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Whaleboat

A whaleboat is a type of open boat that was used for catching whales, or a boat of similar design that retained the name when used for a different purpose. Some whaleboats were used from whaling ships. Other whaleboats would operate from the shore. Later whaleboats usually could operate under sail or oar - American whaling crews in particular obtained better results by making their first approach to a whale under sail, then quickly unstepping the mast and using oars thereafter.

Most whaleboats have double-ended, clinker-built hulls of light construction. The hulls were narrow and with sharp ends to achieve the best possible speed for the length of waterline. Length was between 27 and 31 feet. Beam was just over a fifth of the length. Typically they were propelled by five oars when rowed, and stepped a single removable mast when under sail. A rudder was used when under sail and a steering oar when the boat was rowed. The latter provided the manoeuvrability needed when closing with a harpooned whale.

Outside of whaling, whaleboats were well thought of for their seaworthiness and as a useful compromise between optimisation for sail or oar. They were therefore used as a type of ship's boat and for other utility purposes. Many of these derivative types varied from the whale-hunting types to some extent - for instance the Montagu whaler was a somewhat sturdier version with slightly fuller lines, but still retaining, for example, the five oars, clinker build, double ends and a reputation for seaworthiness.

History
The early history of whaleboats includes a c. 1335 image of Basque whalers working from a double-ended boat of this type. The similarity of the whaleboat to the Shetland sixern has been commented on - suggesting a Norse design heritage. An early 1600s description of whale-hunting from a whaleboat follows closely the methods of New Bedford whalers in the 1870s. There is little information on the actual boats used in the 1600s, but with a whaleship of that time carrying half a dozen or more whaleboats, they are likely to have been specialised types. Illustrations from 1711 and the 1720s show double-ended whaleboats with a crew of six, single-banked oars and a steering oar. The bollards (loggerheads in American terminology) on which the whale-rope would be controlled are clearly depicted. There is no evidence of sails being used in on whale-boats before 1825, but this soon became the preferred technique of approaching a whale prior to harpooning. (The crew would rapidly unstep the mast as the harpooned whale moved off, towing the boat behind.) Boats became more optimised for sailing, with slightly more beam and less slack bilges in the section (to give greater stability); by the 1850s centreboards were common. The last whaleships to carry whaleboats worked under oar and sail operated in the 1920s.

Modern applications and derivative designs
Today whaleboats are used as safety vessels aboard some marine vessels. The United States Coast Guard has used them since 1791 and stopped using them some time in the 1900s for motorized lifeboats. Their simple open structure allows for easy access and personnel loading in the event of an emergency. Some USCG whaleboats were used as lifeboats, with standardized equipment such as a hatchet, compass, sea anchor, emergency signal mirror, drinking water, first aid kit, jack knife with can opener, bilge pump, and other emergency provisions.

On modern warships, a relatively light and seaworthy double-ender for transport of ship's crew may be referred to as a whaleboat or whaler. Many have fuller hulls with more capacity, but far more drag.

Monomoy surfboats, a lifeboat directly descended from whaleboats, are used for recreational and competitive rowing in the San Francisco Bay Area and coastal Massachusetts.

The Tancook Schooner descends from whaleboats through the tancook whaler, a double-ended design optimized for sail.

Uses in war
Whaleboats were also extensively used in warfare. Colonel Benjamin Church is credited with pioneering their use for amphibious operations against Abenaki and Mi'kmaq tribes in what is today Maine and Acadia. His troops, New England colonial forces and Native allies from southern New England, used them as early as 1696 (during King William's War). Others in the Northeastern borderlands followed suit and they were used throughout the imperial conflicts of the early 18th century, and extensively used by both British and colonial troops during the French and Indian War. Units that made extensive use of whaleboats were the 7th Massachusetts Infantry Regiment at the siege of Louisburg in 1745, often referred to as "the whaleboat regiment", and Gorham's Rangers, formed in 1744, initially a company of Indians mainly from Cape Cod, many of whom were employed as whalers, and which later evolved into a British Army ranger company in the 1750s and 1760s. John Bradstreet's Bateaux and Transport service, a corps of armed boatmen tasked with moving supplies on inland waterways during the French and Indian War also used whaleboats extensively. In 1772, American colonials used whaleboats to attack and destroy the Gaspee in Narragansett Bay. During the American Revolutionary War, there were many whaleboat raids, including one with 230 men led by Return J. Meigs Sr. to sack Sag Harbor on Long Island in 1777. On December 7, 1782, two fleets of whaleboats fought a bloody battle on Long Island Sound known as the Boats Fight. During the desperate hand-to-hand conflict, every man involved was either killed or injured.

Construction and use
The whaleboat was originally a lapstrake design, clearly in the Northern European building tradition that created the longship and the yole. Its "superior handling characteristics soon made it a popular general-purpose ship's boat". In the first half of the 20th century, many navies carried whaleboats on their warships, such as the 27ft whalers used in the Royal Navy.

Whaleboats were equipped with a mast, which was stepped immediately after launching. The preferred whale-hunting technique was to approach a target whale under sail, as this was less likely to startle the animal than under oars. In light winds, paddles were used as these created less noise than oars. Boats used strictly for whaling often used only a long steering oar, while those used as ship's boats often had dismountable pintle-and-gudgeon rudders as well. A main sail, and occasionally a jib were used. After 1850 most were fitted with a centreboard.

title: Whaleboat


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Henry McCullough

Henry Campbell Liken McCullough (21 July 1943 – 14 June 2016) was a musician and singer-songwriter from Northern Ireland. He was best known for his work as a member of Spooky Tooth, The Grease Band and Paul McCartney and Wings. He also performed and recorded as a solo artist and session musician.

Early life
McCullough was born in Portstewart, County Londonderry, to a Protestant family. He first came to prominence in the early 1960s as the teenage lead guitarist with the Skyrockets showband from Enniskillen.

In 1964, with three other members of the Skyrockets, he left and formed a new showband fronted by South African- born vocalist Gene Chetty, which they named Gene and the Gents. In 1967, McCullough moved to Belfast where he joined Chris Stewart (bass), Ernie Graham (vocals) and Dave Lutton (drums) to form the psychedelic band the People. Later that year the band moved to London and were signed by Chas Chandler's management team, who changed the group's name to Éire Apparent. Under Chandler's guidance after a single release they toured with groups such as Pink Floyd, Soft Machine, the Move and the Jimi Hendrix Experience, as well as Eric Burdon and the Animals. In mid-February 1968, in Vancouver, British Columbia, Canada, while the band was touring with the Animals, McCullough returned to the United Kingdom, officially because of "visa problems", and Mick Cox flew out to take his place in the band. Back in Ireland, around May 1968, McCullough joined folk group Sweeney's Men.

1970s
McCullough returned to London around 1969 to work with Joe Cocker as a member of his backing band, the Grease Band. With Cocker he toured the U.S. and performed at the Woodstock Festival. He later played on the Grease Band's eponymous album. During his time with the band he appeared as lead guitarist on the studio album of Andrew Lloyd Webber and Tim Rice's rock opera Jesus Christ Superstar (1970) and on the progressive Spooky Tooth album The Last Puff (1970).

In January 1972 Paul McCartney asked McCullough to join his new band, Wings, with an eye toward starting a tour of British universities. McCullough's first recording with Wings was the February 1972 protest single, "Give Ireland Back to the Irish". The song, which expressed outrage at the events of Bloody Sunday, proved controversial. McCartney was accused by the British media of expressing support for the Irish Republican Army, and author Howard Sounes suggests that McCullough, as an Ulster Protestant with British unionist sympathies, may have had his misgivings about releasing the song as a single. He spent more than a year in the band, playing lead guitar on several singles, including "Hi, Hi, Hi", "Live and Let Die" and "My Love", as well as on the album Red Rose Speedway. Musical and business differences with McCartney, however, saw McCullough leave on the eve of the Band on the Run sessions in August 1973.

McCullough's spoken words "I don't know; I was really drunk at the time" can be heard on the Pink Floyd album The Dark Side of the Moon (1973), at the end of the song "Money". He was recalling a fight he had the night before with his wife.

In 1975 McCullough joined the Frankie Miller Band with bassist Chris Stewart, keyboard player Mick Weaver and drummer Stu Perry. They recorded the album, The Rock with Miller. Later the same year McCullough released Mind Your Own Business on George Harrison's Dark Horse label.

