons for each of the experiments are:
 * STAR: Frank Geurts (Rice University) and Lijuan Ruan (Brookhaven National Laboratory)
 * PHENIX: Yasuyuki Akiba (Riken)
 * sPHENIX:  Gunter Roland (MIT) and David Morrison (Brookhaven National Laboratory)

Current results
For the experimental objective of creating and studying the quark–gluon plasma, RHIC has the unique ability to provide baseline measurements for itself. This consists of both the lower energy and also lower mass number projectile combinations that do not result in the density of 200 GeV Au + Au collisions, like the p + p and d + Au collisions of the earlier runs, and also Cu + Cu collisions in Run-5.

Using this approach, important results of the measurement of the hot QCD matter created at RHIC are:

 * Collective anisotropy, or elliptic flow. The major part of the particles with lower momenta is emitted following an angular distribution $$dn/d\phi \propto 1 + 2 v_2(p_\mathrm{T}) \cos 2 \phi$$ (pT is the transverse momentum, $$\phi$$ angle with the reaction plane). This is a direct result of the elliptic shape of the nucleus overlap region during the collision and hydrodynamical property of the matter created.
 * Jet quenching. In the heavy ion collision event, scattering with a high transverse pT can serve as a probe for the hot QCD matter, as it loses its energy while traveling through the medium. Experimentally, the quantity RAA (A is the mass number) being the quotient of observed jet yield in A + A collisions and Nbin × yield in p + p collisions shows a strong damping with increasing A, which is an indication of the new properties of the hot QCD matter created.
 * Color glass condensate saturation. The Balitsky–Fadin–Kuraev–Lipatov (BFKL) dynamics which are the result of a resummation of large logarithmic terms in Q² for deep inelastic scattering with small Bjorken-x, saturate at a unitarity limit $$Q_s^2 \propto \langle N_\mathrm{part} \rangle/2$$, with Npart/2 being the number of participant nucleons in a collision (as opposed to the number of binary collisions). The observed charged multiplicity follows the expected dependency of $$n_\mathrm{ch}/A \propto 1/\alpha_s(Q_s^2)$$, supporting the predictions of the color glass condensate model. For a detailed discussion, see e.g. Dmitri Kharzeev et al.; for an overview of color glass condensates, see e.g. Iancu & Venugopalan.
 * Particle ratios. The particle ratios predicted by statistical models allow the calculation of parameters such as the temperature at chemical freeze-out Tch and hadron chemical potential $$\mu_B$$. The experimental value Tch varies a bit with the model used, with most authors giving a value of 160 MeV < Tch < 180 MeV, which is very close to the expected QCD phase transition value of approximately 170 MeV obtained by lattice QCD calculations (see e.g. Karsch ).

While in the first years, theorists were eager to claim that RHIC has discovered the quark–gluon plasma (e.g. Gyulassy & McLarren ), the experimental groups were more careful not to jump to conclusions, citing various variables still in need of further measurement. The present results shows that the matter created is a fluid with a viscosity near the quantum limit, but is unlike a weakly interacting plasma (a widespread yet not quantitatively unfounded belief on how quark–gluon plasma looks).

A recent overview of the physics result is provided by the RHIC Experimental Evaluations 2004, a community-wide effort of RHIC experiments to evaluate the current data in the context of implication for formation of a new state of matter. These results are from the first three years of data collection at RHIC.

New results were published in Physical Review Letters on February 16, 2010, stating the discovery of the first hints of symmetry transformations, and that the observations may suggest that bubbles formed in the aftermath of the collisions created in the RHIC may break parity symmetry, which normally characterizes interactions between quarks and gluons.

The RHIC physicists announced new temperature measurements for these experiments of up to 4 trillion kelvins, the highest temperature ever achieved in a laboratory. It is described as a recreation of the conditions that existed during the birth of the Universe.

Possible closure under flat nuclear science budget scenarios
In late 2012, the Nuclear Science Advisory Committee (NSAC) was asked to advise the Department of Energy's Office of Science and the National Science Foundation how to implement the nuclear science long range plan written in 2007, if future nuclear science budgets continue to provide no growth over the next four years. In a narrowly decided vote, the NSAC committee showed a slight preference, based on non-science related considerations, for shutting down RHIC rather than canceling the construction of the Facility for Rare Isotope Beams (FRIB).

