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Russell Arms

Russell Lee Arms (February 3, 1920 – February 13, 2012) was an American actor and singer.

Career
Arms was born on February 3, 1920 in Berkeley, California, gaining acting experience via the Pasadena Playhouse. He began his career on radio, including working at WNEW in New York City.

He moved up to minor screen roles during World War II as a contract player with Warner Bros. In his screen debut, he played Richard, the son of the Stanleys, in 1942's The Man Who Came to Dinner. He later worked as a freelance performer, mostly in Westerns. Subsequently, he appeared in supporting roles in both feature films and television. In 1953 he played the role of Chester Finley, a piano instructor and hopeful suitor to Doris Day, in the film By the Light of the Silvery Moon.

From 1952 to 1957, he was best known as a vocalist on Your Hit Parade, an NBC television series that reviewed the popular songs of the day and on which a regular cast of vocalists would perform the top seven songs of the week. Arms and Eileen Wilson (who starred on the show from 1950 to 1952) were the only surviving lead performers from the show until Arms' death in 2012. He authored an autobiography in 2005, My Hit Parade... and a Few Misses. During his career as a singer, he was also well known for his 1957 hit single, "Cinco Robles (Five Oaks)", which entered the charts on January 12, 1957 and stayed there for 15 weeks, peaking at No. 22. In 1957, he released the album Where Can A Wanderer Go, on the Era label. The same year he was a singer on The Hidden Treasure Show, "the first nationwide quiz show in which home viewers win the money...". The syndicated program was sponsored by Disabled American Veterans.

On television dramas, Arms made three guest appearances on Perry Mason, including the role of Attorney Everett Dorrell in the 1960 episode "The Case of the Credulous Quarry", and as Roger Correll in the 1963 episode "The Case of the Greek Goddess". Additionally, he appeared in the 1961 episode "Bad Sheriff" on the long-running series Gunsmoke, portraying a crooked lawman who tries to keep the money seized by stagecoach robbers. For the next two decades he continued to act periodically in other television series, including the CBS sitcom Ichabod and Me in 1962 and the NBC drama Gibbsville in 1976.

A 1958 newspaper story about Arms noted, "Although Arms started in show business as an actor, he became a singer 'by accident,' and now he can't get anyone to believe he can act. 'I'm now in the process of proving them wrong,' he said."

Personal life
Arms and his second wife, Mary Lynne, resided in Palm Springs, California for many years. They then moved to Hamilton, Illinois, where Arms died on February 13, 2012, aged 92.

Partial discography

 * The Touch (1954 - Epic 5-9079)
 * Cinco Robles (1957 - Era 1026)
 * Evangeline (1957 - Era 1033)

title: Russell Arms


text:
Doomben railway line

The Doomben railway line is a railway line in the City of Brisbane, Queensland, Australia. It is the part of the Pinkenba railway line that still operates a regular passenger service. Doomben, or dumben, is the Indigenous Yuggera name for a tree fern which was prolific in the area. The railway line branches from the North Coast line at Eagle Junction, extending 8 km to the industrial suburb of Pinkenba, situated on the northern bank at the mouth of the Brisbane River. It is part of the Queensland Rail Citytrain network.

History
The initial 2.4 km section of the line opened on 3 September 1882 to Ascot (then named Racecourse) to serve the Eagle Farm racecourse, though nearby residents successfully lobbied for a regular passenger service. The line was extended 5.8 km to Pinkenba railway station in 1897, mainly to serve an industrial area, including wharves on the north side of the Brisbane River. The passenger service was timed to coincide with the starting and finishing times of the workers.

During World War I and World War II, with deep berthing available to ships at Pinkenba on the mouth of the Brisbane River, troops camped in the Pinkenba and Meeandah localities. Passenger ships used the Pinkenba Wharf, and special trains ran from Brisbane to Pinkenba.

Earthworks were undertaken to duplicate the line in the 1950s, hence the double sided, island platform at Clayfield. including regrading the line which eliminated the Sandgate Rd level crossing, but the program was abandoned before the second track was laid.

The line was electrified in 1988, but only to Eagle Farm, the next station after current suburban terminus Doomben; only diesel-hauled services could travel the full length of the line, and those were infrequent. All passenger services on the line were suspended in September 1993 as part of a statewide rationalisation of the rail network with the closing or suspending of under-utilised or unprofitable rail lines. Only a few special services were run on the line on days of major race events at adjoining race tracks.