McCullough played concerts as a session musician with Roy Harper, Frankie Miller, Eric Burdon, Marianne Faithfull, Ronnie Lane and Donovan. In 1977 he temporarily joined Dr. Feelgood, following the departure of Wilko Johnson.

1980s
Recovering from an injury to his hand while visiting his family in 1980, McCullough decided to stay in Ireland. He began to sit in with old friends the Fleadh Cowboys, at their Sunday afternoon residency in The Lower Deck in Dublin. Following this he moved back to Portstewart and put a new band together. He was joined by Percy Robinson on pedal steel guitar, Roe Butcher on bass and Liam Bradley on drums.

1990s
In 1998 McCullough travelled to Poland, where he rehearsed with a band of Polish musicians for a tour. After the tour, they recorded a 'live' album which was released as Blue Sunset. This was followed by a further Polish tour. On returning home, McCullough recorded and released "Failed Christian", a song that has since been covered by Nick Lowe on his album Dig My Mood.

2000s
McCullough continued to record and perform and released solo material, including Belfast To Boston (2001) and Unfinished Business (2003). The latter contained his 1998 single, "Failed Christian". McCullough performed at concerts in Northern Ireland and Scotland, playing with a backing band (featuring Stephen Quinn on drums and Sean McCarron on saxophone).

McCullough contributed guitar on and organised the band for the Alaskan musician, The Rev Neil Down's 2003 release, When A Wrong Turns Right. The Henry McCullough Band – FBI Live was released in 2007 on Mundell music, from a recording at The Famous Bein Inn in 2006.

In 2007, Over the Rhine covered "Failed Christian" on their album, Live from Nowhere, Vol. II. In the same year, McCullough started to work with Dave Sharp from The Alarm) and together they enlisted keyboard player Zoot Money, bassist Gary Fletcher and drummer Colin Allen, a line up which became known as the Hard Travelers. In January 2008 the Hard Travelers performed their debut gig at The Cellars in Portsmouth.

In 2008 McCullough recorded Poor Man's Moon at Amberville Studios, which was released in Ireland only on 5 September 2008. and featured new McCullough compositions. The album also included a number of songs co-written with poet Eamon Carr from Horslips and included the single "Too Late to Worry". Among the musicians featured on the album were keyboard player James Delaney, bassists Roe Butcher and Nicky Scott (also double bass), keyboard player Enda Walsh, drummer Adie McIlduff and Percy Robinson on dobro and pedal steel guitar. The album also included drum sequences by Peter McKinney.

At the end of 2007 he worked on the album Dark Nite of the Soul with Jeff Greene, as well as other musical collaborations recorded at Wind-Mill Lane Studios, Dublin; Metropolis Studios, London; and The Sound Kitchen, Nashville. McCullough attended Paul McCartney's concert at the O2 in Dublin on 20 December 2009 and McCartney publicly acknowledged McCullough's contribution to Wings. On 13 March 2010, McCullough and his band were the headline act at the Fifestock Festival at the Inn at Lathones, Scotland.

2010s
McCullough remained active in the European music scene and played regular live gigs with artists including Ed Deane, James Delaney, Noel Bridgeman, also John Quearney. In 2011 Henry collaborated with songwriter Paul Doherty and the Vals on the track "Look to the One". The song gained worldwide airplay, with McCullough contributing backing vocals and guitar.

Health problems and death
McCullough suffered a heart attack in November 2012, leaving him in critical condition. His death was mistakenly reported on Ronan Collins's RTÉ Radio 1 show on 7 November and the BBC also apologised after prematurely reporting his death. In an interview with website Something Else, Denny Seiwell, who had played with McCullough in Wings, stated that it was doubtful McCullough would make a complete recovery.

On 17 March 2015, a benefit concert for McCullough was held at the Half Moon music venue in Putney, featuring Paul Carrack, Nick Lowe, Andy Fairweather Low, Suggs and Bobby Tench (who also performed with the backing band). The backing band was named Henry's Heroes, and included Tim Hinkley, Mel Collins, Neil Hubbard and John Halsey and bass player Kuma Harada.

On 14 June 2016, his wife Josie confirmed that McCullough had died at his home at Ballywindelland, Ballymoney, County Antrim, earlier that morning after a long illness. He had never fully recovered from the heart attack he suffered in 2012. Some sources state he also suffered a major stroke.

Discography
Solo albums

 * Mind Your Own Business (1975)
 * All Shook Up (1982; maxi-single)
 * Hell of a Record (May 1984)
 * Cut (1987)
 * Get in the Hole (1989; live recording)
 * Blue Sunset (1998)
 * Belfast to Boston (2001)
 * Unfinished Business (2002)
 * The Henry McCullough Band: FBI Live (2007)
 * Poor Man's Moon (2008)
 * Shabby Road (2012)

Other album credits

 * Joe Cocker – On Air (1997; recorded 1968)
 * Joe Cocker – Joe Cocker! (1969)
 * Joe Cocker – With a Little Help from My Friends (1969)
 * Andrew Lloyd Webber and Tim Rice – Jesus Christ Superstar (1970)
 * Rosetta Hightower – Hightower (1970)
 * Spooky Tooth – The Last Puff (1970)
 * Linda McCartney – Wide Prairie (1998; recorded 1971)
 * The Grease Band – The Grease Band (1971)
 * Christopher Kearney – Christopher Kearney (1972)
 * Jackie Flavelle – Admission Free (1972)
 * Donovan – Essence to Essence (1973)
 * Dave Carlsen – Pale Horse (1973)
 * Wings – Red Rose Speedway (1973)
 * Viola Wills – Soft Centres  (1974; re-issued as Without You)
 * Andy Fairweather Low – Spider Jiving (1974)
 * Joe Cocker – I Can Stand a Little Rain (1974)
 * Bobby Harrison – Funkist (1975)
 * Joe Cocker – Jamaica Say You Will (1975)
 * The Grease Band – Amazing Grease (1975; recorded 1970–71)
 * The Frankie Miller Band – The Rock (1975)
 * Andrew Lloyd Webber and Tim Rice – Evita (1976)
 * Gerry Lockran – Rags to Gladrags (1976)
 * Roy Harper – Bullinamingvase (1977; titled One of Those Days in England for U.S. release)
 * Steve Ellis – The Last Angry Man (1978; cassette issue)
 * Marianne Faithfull – Faithless (1978; re-issued as No Regrets)
 * Denny Laine – Japanese Tears (1980)
 * Eric Burdon – Darkness Darkness (1980)
 * Ronnie Lane – Live at Rock Palast (1980)
 * Ronnie Lane – See Me (1980)
 * Various Artists – Alive in Belfast – The Warehouse Sessions (1995)
 * Roy Harper – Commercial Breaks (1994; recorded 1977)
 * Brendan Quinn – Small Town (2001)
 * Richard Gilpin – Beautiful Mistake (2002)
 * Kevin Doherty – Sweet Water (2002)
 * Rev. Neil Down – When a Wrong Turns Right (2003)
 * Andy Fairweather Low – Wide Eyed and Legless: The A&M Recordings (2004)
 * Tim Hinkley – Hinkley's Heroes (2005)
 * The Deans – The Deans (2006)
 * Steve Marriott's Allstars – Wham Bam (2007)
 * Jeff Greene – Dark Nite of the Soul (2008)
 * Brendan Quinn – Sinner Man (2008)
 * Joe Cocker – Live at Woodstock (2009)
 * Roy Harper – Songs of Love and Loss (2011)
 * The Vals – Look to the One (2011)
 * Paul McCartney – The Art of McCartney (2014)

Credits on singles
 * Gene and The Gents – "Puppet on a String" / "Sweet Little Sixteen" (1965)
 * Éire Apparent – "Follow Me" / "Here I Go Again" (1968)
 * Wings – "Hi, Hi, Hi" / "C Moon" (1972)
 * Wings – "Mary Had a Little Lamb" / "Little Woman Love" (1972)
 * Wings – "Give Ireland Back to the Irish" (1972)
 * Wings – "Helen Wheels" / "Country Dreamer" (1973) B-side only
 * Wings – "Live and Let Die" / "I Lie Around" (1973)
 * Wings – "My Love" / "The Mess (Live at The Hague)" (1973)

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

title: Henry McCullough


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Kakuro

Kakuro or Kakkuro or Kakoro (カックロ) is a kind of logic puzzle that is often referred to as a mathematical transliteration of the crossword. Kakuro puzzles are regular features in many math-and-logic puzzle publications across the world. In 1966, Canadian Jacob E. Funk, an employee of Dell Magazines, came up with the original English name Cross Sums and other names such as Cross Addition have also been used, but the Japanese name Kakuro, abbreviation of Japanese kasan kurosu (加算クロス, "addition cross"), seems to have gained general acceptance and the puzzles appear to be titled this way now in most publications. The popularity of Kakuro in Japan is immense, second only to Sudoku among Nikoli's famed logic-puzzle offerings.