By October 2015, the budget situation had improved, and RHIC can continue operations into the next decade.

The future
RHIC began operation in 2000 and until November 2010 was the highest-energy heavy-ion collider in the world. The Large Hadron Collider (LHC) of CERN, while used mainly for colliding protons, operates with heavy ions for about one month per year. The LHC has operated with 25 times higher energies per nucleon. As of 2018, RHIC and the LHC are the only operating hadron colliders in the world.

Due to the longer operating time per year, a greater number of colliding ion species and collision energies can be studied at RHIC. In addition and unlike the LHC, RHIC is also able to accelerate spin polarized protons, which would leave RHIC as the world's highest energy accelerator for studying spin-polarized proton structure.

A major upgrade is the Electron–Ion Collider (EIC), the addition of a 18 GeV high intensity electron beam facility, allowing electron–ion collisions. At least one new detector will have to be built to study the collisions. A review was published by Abhay Deshpande et al. in 2005. A more recent description is at:

On January 9, 2020, It was announced by Paul Dabbar, undersecretary of the US Department of Energy Office of Science, that the BNL eRHIC design has been selected for the future electron–ion collider (EIC) in the United States. In addition to the site selection, it was announced that the BNL EIC had acquired CD-0 (mission need) from the Department of Energy.

Critics of high-energy experiments
Before RHIC started operation, critics postulated that the extremely high energy could produce catastrophic scenarios, such as creating a black hole, a transition into a different quantum mechanical vacuum (see false vacuum), or the creation of strange matter that is more stable than ordinary matter. These hypotheses are complex, but many predict that the Earth would be destroyed in a time frame from seconds to millennia, depending on the theory considered. However, the fact that objects of the Solar System (e.g., the Moon) have been bombarded with cosmic particles of significantly higher energies than that of RHIC and other man-made colliders for billions of years, without any harm to the Solar System, were among the most striking arguments that these hypotheses were unfounded.

The other main controversial issue was a demand by critics for physicists to reasonably exclude the probability for such a catastrophic scenario. Physicists are unable to demonstrate experimental and astrophysical constraints of zero probability of catastrophic events, nor that tomorrow Earth will be struck with a "doomsday" cosmic ray (they can only calculate an upper limit for the likelihood). The result would be the same destructive scenarios described above, although obviously not caused by humans. According to this argument of upper limits, RHIC would still modify the chance for the Earth's survival by an infinitesimal amount.

Concerns were raised in connection with the RHIC particle accelerator, both in the media and in the popular science media. The risk of a doomsday scenario was indicated by Martin Rees, with respect to the RHIC, as being at least a 1 in 50,000,000 chance. With regards to the production of strangelets, Frank Close, professor of physics at the University of Oxford, indicates that "the chance of this happening is like you winning the major prize on the lottery 3 weeks in succession; the problem is that people believe it is possible to win the lottery 3 weeks in succession." After detailed studies, scientists reached such conclusions as "beyond reasonable doubt, heavy-ion experiments at RHIC will not endanger our planet" and that there is "powerful empirical evidence against the possibility of dangerous strangelet production".

The debate started in 1999 with an exchange of letters in Scientific American between Walter L. Wagner and F. Wilczek, in response to a previous article by M. Mukerjee. The media attention unfolded with an article in UK Sunday Times of July 18, 1999, by J. Leake, closely followed by articles in the U.S. media. The controversy mostly ended with the report of a committee convened by the director of Brookhaven National Laboratory, J. H. Marburger, ostensibly ruling out the catastrophic scenarios depicted. However, the report left open the possibility that relativistic cosmic ray impact products might behave differently while transiting earth compared to "at rest" RHIC products; and the possibility that the qualitative difference between high-E proton collisions with earth or the moon might be different than gold on gold collisions at the RHIC. Wagner tried subsequently to stop full-energy collision at RHIC by filing Federal lawsuits in San Francisco and New York, but without success. The New York suit was dismissed on the technicality that the San Francisco suit was the preferred forum. The San Francisco suit was dismissed, but with leave to refile if additional information was developed and presented to the court.