Electric passenger services resumed on 27 January 1998, but only as far as Doomben, with bus connections to the stations beyond Doomben.

The Doomben to Pinkenba section is used only for freight and occasional special trains, such as heritage services described below.

Heritage services
QR occasionally run special steam trains on the entire Pinkenba line as part of their semi-regular "Steam Train Sunday" excursion service. This is the only way to travel on the full length of the line.

Line guide and services
All services stop at all stations to Roma Street railway station. The typical travel time between Doomben and Brisbane City is approximately 18 minutes (to Central).

Doomben line services typically terminate at Roma Street or Park Road, while some peak services continue to Kuraby or Cleveland. No rail services operate on Sundays or public holidays.

Passengers for/from the Airport, Caboolture, Nambour and Gympie North and Shorncliffe lines change at Eagle Junction, Ferny Grove at Bowen Hills, and all other lines at Roma Street.

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

title: Doomben railway line


text:
Marriott World Trade Center

The New York Marriott World Trade Center was a 22-story, 825-room hotel within the original World Trade Center complex in Manhattan, New York City. It opened in April 1981 as the Vista International Hotel and was the first major hotel to open in Lower Manhattan south of Canal Street since 1836. In November 1995, it was bought by Marriott Corporation and renamed to the Marriott World Trade Center. It was unofficially known as the Marriot Hotel, Vista Hotel and World Trade Center 3 (WTC 3 or 3 WTC).

The hotel was damaged in the World Trade Center bombing by al-Qaeda terrorists in February 1993. The city's Port Authority considered demolishing the building, but instead decided to repair it, reinforcing its structure. It re-opened in November 1994. In 2001, it was mostly destroyed by the collapse of the World Trade Center's Twin Towers during the September 11 attacks by al-Qaeda. Only the southern end of the hotel was spared, but it was eventually demolished. Around 50 people inside the building died. The hotel was not replaced as part of the new World Trade Center complex, although its address was reused for the tower at 175 Greenwich Street.

Description
The building was a 22-story steel-framed structure with 825 rooms and six basement levels (labeled B1 through B6).

The hotel was connected to the North tower via an underground entrance at concourse level, and a small pedestrian walkway that extended from the west promenade of the Marriott to the North Tower on plaza level. On the 22nd floor, there was a gym that was the largest of any hotel in New York City at the time, with a swimming pool and a running track with views of the Hudson River and the Austin J Tobin Plaza. The hotel also had 26000 sqft of meeting space on the entire third floor. It was considered a four-diamond hotel by the American Automobile Association (AAA).

The hotel featured two restaurants: The Tall Ships Bar and Grill, located at street-level, and the Greenhouse Café, a restaurant on the plaza level that featured a large skylight looking up at the North and South tower. Previously, another restaurant had operated called The American Harvest; however, it was removed following the bombing in 1993 and was renovated and remained as a rentable space called the Harvest Room.

History
The hotel was first known as the Vista International Hotel, but also became known as World Trade Center 3 (WTC 3 or 3 WTC), the World Trade Center Hotel, the Vista Hotel, and the Marriott Hotel. The building was designed by Skidmore, Owings & Merrill with construction beginning in March 1979. It opened on April 1, 1981, with 100 of 825 rooms available, and it was completed in July 1981. Shortly before the opening day of the Vista, a fire broke out on the 7th floor. The Vista International was the first major hotel to open in Lower Manhattan south of Canal Street since 1836.

Kuo Hotel Corporation, based in Hong Kong, bought the hotel's leasehold in 1982 from Edward W. Ross and Jerrold Wexler. In 1989, the Port Authority of New York and New Jersey bought the leasehold from Kuo for $78 million, but the operating rights remained in the hands of Hilton International as management agent.

1993 World Trade Center bombing

On February 26, 1993, the hotel was seriously damaged as a result of the World Trade Center bombing. Terrorists affiliated with al-Qaeda took a Ryder truck loaded with 1,500 pounds (682 kilograms) of explosives and parked it in the North Tower parking garage below the hotel's ballroom. They likely viewed this as the area where an explosion would cause the most structural damage. At 12:18 p.m. (EDT), the explosion destroyed or seriously damaged the lower- and sub-levels of the World Trade Center complex. The Marriot Financial Center, a hotel located two blocks west, served as press conference area and a command post for the law enforcement response.