The canonical Kakuro puzzle is played in a grid of filled and barred cells, "black" and "white" respectively. Puzzles are usually 16×16 in size, although these dimensions can vary widely. Apart from the top row and leftmost column which are entirely black, the grid is divided into "entries"—lines of white cells—by the black cells. The black cells contain a diagonal slash from upper-left to lower-right and a number in one or both halves, such that each horizontal entry has a number in the half-cell to its immediate left and each vertical entry has a number in the half-cell immediately above it. These numbers, borrowing crossword terminology, are commonly called "clues".

The objective of the puzzle is to insert a digit from 1 to 9 inclusive into each white cell so that the sum of the numbers in each entry matches the clue associated with it and that no digit is duplicated in any entry. It is that lack of duplication that makes creating Kakuro puzzles with unique solutions possible. Like Sudoku, solving a Kakuro puzzle involves investigating combinations and permutations. There is an unwritten rule for making Kakuro puzzles that each clue must have at least two numbers that add up to it, since including only one number is mathematically trivial when solving Kakuro puzzles.

At least one publisher includes the constraint that a given combination of numbers can only be used once in each grid, but still markets the puzzles as plain Kakuro.

Some publishers prefer to print their Kakuro grids exactly like crossword grids, with no labeling in the black cells and instead numbering the entries, providing a separate list of the clues akin to a list of crossword clues. (This eliminates the row and column that are entirely black.) This is purely an issue of image and does not affect either the solution nor the logic required for solving.

In discussing Kakuro puzzles and tactics, the typical shorthand for referring to an entry is "(clue, in numerals)-in-(number of cells in entry, spelled out)", such as "16-in-two" and "25-in-five". The exception is what would otherwise be called the "45-in-nine"—simply "45" is used, since the "-in-nine" is mathematically implied (nine cells is the longest possible entry, and since it cannot duplicate a digit it must consist of all the digits from 1 to 9 once). Curiously, both "43-in-eight" and "44-in-eight" are still frequently called as such, despite the "-in-eight" suffix being equally implied.

Combinatoric techniques
Although brute-force guessing is possible, a more efficient approach is the understanding of the various combinatorial forms that entries can take for various pairings of clues and entry lengths. The solution space can be reduced by resolving allowable intersections of horizontal and vertical sums, or by considering necessary or missing values.

Those entries with sufficiently large or small clues for their length will have fewer possible combinations to consider, and by comparing them with entries that cross them, the proper permutation—or part of it—can be derived. The simplest example is where a 3-in-two crosses a 4-in-two: the 3-in-two must consist of "1" and "2" in some order; the 4-in-two (since "2" cannot be duplicated) must consist of "1" and "3" in some order. Therefore, their intersection must be "1", the only digit they have in common.

When solving longer sums there are additional ways to find clues to locating the correct digits. One such method would be to note where a few squares together share possible values thereby eliminating the possibility that other squares in that sum could have those values. For instance, if two 4-in-two clues cross with a longer sum, then the 1 and 3 in the solution must be in those two squares and those digits cannot be used elsewhere in that sum.

When solving sums that have a limited number of solution sets then that can lead to useful clues. For instance, a 30-in-seven sum only has two solution sets: {1,2,3,4,5,6,9} and {1,2,3,4,5,7,8}. If one of the squares in that sum can only take on the values of {8,9} (if the crossing clue is a 17-in-two sum, for example) then that not only becomes an indicator of which solution set fits this sum, it eliminates the possibility of any other digit in the sum being either of those two values, even before determining which of the two values fits in that square.

Another useful approach in more complex puzzles is to identify which square a digit goes in by eliminating other locations within the sum. If all of the crossing clues of a sum have many possible values, but it can be determined that there is only one square that could have a particular value which the sum in question must have, then whatever other possible values the crossing sum would allow, that intersection must be the isolated value. For example, a 36-in-eight sum must contain all digits except 9. If only one of the squares could take on the value of 2 then that must be the answer for that square.

Box technique
A "box technique" can also be applied on occasion, when the geometry of the unfilled white cells at any given stage of solving lends itself to it: by summing the clues for a series of horizontal entries (subtracting out the values of any digits already added to those entries) and subtracting the clues for a mostly overlapping series of vertical entries, the difference can reveal the value of a partial entry, often a single cell. This technique works because addition is both associative and commutative.

It is common practice to mark potential values for cells in the cell corners until all but one have been proven impossible; for particularly challenging puzzles, sometimes entire ranges of values for cells are noted by solvers in the hope of eventually finding sufficient constraints to those ranges from crossing entries to be able to narrow the ranges to single values. Because of space constraints, instead of digits, some solvers use a positional notation, where a potential numerical value is represented by a mark in a particular part of the cell, which makes it easy to place several potential values into a single cell. This also makes it easier to distinguish potential values from solution values.

Some solvers also use graph paper to try various digit combinations before writing them into the puzzle grids.

As in the Sudoku case, only relatively easy Kakuro puzzles can be solved with the above-mentioned techniques. Harder ones require the use of various types of chain patterns, the same kinds as appear in Sudoku (see Pattern-Based Constraint Satisfaction and Logic Puzzles ).

Mathematics of Kakuro
Mathematically, Kakuro puzzles can be represented as integer programming problems, and are NP-complete. See also Yato and Seta, 2004.

There are two kinds of mathematical symmetry readily identifiable in Kakuro puzzles: minimum and maximum constraints are duals, as are missing and required values.

All sum combinations can be represented using a bitmapped representation. This representation is useful for determining missing and required values using bitwise logic operations.

Popularity
Kakuro puzzles appear in nearly 100 Japanese magazines and newspapers. Kakuro remained the most popular logic puzzle in Japanese printed press until 1992, when Sudoku took the top spot. In the UK, they first appeared in The Guardian, with The Telegraph and the Daily Mail following.

title: Kakuro


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Swagger (Flogging Molly album)

Swagger is the debut studio album by the Celtic punk band Flogging Molly, mixed by Steve Albini. It was released in 2000.

Reception
In a very positive review, AllMusic called Swagger a combination of the "folk of the Pogues with an Oi! blast by way of the Dropkick Murphys". The reviewer went on to call the album "music that's perfect for any barroom brawl." Punknews.org gave the album 5 out of 5 stars and said that "every song is a keeper, without a clunker in the bunch". The review also called "Salty Dog" the "quintessential Flogging Molly song" and noted the album's contrast between aggressive punk-influenced songs and slower ballads like "The Worst Day Since Yesterday".

In popular culture

 * "The Worst Day Since Yesterday" was used as the music for the opening and closing montage in Stargate: Universe season 1, episode 9, "Life" (first broadcast November 20, 2009).
 * "The Worst Day Since Yesterday" was heard in the background in the bar scene in Mr. and Mrs. Smith.
 * "Selfish Man" was used during the closing scene, and over the closing credits, of the fourth episode of Showtime's Brotherhood.
 * "The Ol' Beggars Bush" was playing the bar when Dean picked up Rory in the fourth-season episode "Last Week Fights, This Week Tights" of Gilmore Girls.
 * "Devil's Dance Floor" was used in Derry Girls, episode 5 of series 1.

Track listing
All lyrics written by Dave King, all musics composed by Flogging Molly, except where noted.
 * 1) "Salty Dog" – 2:21
 * 2) "Selfish Man" – 2:54
 * 3) "The Worst Day Since Yesterday" – 3:38
 * 4) "Every Dog Has Its Day" – 4:24
 * 5) "Life in a Tenement Square" (Dave King, John Donovan, Matt Hensley, Nathen Maxwell, Bridget Regan, Bob Schmidt, George Schwindt) – 3:11
 * 6) "The Ol' Beggars Bush" – 4:34
 * 7) "The Likes of You Again" – 4:33
 * 8) "Black Friday Rule" (King, Ted Hutt, Dennis Casey, Hensley, Maxwell, Regan, Schmidt, Schwindt) – 6:57
 * 9) "Grace of God Go I" – 1:55
 * 10) "Devil's Dance Floor" – 3:59
 * 11) "These Exiled Years" (Dave King, John Donovan, Matt Hensley, Nathen Maxwell, Bridget Regan, Bob Schmidt, George Schwindt) – 5:15
 * 12) "Sentimental Johnny" – 4:47
 * 13) "Far Away Boys" – 5:06

Personnel

 * Dave King – lead vocals, acoustic guitar
 * Bridget Regan – fiddle, tin whistle
 * Matt Hensley – accordion
 * Nathen Maxwell – bass guitar
 * Bob Schmidt – mandolin, banjo
 * George Schwindt – drums, percussion
 * John Donovan – electric guitar, acoustic guitar
 * Gary Schwindt – trumpet

title: Swagger (Flogging Molly album)


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Anti-circumvention

Anti-circumvention refers to laws which prohibit the circumvention of technological barriers for using a digital good in certain ways which the rightsholders do not wish to allow. The requirement for anti-circumvention laws was globalized in 1996 with the creation of the World Intellectual Property Organization's Copyright Treaty.