On March 17, 2005, the BBC published an article implying that researcher Horaţiu Năstase believes black holes have been created at RHIC. However, the original papers of H. Năstase and the New Scientist article cited by the BBC state that the correspondence of the hot dense QCD matter created in RHIC to a black hole is only in the sense of a correspondence of QCD scattering in Minkowski space and scattering in the AdS5 × X5 space in AdS/CFT; in other words, it is similar mathematically. Therefore, RHIC collisions might be described by mathematics relevant to theories of quantum gravity within AdS/CFT, but the described physical phenomena are not the same.

Financial information
The RHIC project was sponsored by the United States Department of Energy, Office of Science, Office of Nuclear physics. It had a line-item budget of 616.6 million U.S. dollars.

For fiscal year 2006 the operational budget was reduced by 16.1 million U.S. dollars from the previous year, to 115.5 million U.S. dollars. Though operation under the fiscal year 2006 federal budget cut was uncertain, a key portion of the operational cost (13 million U.S. dollars) was contributed privately by a group close to Renaissance Technologies of East Setauket, New York.

In fiction

 * The novel Cosm (ISBN 0-380-79052-1) by the American author Gregory Benford takes place at RHIC. The science fiction setting describes the main character Alicia Butterworth, a physicist at the BRAHMS experiment, and a new universe being created in RHIC by accident, while running with uranium ions.
 * The zombie apocalypse novel The Rising by the American author Brian Keene referenced the media concerns of activating the RHIC raised by the article in The Sunday Times of July 18, 1999, by J. Leake. As revealed very early in the story, side effects of the collider experiments of the RHIC (located at "Havenbrook National Laboratories") were the cause of the zombie uprising in the novel and its sequel City of the Dead.
 * In the Rayloria's Memory novel series by the American author Othello Gooden Jr, beginning with Raylorian Dawn (ISBN 1466328681), it is noted that each Lunar City and their space station is powered by a RHIC.

title: Relativistic Heavy Ion Collider


text:
Transition state

In chemistry, the transition state of a chemical reaction is a particular configuration along the reaction coordinate. It is defined as the state corresponding to the highest potential energy along this reaction coordinate. It is often marked with the double dagger (‡) symbol.

As an example, the transition state shown below occurs during the SN2 reaction of bromoethane with a hydroxide anion:

The activated complex of a reaction can refer to either the transition state or to other states along the reaction coordinate between reactants and products, especially those close to the transition state.

According to the transition state theory, once the reactants have passed through the transition state configuration, they always continue to form products.

History of concept
The concept of a transition state has been important in many theories of the rates at which chemical reactions occur. This started with the transition state theory (also referred to as the activated complex theory), which was first developed around 1935 by Eyring, Evans and Polanyi, and introduced basic concepts in chemical kinetics that are still used today.

Explanation
A collision between reactant molecules may or may not result in a successful reaction. The outcome depends on factors such as the relative kinetic energy, relative orientation and internal energy of the molecules. Even if the collision partners form an activated complex they are not bound to go on and form products, and instead the complex may fall apart back to the reactants.

Observing transition states
Because the structure of the transition state is a first-order saddle point along a potential energy surface, the population of species in a reaction that are at the transition state is negligible. Since being at a saddle point along the potential energy surface means that a force is acting along the bonds to the molecule, there will always be a lower energy structure that the transition state can decompose into. This is sometimes expressed by stating that the transition state has a fleeting existence, with species only maintaining the transition state structure for the time-scale of vibrations of chemical bonds (femtoseconds). However, cleverly manipulated spectroscopic techniques can get us as close as the timescale of the technique allows. Femtochemical IR spectroscopy was developed for that reason, and it is possible to probe molecular structure extremely close to the transition point. Often, along the reaction coordinate, reactive intermediates are present not much lower in energy from a transition state making it difficult to distinguish between the two.

Determining the geometry of a transition state
Transition state structures can be determined by searching for first-order saddle points on the potential energy surface (PES) of the chemical species of interest. A first-order saddle point is a critical point of index one, that is, a position on the PES corresponding to a minimum in all directions except one. This is further described in the article geometry optimization.

The Hammond–Leffler postulate
The Hammond–Leffler postulate states that the structure of the transition state more closely resembles either the products or the starting material, depending on which is higher in enthalpy. A transition state that resembles the reactants more than the products is said to be early, while a transition state that resembles the products more than the reactants is said to be late. Thus, the Hammond–Leffler Postulate predicts a late transition state for an endothermic reaction and an early transition state for an exothermic reaction.