The city's Port Authority considered demolishing the building for some time. The building was instead closed for 18 months while they worked on extensive repairs. Reinforcements to the hotel's structure, including the installation of "the largest steel beam ever put in a building to that point". The hotel reopened on November 1, 1994. On November 9, 1995, the hotel was sold to Host Marriott Corporation for $141.5 million. It was renamed to the New York Marriott World Trade Center. The new company adminstering the hotel started operations in January 1996. Security was increased at the hotel, but they were ineffective in the face of the attacks in September 2001. In January 2001, 77 New York Police Department (NYPD) police cadets graduated in a ceremony held at the hotel.

September 11 attacks
On September 11, 2001, al-Qaeda terrorists hijacked four planes to crash into various targets in the U.S. Two crashed into both of the World Trade Center's Twin Towers, which were located right next to the hotel. Based on eyewitness accounts compiled by the New York Times, around 50 people in the hotel died from the attacks, out of the roughly 2,753 people who died in New York City from the attacks. At least 41 firefighters died, along with two hotel employees who assisted them with evacuating guests. 11 guests were never identified, and it is not known if they died in the building or elsewhere in the World Trade Center complex. 14 people survived both collapses from inside the building.

On the 11th, the hotel had 940 registered guests. The National Association for Business Economics (NABE) was holding its yearly conference at the hotel from September 8 to 11, 2001. In addition, the hotel was planned to host the Law School Admission Council's New York City Law School Forum – a law school recruiting event – on September 14 and 15. The council was expecting 4,000 students to attend, from 160 schools. About 11 people who were planning to go to the forum were scheduled to check in to the hotel on September 11, but did not make it there before the attacks started.

Crashes into the Twin Towers
When American Airlines Flight 11 crashed into the North Tower (1 WTC) at 8:46 a.m. EDT, its landing gear fell and crashed through the roof into an office next to the 22nd-floor pool. The whole building shook, and parts of it caught on fire. Alarms went off throughout the building, and its phones and elevators shut down. The freight elevator still worked, however. Security guards escorted out the group attending the NABE conference. Firefighters reported human remains and corpses on the roof, from people who fell or jumped from the south face of the North Tower. At least ten firefighter companies used the lobby as a staging area; it is possible that many or all of the companies were not sent there, but instead got lost amidst the evacuation of the towers. United Airlines Flight 175 crashed into the South Tower (2 WTC) at 9:02 or 9:03.

Some fire companies evacuated guests that were on the upper floors, being followed by elevator mechanic Robert Graff and two employees with master keys: Joseph Keller, the hotel's executive housekeeper, and Abdul Malahi, an audiovisual technician assisting with the law school forum who was the only civilian Arab that died on 9/11. The evacuation effort was led by Keller, Richard Fetter (the hotel's resident manager), and Nancy Castillo (human resources head at Marriot World Trade Center and Marriott Financial Center). Fetter attempted to get a new version of the hotel registry, but their computer system had shut down, so he found the most recently-printed copy and a set of emergency phone numbers.

People who were escaping the tower crashes, especially the North Tower, also stopped at the hotel; these people numbered at a thousand or more. This is in part due to a door at the north face of the building, facing the North Tower. The people in the lobby moved away from the North Tower, walking south through the hotel, until they reached the Tall Ships Bar and Grill, which opened onto Liberty Street. A police officer stood at the exit, stopping civilians from crossing the street whenever debris was falling.

Collapse of the Twin Towers
The collapse of the South Tower at 9:59 crushed the middle of the building, creating a large gap. The lobby was filled with debris, but nonetheless acted as a shield for firemen, police, and hotel staff, due to its reinforcements after the bombing. Abdul Malahi was killed. Before the collapse, there were seven firemen from Engine Company No. 74 in the middle of the hotel on the 21st floor, four of whom died. Around 17 people in the evacuation effort were still alive on the 3rd and 4th floors; three firefighters on these floors went upstairs to find a fireman who radioing a mayday signal, Michael Brennan. On the half of the building that was nearer the South Tower, three civilians and two firemen trapped on the 3rd floor escaped to the 2nd floor by crawling through an opening in a wall on an I-beam, which probably fell from the tower. In the lobby, firefighters began exiting the building to get reinforcements. Joseph Keller and Fire Lieutenant Bob Nagel were trapped by debris, and the other firefighters began trying to cut away the debris around them using saws. While this happened, the North Tower collapsed.