Background
Article 11 of WIPO Copyright Treaty "Obligations concerning Technological Measures" requires contracting parties to "...provide adequate legal protection and effective legal remedies against the circumvention of effective technological measures that are used by authors in connection with the exercise of their rights under this Treaty or the Berne Convention and that restrict acts, in respect of their works, which are not authorized by the authors concerned or permitted by law."

Article 12 of WIPO Copyright Treaty "Obligations concerning Rights Management Information" requires contracting parties to "...provide adequate and effective legal remedies against any person knowingly performing any of the following acts knowing, or with respect to civil remedies having reasonable grounds to know, that it will induce, enable, facilitate or conceal an infringement of any right covered by this Treaty or the Berne Convention:

(i) to remove or alter any electronic rights management information without permission;

(ii) to distribute, import for distribution, broadcast or communicate to the public, without authority, works or copies of works knowing that electronic rights management information has been removed or altered without authority."

European Union
The following anti-circumventing rules were implemented in European Directive 2001/29/EC of the European Parliament and of the council of May 22, 2001 on the harmonisation of certain aspects of copyright and related rights in the information society.

This directive states in article 6, 'Obligations as to technological measures':
 * 1) Member States shall provide adequate legal protection against the circumvention of any effective technological measures, which the person concerned carries out in the knowledge, or with reasonable grounds to know, that he or she is pursuing that objective.
 * 2) Member States shall provide adequate legal protection against the manufacture, import, distribution, sale, rental, advertisement for sale or rental, or possession for commercial purposes of devices, products or components or the provision of services which:
 * 3) *(a) are promoted, advertised or marketed for the purpose of circumvention of, or
 * 4) *(b) have only a limited commercially significant purpose or use other than to circumvent, or
 * 5) *(c) are primarily designed, produced, adapted or performed for the purpose of enabling or facilitating the circumvention of, any effective technological measures.
 * 6) For the purposes of this Directive, the expression 'technological measures' means any technology, device or component that, in the normal course of its operation, is designed to prevent or restrict acts, in respect of works or other subject matter, which are not authorised by the rights holder of any copyright or any right related to copyright as provided for by law or the sui generis right provided for in Chapter III of Directive 96/9/EC. Technological measures shall be deemed 'effective' where the use of a protected work or other subject matter is controlled by the rights holders through application of an access control or protection process, such as encryption, scrambling or other transformation of the work or other subject-matter or a copy control mechanism, which achieves the protection objective.
 * 7) Notwithstanding the legal protection provided for in paragraph 1, in the absence of voluntary measures taken by rights holders, including agreements between rights holders and other parties concerned, Member States shall take appropriate measures to ensure that rights holders make available to the beneficiary of an exception or limitation provided for in national law in accordance with Article 5(2)(a), (2)(c), (2)(d), (2)(e), (3)(a), (3)(b) or (3)(e) the means of benefiting from that exception or limitation, to the extent necessary to benefit from that exception or limitation and where that beneficiary has legal access to the protected work or subject-matter concerned. (...)

United States
In the United States, the Digital Millennium Copyright Act ("DMCA") has implemented the treaty provisions regarding the circumvention of some technological barriers to copying intellectual property.

Circumvention of Access Controls
Section 103 (17 U.S.C Sec. 1201(a)(1)) of the DMCA states:

No person shall circumvent a technological measure that effectively controls access to a work protected under this title.

The Act defines what it means in Section 1201(a)(3):

(3) As used in this subsection— (A) to "circumvent a technological measure" means to descramble a scrambled work, to decrypt an encrypted work, or otherwise to avoid, bypass, remove, deactivate, or impair a technological measure, without the authority of the copyright owner; and (B) a technological measure "effectively controls access to a work" if the measure, in the ordinary course of its operation, requires the application of information, or a process or a treatment, with the authority of the copyright owner, to gain access to the work.

Thus, if there is some "technological measure that effectively controls access to a work", it is illegal to circumvent that measure. However, Section 1201 creates several exceptions to this rule, and the Library of Congress is empowered to create additional exceptions.

Distribution of Circumvention Tools
The Act also prohibits the distribution of tools that enable a user to circumvent access controls or controls that protect a right of the copyright holder.

Access Controls
17 U.S.C. Sec. 1201 (a)(2) provides:

(2) No person shall manufacture, import, offer to the public, provide, or otherwise traffic in any technology, product, service, device, component, or part thereof, that— (A) is primarily designed or produced for the purpose of circumventing a technological measure that effectively controls access to a work protected under this title; (B) has only limited commercially significant purpose or use other than to circumvent a technological measure that effectively controls access to a work protected under this title; or (C) is marketed by that person or another acting in concert with that person with that person's knowledge for use in circumventing a technological measure that effectively controls access to a work protected under this title.

Rights Controls
Distribution of tools intended to circumvent controls that protect a right of the copyright holder is also prohibited. 17 U.S.C. Sec. 1201 (b) states: (1) No person shall manufacture, import, offer to the public, provide, or otherwise traffic in any technology, product, service, device, component, or part thereof, that— (A) is primarily designed or produced for the purpose of circumventing protection afforded by a technological measure that effectively protects a right of a copyright owner under this title in a work or a portion thereof;

(B) has only limited commercially significant purpose or use other than to circumvent protection afforded by a technological measure that effectively protects a right of a copyright owner under this title in a work or a portion thereof; or

(C) is marketed by that person or another acting in concert with that person with that person's knowledge for use in circumventing protection afforded by a technological measure that effectively protects a right of a copyright owner under this title in a work or a portion thereof.

A rights control is defined in 17 U.S.C. Sec. 1201 (b)(2) (B): a technological measure "effectively protects a right of a copyright owner under this title" if the measure, in the ordinary course of its operation, prevents, restricts, or otherwise limits the exercise of a right of a copyright owner under this title.

Unlike access controls, the DMCA does not ban the circumvention of rights controls. It was thought that traditional copyright law was sufficient to protect the interests of copyright holders in cases of individual acts of circumvention.

Other Rights
The Act states that its provisions are not intended to modify a number of already existing rights. Section 1201(c) provides:

(c) Other Rights, Etc., Not Affected.— (1) Nothing in this section shall affect rights, remedies, limitations, or defenses to copyright infringement, including fair use, under this title. (2) Nothing in this section shall enlarge or diminish vicarious or contributory liability for copyright infringement in connection with any technology, product, service, device, component, or part thereof. (3) Nothing in this section shall require that the design of, or design and selection of parts and components for, a consumer electronics, telecommunications, or computing product provide for a response to any particular technological measure, so long as such part or component, or the product in which such part or component is integrated, does not otherwise fall within the prohibitions of subsection (a)(2) or (b)(1). (4) Nothing in this section shall enlarge or diminish any rights of free speech or the press for activities using consumer electronics, telecommunications, or computing products.

Fair Use and Circumvention
Critics of the DMCA have often noted the absence of an explicit exception for circumvention to enable fair use.

Section 103(c)(1) of the DMCA (17 U.S.C. Sec. 1201 (c)(1)) does state that [n]othing in this section shall affect rights, remedies, limitations, or defenses to copyright infringement, including fair use, under this title. However, a violation of the anti-circumvention provisions of the DMCA is not itself copyright infringement and therefore it is unclear whether fair use can be raised as a defense in circumvention cases.

Courts have come out both ways on the issue. Some have held that the anti-circumvention provisions can only be violated when the circumvention has a connection to copyright infringement. For example, in [https://web.archive.org/web/20080512024119/http://bulk.resource.org/courts.gov/c/F3/421/421.F3d.1307.04-1462.html Storage Tech. Corp. v. Custom Hardware Eng'g & Consulting, Inc., 421 F.3d 1307, 1318-19 (Fed. Cir. 2005)] the Federal Circuit held that a copyright holder must show a connection to copyright infringement in order to succeed in a claim under the DMCA.