A dimensionless reaction coordinate that quantifies the lateness of a transition state can be used to test the validity of the Hammond–Leffler postulate for a particular reaction.

The structure–correlation principle
The structure–correlation principle states that structural changes that occur along the reaction coordinate can reveal themselves in the ground state as deviations of bond distances and angles from normal values along the reaction coordinate. According to this theory if one particular bond length on reaching the transition state increases then this bond is already longer in its ground state compared to a compound not sharing this transition state. One demonstration of this principle is found in the two bicyclic compounds depicted below. The one on the left is a bicyclo[2.2.2]octene, which, at 200 °C, extrudes ethylene in a retro-Diels–Alder reaction.

 * [[Image:Structure Correlation Principle.png|400px|Structure Correlation Principle]]

Compared to the compound on the right (which, lacking an alkene group, is unable to give this reaction) the bridgehead carbon-carbon bond length is expected to be shorter if the theory holds, because on approaching the transition state this bond gains double bond character. For these two compounds the prediction holds up based on X-ray crystallography.

Implications for enzymatic catalysis
One way that enzymatic catalysis proceeds is by stabilizing the transition state through electrostatics. By lowering the energy of the transition state, it allows a greater population of the starting material to attain the energy needed to overcome the transition energy and proceed to product.

title: Transition state


text:
Manchester Aquatics Centre

The Manchester Aquatics Centre, abbreviated MAC, is a public aquatics sports facility south of the city centre of Manchester, England, north of the main buildings of the University of Manchester near Manchester Metropolitan University. It was purpose built for the 2002 Commonwealth Games, and cost £32 million to build.

Before it was built, for many years its site was open waste ground, left by demolishing inner city industrial terrace houses. The building was designed by FaulknerBrowns Architects. The building takes the approximate shape of an asymmetric trapezoidal prism (the apex provides clearance above the highest diving board), and from the outside, the roof resembles a wave.

Construction started in August 1996, and was completed in July 2000, with finishing touches made in September 2001. MAC hosts many swimming and water polo events but also hosts Lancashire County Championships and Age group North west Regionals for swimming. It was opened on 12 October 2000, by Queen Elizabeth II. The pool was closed in 2021 for major refurbishment works over the following two years.

Facilities
The centre's facilities include:
 * Two 50 m swimming pools, each able to be split into sections of varying dimensions and depths with the help of moveable floors and booms. In fact, the centre has the world's largest area of movable floors and booms in a swimming facility.
 * The "main pool" on the ground floor is 50 m by 20 m with a maximum depth of 2 m. A sinkable boom can separate the pool into a 23 m by 21 m with constant depth between floor level and 2 m depth; and a 25 m by 21 m section at 2 m depth, which in turn can be separated by another sinkable boom to allow a section of 10 m by 21 m. The floors of these three sections can each be independently raised or lowered between very shallow and 2 m depth. 1,000 permanent spectator seats overlook the main pool hall.
 * The "training pool" is located in the basement and is 16 m by 50 m in size, with a constant depth of 1.8 m. A traversable boom allows separation into two 25 m length pools, one of which can be varied in depth from floor level to 1.8 m. The training pool's ceiling is in the shape of two long waves representing waves on water.
 * A 25 m diving pool (ground level) with movable floor to allow a maximum depth of 5.1 m. The pool is often also used for water polo, and scuba diving training.
 * A "leisure pool" (ground floor) – a shallow water area suitable for younger pool users, with two water flumes and two bubble pools.
 * Workout and fitness studios (behind the spectator seating), a health suite including sauna and steam room.
 * Poolside café.

Use
It is jointly owned by Manchester City Council, the University of Manchester and Manchester Metropolitan University. All the facilities can be used by members of the public.

The centre is the home of the City of Manchester Aquatics Swim Team, as well as Disability Swimming and Water Polo athletes within the English Institute of Sport.

As well as the 2002 Commonwealth Games, the MAC has been used for:
 * Paralympic World Cup since 2005
 * Training for 9th FINA World Short Course Championships 2008
 * Duel in the Pool 2009
 * LEN European Waterpolo
 * Training for teams for the 2012 Olympic Games
 * SwimBritain 2013

title: Manchester Aquatics Centre


text:
Aniridia

Aniridia is the absence of the iris, a muscular structure that opens and closes the pupil to allow light into the eye. It is also responsible for eye color. Without it, the central eye appears all black. It can be congenital, in which both eyes are usually involved, or caused by a penetrant injury. Isolated aniridia is a congenital disorder that is not limited to a defect in iris development, but is a  panocular condition with macular and optic nerve hypoplasia, cataract,  and corneal changes. Vision may be severely compromised and the disorder is frequently associated with some ocular complications: nystagmus, amblyopia, buphthalmos, and cataract. Aniridia in some individuals occurs as part of a syndrome, such as WAGR syndrome (kidney nephroblastoma (Wilms tumour), genitourinary anomalies and intellectual disability), or Gillespie syndrome (cerebellar ataxia).

PAX6

The AN2 region of the short arm of chromosome 11 (11p13) includes the PAX6 gene (named for its PAired boX status), whose gene product helps regulate a cascade of other genetic processes involved in the development of the eye (as well as other non-ocular structures). This PAX6 gene is around 95% similar to the pax gene found in zebrafish, a creature whose ancestors diverged from human evolutionary development around 400 million years ago. Thus the PAX6 gene is highly conserved across evolutionary  lineages.

Defects in the PAX6 gene cause aniridia-like ocular defects in mice (as well as Drosophila). Aniridia is a heterozygous disorder, meaning that only one of the two chromosome 11 copies is affected. When both copies are altered (homozygous condition), the result is a uniformly fatal condition with near complete failure of entire eye formation. In 2001, two cases of homozygous aniridia patients were reported; the fetuses died prior to birth and had severe brain damage. In mice, homozygous small eye defect (mouse Pax-6) leads to loss of the eyes and nose and the murine fetuses sustain severe brain damage.

Types
Aniridia may be broadly divided into hereditary and sporadic forms. Hereditary aniridia is usually transmitted in an autosomal dominant manner (each offspring has a 50% chance of being affected), although rare autosomal recessive forms (such as Gillespie syndrome) have also been reported. Sporadic aniridia mutations may affect the WT1 region adjacent to the AN2 aniridia region, causing a kidney cancer called nephroblastoma (Wilms tumor). These patients often also have genitourinary abnormalities and intellectual disability (WAGR syndrome).

Several different mutations may affect the PAX6 gene. Some mutations appear to inhibit gene function more than others, with subsequent variability in the severity of the disease. Thus, some aniridic individuals are only missing a relatively small amount of iris, do not have foveal hypoplasia, and retain relatively normal vision. Presumably, the genetic defect in these individuals causes less "heterozygous insufficiency," meaning they retain enough gene function to yield a milder phenotype.

 * AN
 * Aniridia and absent patella
 * Aniridia, microcornea, and spontaneously reabsorbed cataract
 * Aniridia, cerebellar ataxia, and mental deficiency (Gillespie syndrome)

Mutational analysis
Molecular (DNA) testing for PAX6 gene mutations (by sequencing of the entire coding region and deletion/duplication analysis) is available for isolated aniridia and the Gillespie syndrome. For the WAGR syndrome, high-resolution cytogenetic analysis and fluorescence in situ hybridization (FISH) can be utilized to identify deletions within chromosome band 11p13, where both the PAX6 and WT1 genes are located.

Symptoms
Aniridia can cause many symptoms, such as:

 * Poor vision (not always present)
 * More sensitivity to light
 * Fast, uncontrolled, shaking "to and from" eye movements (nystagmus)
 * Eyes don't line up (strabismus)

Treatment
In May 2018, the U.S. Food and Drug Administration approved the CustomFlex Artificial Iris, the first synthetic iris for use in adults and children with congenital aniridia or iris defects related to other conditions, such as albinism, traumatic injury, or surgical removal due to ocular melanoma. The artificial iris is a surgically implanted device made of thin, foldable, medical-grade silicone and is custom-sized and colored for each individual patient. The prosthetic iris is held in place by the anatomical structures of the eye or, if needed, by sutures.

title: Aniridia


text: User talk:81.156.10.74

title: User talk:81.156.10.74


text:
Feed Me Weird Things

Feed Me Weird Things is the debut studio album by English electronic musician Tom Jenkinson under the alias Squarepusher. It was released on 3 June 1996 through Rephlex Records.