Similarly, in Chamberlain Group, Inc. v. Skylink Technologies, Inc. 381 F.3d 1178 (Fed. Cir. 2004) the court held that distribution of a circumvention device (in that case a garage door opener) did not violate the anti-circumvention provisions because its use did not lead to any copyright violation.

However, in a number of cases involving DVD decryption courts have held that there is no fair use defense in circumvention cases. In Universal City Studios v. Reimerdes, 111 F. Supp. 2d 294, 322 (S.D.N.Y. 2000), the court stated that "[i]f Congress had meant the fair use defense to apply to such actions, it would have said so."

Reverse Engineering and Circumvention
Sec. 103(f) of the DMCA (17 U.S.C. § 1201 (f)) says that you are allowed to reverse-engineer a protected program in order to figure out how to get it to interoperate (i.e., exchange and make use of information) with other programs.. The section states:

(f) Reverse Engineering.— (1) Notwithstanding the provisions of subsection (a)(1)(A), a person who has lawfully obtained the right to use a copy of a computer program may circumvent a technological measure that effectively controls access to a particular portion of that program for the sole purpose of identifying and analyzing those elements of the program that are necessary to achieve interoperability of an independently created computer program with other programs, and that have not previously been readily available to the person engaging in the circumvention, to the extent any such acts of identification and analysis do not constitute infringement under this title. (2) Notwithstanding the provisions of subsections (a)(2) and (b), a person may develop and employ technological means to circumvent a technological measure, or to circumvent protection afforded by a technological measure, in order to enable the identification and analysis under paragraph (1), or for the purpose of enabling interoperability of an independently created computer program with other programs, if such means are necessary to achieve such interoperability, to the extent that doing so does not constitute infringement under this title. (3) The information acquired through the acts permitted under paragraph (1), and the means permitted under paragraph (2), may be made available to others if the person referred to in paragraph (1) or (2), as the case may be, provides such information or means solely for the purpose of enabling interoperability of an independently created computer program with other programs, and to the extent that doing so does not constitute infringement under this title or violate applicable law other than this section. (4) For purposes of this subsection, the term "interoperability" means the ability of computer programs to exchange information, and of such programs mutually to use the information which has been exchanged.

Notable cases

 * Universal v. Reimerdes
 * United States v. ElcomSoft and Sklyarov

Criticism
The Electronic Frontier Foundation (EFF) criticized DMCA anti-circumvention clauses, saying it "chills free expression and scientific research", jeopardizes fair use, impedes competition and innovation, and interferes with computer intrusion laws.

Australia
Australia prohibits circumvention of "access control technical protection measures" in Section 116 of the Copyright Act. The law currently imposes penalties for circumvention of such measures as well as the manufacturing and distribution of tools to enable it.

DRM may be legally circumvented under a few distinct circumstances which are named as exceptions in the law:
 * 1) permission of the rightsholder
 * 2) enabling interoperability with copyrighted software
 * 3) encryption research
 * 4) security testing
 * 5) disabling access to private information (circumvention only)
 * 6) national security or law enforcement
 * 7) library acquisition decisions (circumvention only)
 * 8) acts prescribed by regulation (circumvention only)

A person circumventing the access control bears the burden of proof that one of these exceptions apply.

Penalties for violation of the anti-circumvention laws include an injunction, monetary damages, and destruction of enabling devices.

Notable cases

 * Stevens v. Sony, holding that a device allowing PlayStations to play games with a different region code did not violate the anti-circumvention laws, because the mechanism in the PlayStation did not directly prevent the infringement of copyright.

title: Anti-circumvention


text:
The Grease Band

The Grease Band was a British rock band that originally formed as Joe Cocker's backing group. They appeared with Cocker during the 1960s, including his performance at the Woodstock Festival in August 1969. The band's name derived from an interview Cocker had read with the American jazz organist Jimmy Smith, who had approvingly described another performer as having "a lot of grease", with "grease" referring to soul. After Cocker formed the Mad Dogs & Englishmen album band line-up, the group released two albums without him in the 1970s.

Their keyboard player was Chris Stainton, who went on to tour extensively with Eric Clapton. Bassist Alan Spenner and rhythm guitarist Neil Hubbard went on to play in the UK blue-eyed soul band Kokomo; following this, the pair worked in support of the late 1970s/early 1980s incarnation of Roxy Music. Drummer Bruce Rowland later joined Fairport Convention. Henry McCullough was the Grease Band's lead guitarist, a role he later occupied in Paul McCartney's Wings, and continued as a solo artist until his death in June 2016. Rowland, Spenner, Hubbard and McCullough all played on the original 1970 recording of Jesus Christ Superstar.

Personnel
Original Members Musicians credited on Amazing Grease
 * Joe Cocker – lead vocals
 * Chris Stainton – keyboards
 * Bruce Rowland – drums, percussions, harmonium, backing vocals (died 2015)
 * Alan Spenner – bass, vocals (died 1991)
 * Neil Hubbard – rhythm & slide guitar, backing vocals
 * Henry McCullough – lead guitar, vocals, mandolin (died 2016)

 * Mel Collins – saxophones
 * Terry Stannard – drums (died 2019)
 * Mick Weaver – keyboards

Discography

 * The Grease Band (Shelter/Harvest, 1971) - US #190 AUS #40
 * Amazing Grease (Goodear, 1975)
 * On Air (Virgin/Strange Fruit, 1997) – With Joe Cocker

title: The Grease Band


text:
Talk:Final Fantasy IV

What happened?
Why is the plot section so incredibly long? It needs to be trimmed by at least 30 percent; there are too many trivial details. Clever, succinct writing could cut this synopsis in half. — Deckiller 18:52, 12 January 2009 (UTC)
 * It's way too long, but I just checked - it has 8 paragraphs now, but made FA in '06 with 9, and was kept at FAR this past summer with also 9. -- Pres N  21:14, 12 January 2009 (UTC)

Final Fantasy IV: The After Years
Why is there no mention of the Final Fantasy IV sequel in this article? It's been released in Japan for a while, and is due for a launch on Wiiware in June, I believe.

Seems a bit strange not to take not of it - Final Fantasy IV: The After Years - --A Chain of Flowers (talk) 07:28, 18 May 2009 (UTC)

Rating
http://www.esrb.org/ratings/synopsis.jsp?Certificate=27768

Not sure if this rating is for the SNES or NES game, but it mentions crystals and "jump" options. 75.107.162.133 (talk) 00:15, 4 November 2009 (UTC)

ff2 re-release(wii)
Okay I need to ask, Has anyone seen any sources on the translation of this re-release?., I dont remember this many errors but its been some time. 82.41.26.17 (talk) 19:53, 13 March 2010 (UTC)

Most released Final Fantasy?
I could be wrong, but I think that Final Fantasy IV has had more versions and ports of it released than any other game in the series. If this can be confirmed and verified it would be worth including this fact in the "Re-releases" section. 86.150.163.194 (talk) 19:12, 12 June 2011 (UTC)

Story error in the Dwarf Castle
In the Dwarf Castle Cecil's party beats Golbez in battle but doesn't stop him from stealing the crystal there. The plot summary should reflect this. — Preceding unsigned comment added by 98.71.198.139 (talk) 07:24, 30 August 2011 (UTC)
 * Got it. Nice catch. Thanks!  TheStickMan  [✆Talk] 12:02, 30 August 2011 (UTC)

Characters of Final Fantasy IV
Characters of Final Fantasy IV was merged to this article four years ago due to lack of third party sources. However, during these years there have been several new reviews owing to the release of Nintendo DS remake as well as the PSP port that also includes The After Years. Moreover, Cecil, Golbez and Kain have been featured in the Dissidia games so there is room for more reception. For example Cecil has been listed by GameZone as one the ten best Final Fantasy characters and by GamesRadar as one of the best Final Fantasy heroes. Anybody agrees or disagrees in restoring the list (a bit more worked of course). Regards.Tintor2 (talk) 03:15, 25 June 2012 (UTC)
 * Haven't looked at what the list looked like so no comments there, but "top ten" lists like that don't really add anything. You really need development specific to that character and reception specific to that character, and "top ten" lists don't really say much of anything, usually- that gamesradar link has something like a paragraph per character- most of the page is giant images. If you've got more detailed sources out there, sure, but I'd start off in a userpage and work on it there, as I doubt you're going to find a lot. -- Pres N  15:38, 25 June 2012 (UTC)