Upon release, Feed Me Weird Things peaked at number 10 on the UK Dance Albums Chart. The album received positive reviews from critics and has been retrospectively cited as a landmark release in the drill 'n' bass subgenre. A 25th anniversary remastered edition was released on 4 June 2021 by Warp.

Background and production
Around late 1994, Tom Jenkinson started experimenting with breakbeats and incorporating them into the electronic music he produced. His earliest songs in this new style were released on the Spymania label. Jenkinson produced the tracks on Feed Me Weird Things from December 1994 to February 1996, while he was a student at Chelsea College of Art and Design. He used his student loans to purchase much of the equipment that he utilised in recording the album.

Richard D. James (also known as Aphex Twin), who co-founded Rephlex Records (where the album was originally released), selected the tracks that appeared on the final album. The tracks were mastered by Paul Solomons at the studio Porky's.

Title and packaging
According to Jenkinson, the title Feed Me Weird Things was inspired by a conversation with Steve Beckett, a co-founder of the label Warp, "in which he told me about his girlfriend who would ask him to 'feed me drum & bass'." Jenkinson collaborated on the artwork for Feed Me Weird Things with Johnny Clayton.

The packaging for the album features various photographs taken by Jenkinson at different London locations in February 1996, which were subsequently edited by Clayton. The front cover photograph was taken inside a job centre in Palmers Green. The album's liner notes were penned by Richard D. James.

Release
Feed Me Weird Things was released on 3 June 1996 by Rephlex Records. It entered the UK Dance Albums Chart at number 10 on 15 June. On 4 June 2021, Warp released a remastered edition of Feed Me Weird Things for the album's 25th anniversary.

Critical reception
Muzik's Calvin Bush praised Feed Me Weird Things as "the kind of album Miles Davis might have made if he had been wired into breakbeats, Aphex Twin and Ninja Tune." Ben Willmott of NME deemed it Jenkinson's "most consistently varied, bedazzling and rounded deposit to date." New York Times critic Neil Strauss said that Jenkinson "deftly combines the laid-back cool of fusion jazz with the frenetic intensity of drum-and-bass" and "makes one realize just how wide a window of opportunity for musicians drum-and-bass has opened." At the end of 1996, The Wire named Feed Me Weird Things one of the year's 50 best records.

Writing for Spin, Ken Micallef said that with Feed Me Weird Things and its follow-up Hard Normal Daddy (1997), Jenkinson "did to jungle what Frank Zappa did to rock—satirized its excesses with a maze of neurotic, scurrying notes, while adding a nerdy musicality that practically invented a new genre." AllMusic credited the 1996 releases of Feed Me Weird Things and Plug's Drum 'n' Bass for Papa as catalysts for the popularisation of the drill 'n' bass subgenre. Ben Cardew of Pitchfork called Feed Me Weird Things "a time capsule of the era's drill'n'bass and jazzy jungle" that demonstrated Jenkinson's innovative fusion of "the maximal drum programming of drum'n'bass" with live fretless bass guitar playing. AllMusic's Paul Simpson wrote that the album showed that Jenkinson "was capable of doing things nobody else had dreamt of before, and it still holds some of his all-time best material." San Diego Union-Tribune journalist AnnaMaria Stephens cited Feed Me Weird Things as one of the most important IDM albums. In 2007, The Guardian listed it as one of "1000 Albums to Hear Before You Die".

title: Feed Me Weird Things


text: User talk:172.190.217.156

title: User talk:172.190.217.156


text:
Adamoli-Cattani fighter

The Adamoli-Cattani fighter was a prototype fighter aircraft designed as a private venture by two Italian aircraft builders in 1918.

Design and development
The Adamoli-Cattani was intended to be the smallest practical biplane around the most powerful engine available to them, a 149 kW le Rhône M. The result was a reasonably conventional design, other than that the wings featured hinged leading edges in place of conventional ailerons. The Farina Coach Building factory in Turin began construction of the prototype; the Officine Moncenisio in Condove completed it.