 * Could Characters of Final Fantasy XII be used as a model in regards to the reception section? I'm not sure about creation since I have no access to information regarding the characters' designs other than what this article has. The creation section from Characters of Final Fantasy XIII only talks about Lightning while Characters of Final Fantasy IX and Characters of Final Fantasy VI lack one. I have only been working in Characters of Final Fantasy X and X-2 so I'm not sure how much reception is enough for a list.Tintor2 (talk) 01:21, 26 June 2012 (UTC)
 * 12's is probably the best, yeah. I don't much care for character articles to begin with, despite re-GAing that one, but if you can get 4's or 10/10-2's up to that standard then they deserve articles. Don't feel bad about merging in individual character articles into the lists if you think they work better there, too. -- Pres N  03:39, 26 June 2012 (UTC)

 * I made a brief draft of Reception here using reviews that discussed the cast, voice acting and designs. Still there is more to add since I haven't checked articles about The After Years cast, but I will be busy this week. Regards.Tintor2 (talk) 22:22, 17 July 2012 (UTC)

 * Thanks for the tweaks PresN. I added a bit more, but there is not much After Years information since the reviews focus more on the storytelling since most of the sequel's cast are returning. I'll see if I can start working on the former list in the sandbox.Tintor2 (talk) 02:41, 18 July 2012 (UTC)

 * I have problems finding creation information. I only found two pieces of information from lead designer but nothing else. I've tried using [www.gamebrink.com/blog/2007/05/31/final-fantasy-iv-ds-interview this source] since it apparently contains informations regarding Yoshitaka Amano's work but the archiveurl is not working.Tintor2 (talk) 17:27, 19 July 2012 (UTC)

 * Try this one. Sometimes if a website mucks up a page the newest webarchive url won't have the information (like in this case, it looks like it cached a redirect to the main page of the blog) but the oldest archive has the original information. Note that they link to the original famitsu interview, so you might cite that instead as I'm not sure this source is 100% fine. -- Pres N  19:05, 19 July 2012 (UTC)

FA?
A curiosity: why isn't this article a FA anymore? What should be done to regain that status?-- Prima.philosophia D.C 08:21, 17 December 2012 (UTC)
 * I still want to know... -- Prima.philosophia D.C 04:33, 16 February 2013 (UTC)

Music albums released in Japan
About the sentence: "Three albums of music from Final Fantasy IV have been released in Japan" (it talks about Final Fantasy IV: Original Sound Version,  Final Fantasy IV: Celtic Moon,  Final Fantasy IV Piano Collections).

Shouldn't we add Music of Final Fantasy IV? And what about "Final Fantasy IV Original Soundtrack" (FFIV DS) and "Final Fantasy Finest Box" (which includes the soundtrack of FFIV advance)?-- Prima.philosophia D.C 04:33, 16 February 2013 (UTC)

Japanese Easytype release date
Does anyone know the japanese FFIV Easytype release date? I can't find this information. -- Prima.philosophia D.C 21:49, 1 March 2013 (UTC)

SPOILERS Reviving dead characters
I've read that there was an item called "God's eye" where you can revive Palom and Porom which was taken out for religious reasons. There is a picture to back it up but can't find any info anywhere.

http://oi48.tinypic.com/vovpn8.jpg

You can also find it under Zoser's post here: https://www.facebook.com/pages/Final-Fantasy-IV/63811041921 It's under "Recent Posts by Others on Final Fantasy IV" — Preceding unsigned comment added by SillyGayBoy (talk • contribs) 18:12, 18 October 2013 (UTC)
 * Pictures can be faked. You need a better source than some random Facebook fan page.  TheStickMan [✆Talk] 18:37, 18 October 2013 (UTC)

Living Dolls' Music
During the introduction of the living dolls in the dwarven castle, the music that plays shares similarities with the Puppet Master movie series main theme. https://www.youtube.com/watch?v=E_daHGcGBTQ 67.213.78.10 (talk) 23:47, 16 November 2013 (UTC)
 * Thanks, but please see WP:OR.  TheStickMan [✆Talk] 07:31, 17 November 2013 (UTC)

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Re-releases
Page does not mention the PSOne Classic in Japan or the SNES and GBA versions being on the Wii U Virtual Console. Brayden96 (talk) 02:25, 6 April 2016 (UTC)

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2011 interview
I found the GamesRadar interview with Takashi Tokita. This source can be useful to improve this article. --George Ho (talk) 11:14, 15 January 2017 (UTC)

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"it is considered to be one of the greatest video games of all time and one of the most important and influential games in the role-playing genre."
Why does the article link to the greatest video games of all time list? the list doesn't even contain FF IV — Preceding unsigned comment added by Vithias (talk • contribs) 02:49, 20 February 2019 (UTC)
 * Eh well it doesn't need to be listed in the target but I removed the link. TarkusAB talk 09:58, 20 February 2019 (UTC)

title: Talk:Final Fantasy IV


text:
Ruše

Ruše (Maria Rast ) is a small town in northeastern Slovenia. It is the seat of the Municipality of Ruše and lies on the right bank of the Drava River west of Maribor. The area is part of the traditional region of Styria. It is now included in the Drava Statistical Region.

Name
Ruše was mentioned in written sources in 1091 as Rovste (and as Roiste in 1184 and Råst in 1372, among other names). The name developed from the plural demonym *Rovьščane, derived from *rovъ 'ditch, trench', thus referring to people living near such a feature.

Church
The parish church in the settlement is dedicated to the Holy Name of Mary and belongs to the Roman Catholic Archdiocese of Maribor. It was first mentioned in written documents dating to 1387, but was destroyed in an Ottoman raid in 1532. It was rebuilt soon after and then extended in the 17th century. The church was damaged by fire in 1779.

title: Ruše


text:
Category:Palau

 * Republic of Palau — a nation in the eastern Caroline Islands Archipelago, in the western Pacific Ocean.
 * Within the cultural and ecological Micronesia sub-region of Oceania.

title: Category:Palau


text:
Dave Ferriss

David Meadow Ferriss (December 5, 1921 – November 24, 2016) was an American Major League Baseball player who pitched for the Boston Red Sox from 1945 through 1950. Ferriss was given the nickname 'Boo' as the result of a childhood inability to pronounce the word 'brother'.

After Ferriss's MLB playing career was over, he returned to the Mississippi Delta for two stints as the head baseball coach at Delta State University where he retired as the school's all-time leader in wins with 639. In November 2002, he was inducted into the Boston Red Sox Hall of Fame.

College and minor league baseball
Ferriss received the first full baseball scholarship to Mississippi State University, where he pitched in 1941 and 1942 and joined the Kappa Sigma fraternity. He was signed by the Red Sox in 1942, and he appeared in 21 games for the Greensboro Red Sox of the Class B Piedmont League, compiling a 7–7 record. Shortly afterward, he was drafted into the Army for service in World War II, serving for over two years at Randolph Field in Texas, where he was able to continue playing baseball in a military league. After an early discharge in February 1945 due to asthma, Ferriss was assigned by the Red Sox to the Louisville Colonels.

Major League Baseball
When the Red Sox started slowly in 1945, Ferriss was called up and made a spectacular major league debut with a five-hit shutout against the Athletics on April 29. He went on to set a longstanding American League (AL) record for scoreless innings pitched at the start of a career with 22, which stood until 2008, when it was broken by Brad Ziegler. Ferriss compiled a 21–10 win–loss record for the Red Sox in his rookie season.

Ferriss then compiled a 25–6 record (the best in the AL) that helped the Red Sox win the AL pennant in 1946. He was selected for the All-Star Game that season for the first and only time but did not pitch, as the 1945 All-Star Game was not held due to wartime travel restrictions. He started two games in the 1946 World Series against the St. Louis Cardinals, and pitched a complete-game shutout in the third game before getting a no-decision in the seventh and deciding game, which was won by the Cardinals.

Ferriss' record in 1947 was 12–11. His arm troubles and asthma restricted him to only nine starts and 31 appearances in 1948, and four appearances in 1949. His final major league appearance was on Opening Day of the 1950 season, when he pitched only one inning. Ferriss compiled a career record of 65–30, and shares the MLB record for consecutive home wins to start a season (13, in 1946). He was inducted into the Boston Red Sox Hall of Fame in 2002.

Ferriss was a very good hitting pitcher in his six-year major league career, posting a .250 batting average (93-for-372) with one home run, 52 RBIs, and 44 runs scored. He had 19 RBIs in each of the 1945 and 1947 seasons. He finished his career with a .979 fielding percentage.

Coaching career
Ferriss served as pitching coach for the Red Sox under manager Pinky Higgins from 1955 to 1959 before moving on to Delta State University as head coach in 1960. He held that role until early 1967, when he left Delta State to take the role of assistant athletic director at Mississippi State University. Ferriss returned to Delta State in mid-1968, and he again served as head coach from 1970 until retiring after the 1988 season. His 639–387–8 record as Delta State head coach ranks him among all-time national coaching leaders at the NCAA Division II level. He guided Delta State teams to the NCAA Division II playoffs in eight of his last twelve seasons, including three trips to the NCAA Division II Baseball Championship resulting in finishes of third (1977), second (1978), and third (1982). Gulf South Conference championships came in 1978, 1979, 1985, and 1988, along with a second-place finish in 1981 and third-place in 1982.

Ferriss spent 46 years in baseball at the collegiate and professional levels and was inducted into the American Baseball Coaches Association Hall of Fame in 1988. He was also inducted into the Mississippi Sports Hall of Fame, the Delta State University Sports Hall of Fame (1989), the Mississippi State University Sports Hall of Fame, and the Mississippi Semi-Pro Baseball Hall of Fame (1981). In 1988, he received the United States Baseball Federation Service Award for his contributions to the game. He was named NCAA Regional Coach of the Year three times, and earned similar Gulf South Conference coaching honors three times as well. In 1978 and 1982, he was elected College Baseball Coach of the Year in Mississippi, and was runner-up in 1985.

Under his direction, 20 Delta State players earned All-American honors, 20 earned Academic All-American honors, 49 earned All-Gulf South Conference honors, 23 continued their baseball careers onto the professional level, and 40 former players coached in the high school and college ranks. In addition to coaching at Delta State, Ferriss also served at various times as athletic director and director of the DSU Foundation.

In February 2008, Ferriss welcomed back author John Grisham to Delta State's campus for an athletic fundraiser. Grisham, a Mississippi native, began his career path "thanks to coach Ferriss" after Ferriss had cut Grisham from his team in the fall of 1978. In Grisham's "The Kindest Cut," the author details his time at Delta State and how coach Ferriss handled the difficult task of cutting the would-be outfielder. Also in 2008, Ferriss received an honorary Doctor of Public Service degree from Delta State.

Namings

 * The baseball field at Delta State University is named Ferriss Field in his honor.
 * The "Boo" Ferriss Baseball Museum – located at the Robert L. Crawford Center at Delta State University – was named after him.

Ferriss Trophy
In the fall of 2003, the Mississippi Sports Hall of Fame announced its sponsorship of an annual Mississippi Collegiate Baseball Player of the Year award, and that the trophy would bear Ferriss' name and likeness. The award is officially called the C Spire Ferriss Trophy, including the name of corporate cosponsor C Spire Wireless.

Personal life
Ferriss lived with his wife, Miriam Izard Ferriss, in Cleveland, Mississippi. They had two children, Dr. David Ferriss and Margaret Ferriss White, and two grandchildren. He was a member of Covenant Presbyterian Church (PCA) in Cleveland. He died on November 24, 2016, in Cleveland.

title: Dave Ferriss


text: Category:Kiribati

title: Category:Kiribati


text: Category:Tuvalu

title: Category:Tuvalu


text:
Douglassville

Douglassville may refer to the following places in the United States:

 * Douglassville, Pennsylvania
 * Douglassville, Texas

title: Douglassville


text:
Glidden

Glidden may refer to:

Canada

 * Glidden, Saskatchewan, a hamlet

United States

 * Glidden, Iowa, a city
 * Glidden Township, Carroll County, Iowa, a township
 * Glidden, Texas, an unincorporated community
 * Glidden, Wisconsin, an unincorporated community

Other uses

 * Glidden (surname)
 * Glidden (paints), a paint manufacturing company

title: Glidden


text:
Princess Märtha of Sweden

Princess Märtha of Sweden (Märtha Sofia Lovisa Dagmar Thyra; 28 March 1901 – 5 April 1954) was Crown Princess of Norway as the spouse of the future King Olav V from 1929 until her death in 1954. As Olav only became king in 1957, Märtha never became Queen of Norway. Her son is the current king of Norway, Harald V. Princess Märtha was also an elder sister of Queen Astrid of Belgium and a maternal aunt of Grand Duchess Joséphine-Charlotte of Luxembourg and Kings Baudouin and Albert II of Belgium.

In 1940, Crown Princess Märtha and her family were immersed in World War II as Germany invaded Norway. After escaping to her home country of Sweden, and then being evacuated to America by President Franklin D. Roosevelt, she effectively advocated for Norway and did fundraising until the end of the war. In 1942, King Haakon VII of Norway, Märtha's father-in-law, invested her as a Dame Grand Cross of the Royal Norwegian Order of Saint Olav.

Early life

Märtha was born at her parents' home of Arvfurstens Palats in Stockholm on 28 March 1901, the second child of Prince Carl of Sweden, Duke of Västergötland, and his wife Princess Ingeborg of Denmark. Her father was the younger brother of King Gustav V of Sweden, making her a first cousin twice removed of the present King of Sweden, and her mother was the younger sister of King Christian X of Denmark and of King Haakon VII of Norway.

Märtha had an elder sister, Princess Margaretha of Denmark, a younger sister, Queen Astrid of the Belgians, and a younger brother, Prince Carl Bernadotte. Märtha grew up to be much more confident and outgoing and so the daughter most admired by her mother.

As a child, Märtha was taught at home by private tutors and completed in-depth courses in childcare and first aid. She and her sisters were occasionally seen shopping unaccompanied on the streets of Stockholm.

Crown Princess
During the 1928 Summer Olympics in Amsterdam, Princess Märtha of Sweden became engaged to her first and second cousin, Prince Olav, only son and heir apparent of her uncle the King of Norway and grandson of her grandfather King Frederik VIII of Denmark's younger sister. News of the engagement was very well received: it was taken as a sign that there was no longer any tension following the dissolution of the union between Norway and Sweden. An excellent match in terms of strengthening royal ties, it was also clearly a match based on love. Initially, her younger sister, Astrid, was expected to marry Olav being younger than Olav by two years, while Märtha was two years older. Astrid was also considered more beautiful, but she instead married the future King of the Belgians Leopold III. Following a year-long engagement, she married Crown Prince Olav in Oslo Cathedral on 21 March 1929. Märtha's was the first royal wedding in Norway in 340 years. The marriage is widely believed to have been a success due in large part to their genuine mutual love. They had three children: Ragnhild (1930–2012); Astrid (b. 1932); and the much awaited heir, Harald (b. 1937).

Crown Princess Märtha soon became a popular and respected member of the royal family, later undertaking a range of official engagements and she also gave many speeches, unusual for royal females in that era.

Crown Prince Olav and Crown Princess Märtha of Norway resided at the country estate of Skaugum, which was a wedding gift from Baron Fritz Wedel Jarlsberg. When the main house at Skaugum was destroyed by fire in 1930, the Crown Princess took active involvement in its rebuilding.

Tragedy struck Crown Princess Märtha in 1935 when her sister, the Queen of the Belgians, was killed in a car crash; the two siblings had been very close. Later King Olav said that it took his wife more than ten years to come to terms with her sister's death, and he did not think that she ever really got over it. She – together with her elder sister Margaretha – became a great support for her sister's children in Belgium.

In 1939, shortly before the outbreak of World War II, the Crown Prince and Princess visited the United States. The couple befriended President Franklin Roosevelt and his wife, Eleanor. During this visit, the royal couple conducted an extensive tour of the Upper Midwest, where many Norwegian immigrants were settled. Also during their US tour, Crown Princess Märtha was initiated, together with her lady-in-waiting Ragni Østgaard, into the Delta Zeta sorority being pinned at the University of North Dakota by Delta Zeta national president Myrtle Graeter Malott.

In 1938 upon the death of her mother-in-law, Queen Maud, Crown Princess Märtha became the royal Norwegian court's senior lady.

World War II
Crown Princess Märtha contributed greatly towards Norway mobilizing for self-defence by making a public announcement on 26 January 1940 when she encouraged Norwegian women to participate in the mobilization work. During the flight from the German invasion in 9–10 April 1940, the Norwegian government decided that the Crown Princess and her children were to flee across the border to her native Sweden while her husband and father-in-law remained. Upon their arrival at the Swedish border, they were first denied entry because they could not provide passports; she then instructed her driver to run through the border gate, thus gaining entry into her native Sweden.