Operational history
Upon completion, ground testing revealed that the engine as installed could only deliver some 80% of its rated power, thus leaving the aircraft significantly underpowered. Limited tests continued until the end of World War I, when the Armistice made further development superfluous.

title: Adamoli-Cattani fighter


text:
Wikipedia:Articles for deletion/Duffy Stirling

Apparently "known throughout the world for her research into mythical and pagan names" but more about her pet cat's fondness for tripe. Unnotable with unencylopedic garbage. (User:Poccil put a vfd notice on the page but didn't place it here). Ianb
 * Oh my god. Delete immediately.  Exploding Boy 13:03, Jul 22, 2004 (UTC)
 * Delete. - Kenwarren 13:20, Jul 22, 2004 (UTC)
 * Delete and definitely BJAODN. I think it's really, really funny.  The cat likes tripe & then dies of mysterious causes.  I'm still grinning from that. Geogre 14:12, 22 Jul 2004 (UTC)
 * Hang on! "Category: Porn stars?"  Uhhh.  Let's that website, eh?
 * Good Lord, she accused J.K Rowling of being a cat-murderer!
 * Clearly this should be a Delete & Merge to a major article on her cat, the main protagonist of this tail, ne? BJAODN, and Delete. -FZ 17:32, 22 Jul 2004 (UTC)
 * This is clearly patent nonsense. Delete.  Still, I can't figure out if Duffy moved to England in search of tripe, or the cat moved on her own.  RickK 18:51, Jul 22, 2004 (UTC)
 * A detailed article about a wonderful person. But its violation of the principle of least astonishment gives me a queasy feeling.  Delete.   - Plutor 19:04, 22 Jul 2004 (UTC)
 * Delete strange tale of mystery and cats. -- Cyrius|✎ 06:07, 23 Jul 2004 (UTC)
 * Delete. Although I favour diverse biograpical sketches being included in Wikipedia, they must at least be accurate and NPOV. Article reads like it was written by somebody suffering from SMI, leading to doubts about both POV and accuracy of information. Arevich 13:59, 23 Jul 2004 (UTC)
 * SMI? -FZ 14:38, 23 Jul 2004 (UTC)

 * Sounds like undergraduate humor to me. DeleteHayford Peirce 21:02, 23 Jul 2004 (UTC)
 * Better than many articles recently, if only because it starts the second name with a capital letter. But delete. DJ Clayworth 17:17, 26 Jul 2004 (UTC)


text:
1998–99 Heineken Cup

The 1998–99 Heineken Cup was the fourth edition of the Heineken Cup. Competing teams from France, Ireland, Italy, Wales, and Scotland, were divided into four pools of four, in which teams played home and away matches against each other. Cardiff and Swansea did not compete due to a dispute with their union, the Welsh Rugby Union, whereas teams from England did not compete due to a dispute between European Rugby and the Rugby Football Union. The pool winners and runners-up qualified for the knock-out stages.

Pool stage
In the pool matches teams received 2 points for a win, 1 point for a draw and 0 points for a defeat.

title: 1998–99 Heineken Cup


text:
Hard Normal Daddy

Hard Normal Daddy is the second studio album by English electronic musician Tom Jenkinson under the alias Squarepusher, released on 28 April 1997. The album was Jenkinson's first studio album as Squarepusher for Warp. A single for the track "Vic Acid" was released in 1997 prior to the album's release.

Hard Normal Daddy received positive reviews from critics and was listed as one of the best albums of 1997 by NME and The Wire. The album has received further acclaim years after its release, with Stylus Magazine referring to it in 2003 as Squarepusher's "masterpiece" and Pitchfork ranking it in 2017 as one of the greatest IDM albums of all time.

Background
Tom Jenkinson was offered to sign to Ninja Tune, Rephlex Records, R&S Records and Warp. Jenkinson eventually chose Warp as he was more interested in the label's music.

Music
Pitchfork's Seth Colter Walls cited the album's musical style as an early example of the drill 'n' bass subgenre, described by the online music database AllMusic as a version of drum 'n' bass that warped "old midtempo beats and breaks into a frenzied, experimental potpourri of low-attention-span electronic music."