In Sweden she stayed at first at a tourist hotel in Sälen, before travelling on to Stockholm where her parents and relatives lived. Her presence in Sweden became problematic where some considered her presence to put Sweden's neutrality in jeopardy. President Roosevelt then offered her a personal invitation to the United States. Her uncle, King Gustav V of Sweden, telegraphed her father-in-law King Haakon and advised against the trip, but Märtha insisted on accepting the invitation. Roosevelt sent the US Army transport SS American Legion to the then Finnish port city of Petsamo to pick her up. In the U.S., she and her children initially stayed at the White House. Crown Prince Olav, however, accompanied his father to the United Kingdom with the Norwegian government-in-exile. Thus the Norwegian royal couple, like many other couples during that time, were separated for much of the war.

In August 1941, Crown Princess Märtha traveled with President Roosevelt aboard the presidential yacht, USS Potomac (AG-25), and sailed to Newfoundland and the Atlantic Charter meetings with Winston Churchill.

The friendship that the Crown Prince and Crown Princess had cultivated with the Roosevelts was further developed during the war years. In 1942, the US presented the exiled Norwegian forces with the gift of the submarine chaser HNOMS King Haakon VII. This ship was launched by Crown Princess Märtha, when she gave a speech in support of Norwegian liberation. Her work to assist the American Red Cross and on behalf of Norwegian interests greatly impressed Roosevelt and influenced his "Look to Norway" speech in 1942. Novelist and essayist Gore Vidal later asserted that Crown Princess Märtha was Roosevelt's "last love". Roosevelt's son James stated that "There was no question that Martha was an important figure in Father's life during the war ... there is a real possibility that a true romantic relationship developed between the president and the princess." Roald Dahl, later a well-known author and then a young RAF fighter pilot assigned to Washington, seems to have agreed: "Dahl was inclined to think that all the smoke indicated a real fire ... [Dahl wrote] 'The President has it in his mind that he would like to sleep with her.'"

Princess Märtha spent much of World War II in the United States, where she worked tirelessly to keep up support for Norway among the American public and government. Trygve Lie wrote about her war-work:
 * "During those years of struggle, she was undeniably Norway's Ambassador Number 1, because of her charm, humanity, wisdom and tact. As Secretary of Foreign Affairs I had to turn to her many times, and the results she achieved and the advice she offered, were always of value."

In 1942, during her father-in-law's birthday celebrations in London, Märtha was invested by him as a Dame Grand Cross of the Royal Norwegian Order of Saint Olav, stating that her appointment to the order was "not because you are a Crown Princess, but because you have earned it."

Post-war period
When she returned to Norway following the war in 1945, Princess Märtha received a hero's welcome and was referred to as "Mother of the Nation". She wholly embraced her role as Crown Princess of Norway and made tremendous efforts towards ensuring the stability and well-being of all Norwegians.

As King Haakon's health declined, the Crown Prince and Crown Princess assumed a growing number of official engagements. The Crown Princess became involved in many official tasks, and even made the annual New Year's Eve speeches in 1946 and 1950.

After the war, Crown Princess Märtha suffered from poor health.

Death
Following a lengthy period of ill-health, Märtha died at The National Hospital in Oslo on 5 April 1954 and was buried at Akershus Castle. Her death is often attributed to cancer or hepatitis.

Her death came whilst her elder daughter Princess Ragnhild was expecting her first child and just over three years before her husband ascended the throne as King.

Legacy
A 970,000 km² area in Antarctica is named Princess Martha Coast in her honor.

A statue of the princess, created by Kirsten Kokkin was erected outside the Norwegian embassy in Washington, D.C. in 2005. In 2007, a replica of the statue was erected in the courtyard of the Royal Palace in Oslo. A third replica was erected outside The Norwegian Seamen`s Church in Stockholm, Sweden, unveiled by her daughter, Princess Astrid in 2008. This church, Kronprinsesse Märthas kirke is named after her.

Crown Princess Märtha’s Memorial Fund is a charitable trust administered by the Norwegian Crown. The Crown Princess's youngest daughter, Princess Astrid, serves as chairperson. Initially established as Her Royal Highness Crown Princess Märtha’s Fund on 1 April 1929, the fund "is to provide financial support to social and humanitarian initiatives carried out by non-governmental organizations." In 2005, the Fund had assets of approximately 28 million Norwegian krone (NOK), and issued grants totaling about 1.5 million NOK for roughly 300 recipients.

Her son King Harald V named his daughter Princess Märtha Louise after her grandmother.

The popular Swedish layer Princess cake was named for Märtha and her two sisters when they were children.

The ship MS «Kronprinsesse Märtha», launched in 1929, was named after her. This ship which helped to save hundreds of passengers from the sinking German cruise ship Dresden in 1934 has, since 2000, been used as a hotel ship in Stockholm.

Märtha is depicted in the historical docudrama television miniseries Atlantic Crossing, a co-production of Cinenord and the state broadcaster, NRK.

title: Princess Märtha of Sweden


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Template:Mignet

This article incorporates text from the public domain History of the French Revolution from 1789 to 1814, by François Mignet (1824), as made available by Project Gutenberg.

title: Template:Mignet


text:
Gaskill

Gaskill may refer to:

Places

 * Gaskill, Kentucky
 * Gaskill Township, Jefferson County, Pennsylvania

People with the surname

 * Brian Gaskill (born 1970), American actor
 * E. Thurman Gaskill (born 1935), American politician
 * Gudy Gaskill (1927–2016), American mountaineer, driving force behind creation of the Colorado Trail
 * Jerry Gaskill (born 1957), American rock musician
 * Joseph H. Gaskill, (1851–1935) American judge
 * Malcolm Gaskill (born 1967), English historian and author
 * Mary Gaskill (born 1941), American politician
 * Nelson B. Gaskill (1875–1964), chair of the Federal Trade Commission
 * William Gaskill (1930–2016), British theatre director

title: Gaskill


text:
Beyond Therapy

Beyond Therapy is a 1981 American play written by Christopher Durang.

Synopsis
This farcical comedy focuses on Prudence and Bruce, two Manhattanites who are seeking stable romantic relationships with the help of their psychiatrists, each of whom suggests their patient place a personal ad in the newspaper. Bruce is a highly emotional bisexual who tends to cry easily, a trait Prudence sees as a weakness. Their first meeting proves to be disastrous and the two report back to their respective therapists—libidinous Stuart, who once seduced Prudence, and eccentric Charlotte, who stumbles over the simplest of words, who references the play Equus as a good source of advice, and who interacts with her patients with the help of a stuffed Snoopy doll. Clearly the two therapists are more troubled than their patients. Charlotte suggests a revised ad, which once again attracts Prudence, but this time Prudence and Bruce manage to get past their initial loathing and discover they actually like each other. Complications ensue when Bruce's jealous live-in lover Bob decides to assert himself and do everything possible to maintain his status quo.

Productions
An off-Broadway production directed by Jerry Zaks opened on January 1, 1981 at the Phoenix Theatre in New York, where it ran for 30 performances. The cast included Sigourney Weaver as Prudence, Stephen Collins as Bruce, Jim Borrelli as Stuart, Kate McGregor-Stewart as Charlotte, and Jack Gilpin as Bob. The sets were designed by Karen Schultz, costumes by Jennifer von Mayrhauser, and lighting by Richard Nelson.

Beyond Therapy premiered on Broadway on May 26, 1982. It was directed by John Madden, sets were designed by Andrew Jackness, costumes by Jennifer von Mayrhauser, lighting by Paul Gallo. The cast included Dianne Wiest as Prudence, John Lithgow as Bruce, Jack Gilpin as Bob, Kate McGregor-Stewart as Charlotte, and Peter Michael Goetz as Stuart. David Hyde Pierce made his Broadway debut in the role of a waiter.

McGregor-Stewart was nominated for the Drama Desk Award for Outstanding Featured Actress in a Play.

In 1987, Durang adapted his play for a screenplay that was rewritten substantially by director Robert Altman. Although the two shared a screenwriting credit, Durang described the project as "a very unhappy experience and outcome."

Beyond Therapy is one of Durang's most frequently produced plays. A recording of the play, featuring Catherine O'Hara as Prudence and David Hyde Pierce as Bruce, has been released on CD by the Fynsworth Alley label.

title: Beyond Therapy