Baltimore Sun critic J. D. Considine described the album as jazz fusion influenced, characterising its contents as "lyrical, complicated keyboard riffs, dense, churning beats, nimble, melodic fretless bass – add in a saxophone, and you'd have the drum 'n' bass equivalent of Weather Report." Tom Jenkinson has stated that his music on Hard Normal Daddy was not influenced by jazz fusion but by funk-oriented music such as Herbie Hancock's Death Wish soundtrack and 1970s television themes from police and detective shows.

Artwork
The album art for Hard Normal Daddy was designed by Jenkinson and Johnny Clayton, who had previously collaborated on the artwork for Jenkinson's 1996 debut album as Squarepusher, Feed Me Weird Things. Clayton encouraged Jenkinson to again take inspiration from Jenkinson's hometown of Chelmsford, which had also inspired the artwork for Feed Me Weird Things. Given a camera, Jenkinson took photos of various locations in the town, including sheds where illegal raves were held and the local park, which are depicted in the CD packaging, as well as a run-down gas container that features on the album cover. The packaging artwork has a note of dedication to the Chelmsford rave scene.

Release
Hard Normal Daddy was released by Warp on 28 April 1997. It was released on compact disc, double vinyl, cassette and digital download. A single was released for the album for the track "Vic Acid" on 31 March 1997 by Warp on compact disc and 12-inch vinyl.

Reception
Hard Normal Daddy received positive reviews upon release. In a contemporary review, Muzik critic Rupert Howe praised Hard Normal Daddy as an album of "style, wit and crafty ingenuity", albeit one that "isn't always quite as clever as it would like to think it is". Writing for NME, Andy Crysell noted Jenkinson's "passion for jazz that separates him from that other most weirdy and beardy of dance warriors" but called the album "schizophrenic", expressing frustration at its "high-velocity experimentation" and perceived emphasis on virtuosity.

NME placed Hard Normal Daddy at number 34 on its list of best albums of 1997. The Wire named it among the best albums of the year. In December 1998, Alternative Press ranked Hard Normal Daddy at number 54 on its list of the 90 best albums of the 1990s.

Legacy
Years after release, Hard Normal Daddy has been acclaimed by critics. Retrospectively, Sean Cooper of AllMusic gave Hard Normal Daddy five out of five stars, comparing it favourably to similar releases from the music labels Spymania and Rephlex and describing the album as "substantially cleaner and more thought out than previous releases" from those labels. Cooper further praised the album for not "simply relying on the shock value of 'tripping-over-myself' drum programming and light-speed fretless bass noodling." In 2003, Todd Burns of Stylus Magazine referred to the album as Squarepusher's "masterpiece" and wrote that Jenkinson "refrains from such mind numbing repetition and put down his most accomplished work to that point." In 2004's The New Rolling Stone Album Guide, critic Douglas Wolk wrote that on the album, Jenkinson "either sublimates [his beats] to tunes like 'Cooper's World' that approximate an early-'70s sort of funk-jazz hybrid, or makes them carry delirious tracks like 'Chin Hippy' with almost no help".

Writing in Spin, jazz writer Ken Micallef noted the album for its influence on the drill 'n' bass subgenre and stated that, with Feed Me Weird Things and Hard Normal Daddy, Jenkinson "did to jungle what Frank Zappa did to rock—satirized its excesses with a maze of neurotic, scurrying notes, while adding a nerdy musicality that practically invented a new genre." In 2017, Pitchfork placed Hard Normal Daddy at number 24 on its list of "The 50 Best IDM Albums of All Time".

In 1999, Jenkinson referred to the music on Feed Me Weird Things and Hard Normal Daddy as "already beginning to sound a bit... It sort of reminds me of being a bit younger in a way. It's a bit more (of a) naive approach, a bit more fresh. The sound as well. I've gotten better production".

Track listing
All songs composed by Tom Jenkinson.

Personnel

 * Tom Jenkinson – writing, production
 * Frank Arkwright – mastering
 * John Clayton – visuals

title: Hard Normal Daddy


text:
User:Krik~enwiki/File dialog

In computing, a File dialog is a dialog box that allows users to choose a file from the file system. File dialogs differ from file managers as they are not intended for file management (although some offer simple operations such as Folder creation), rather they are intended for the opening and saving of files.

History
Before file dialogs, most programs requested files as a command line argument or as an exact file path.

title: User:Krik~enwiki/File dialog