The collapse of the North Tower at 10:28 destroyed the rest of the hotel, aside from a small section surrounding the southern stairwell. This section would have collapsed if not for the reinforcements made after the 1993 bombing. There were 14 survivors trapped in this section, on the 2nd floor; this included 13 firemen from Company 74 and hotel guest Frank Razzano, who had evacuated from his 19th-floor room. The group found a hole in the building, and threaded either a rug or drape through it, then climbed down onto a pile of debris. Keller and the three firefighters who went to rescue Michael Brennan died from the second collapse. Eight firemen from Brooklyn Heights Engine 205 (including Scott Davidson, father of celebrity Pete Davidson) likely died from the collapse, after saving around 900 people. All the firemen still in the lobby escaped, and Richard Fetter survived.

After destruction
Bill Marriott, the businessman who owned the hotel, delivered a speech to his employees on the 20th, where he thanked them for their work on the 11th, and announced they would be employed until at least October 5, and covered by the hotel's health insurance for a year. The guests staying at the Marriott World Trade Center and the Marriott Financial Center, which was also damaged during the attacks, were sent to seven other Marriott hotels in the city. At those locations, security was increased and cancellation fees were waived.

On the afternoon of the attacks, photographer Thomas E. Franklin captured the now-iconic image Raising the Flag at Ground Zero, depicting the U.S. flag being raised by firefighters upon a flagpole believed to have been Marriott property located on what remained of the hotel grounds. A Marriott flag that was found in the rubble in December was displayed in a glass case for the next few months, honoring the hotel's employees with the plaque: "Our Spirit to Serve From sacrifice . . . honor From adversity . . . resolve From grief . . . remembrance".

In January 2002, the remnants of the hotel were dismantled to make way for reconstruction. The Marriott Corporation was then offered an opportunity to rebuild the hotel in the same location within the World Trade Center site, as its lease which was signed until 2094 had not expired. Marriott declined the offer, and in October 2003, the Port Authority voted on an agreement under which the Host Marriott Corporation would "surrender the premises", resulting in termination of the lease and thus giving the land to the National September 11 Memorial & Museum. The museum received the displayed Marriott flag.

The building and its survivors were featured in the television special documentary film Hotel Ground Zero, which premiered on September 11, 2009, on the History Channel. Some survivors only found out after watching the documentary that others they had met during the attacks were still alive. The survivors have reunited near or at the hotel site multiple times. In 2013, there was charity run in the area to honor Ruben Correa, a firefighter who died as a part of the group on the 21st floor.

title: Marriott World Trade Center


text:
Talk:I Love Bees

Move
Actually, the name for this subject is i love bees, according to Halopedia. Move failed because a redirect stopped me. EthanGaming7640 (talk) 23:35, 14 September 2021 (UTC)
 * Halopedia isn't a reliable source for our purposes. We state in the lead it was also referred to as ilovebees, but Wikipedia doesn't always follow precisely marketing naming, etc. Der Wohltemperierte Fuchs  talk 13:03, 15 September 2021 (UTC)

title: Talk:I Love Bees


text:
Talk:Modulo (disambiguation)

Comments
There was actually a reasonable page here, not restricted to modular arithmetic, before it was a made a redirect in February 2004 (for the second time) ...

Charles Matthews 02:41, 24 Jul 2004 (UTC)

That is true. Many of the links now pointing at this page use the word modulo in a way that is NOT about modular arithmetic, and would be incomprehensible if the only explanation known to the reader were the latter page. I'm hoping that will be considered a sufficient reason not to redirect this page again. Michael Hardy 18:43, 24 Jul 2004 (UTC)

The material that was removed in February (which was about colloquial uses of the word) was safely incorporated at the end of Modular arithmetic. However, many of the latter parts of that article could profitably be brought back here. -- Toby Bartels 08:10, 2 Aug 2004 (UTC)

 * This article misses the point. When mathematicians say modulo A is B modulo C, we mean that A and B are in the same equivalence class under some equivalence relation derived in some way from C. The only thing that is vague is how to get the equivalence relation from C. Billlion 16:56, 12 Dec 2004 (UTC)

 * But the locution is also used colloquially when there is no well-defined equivalence relation, thus: "This research paper is finished modulo the refereeing process." Michael Hardy 19:18, 12 Dec 2004 (UTC)

Modulo/Modulus Merger
I think these 2 dismabiguation pages could reasonably be merged. A lot of (most?) people don't have a clue what the difference might be. The combined page will not be so big as to be unduly taxing to the reader. Ewlyahoocom 09:15, 5 March 2006 (UTC)

 * I would disagree with a merger. The meanings at modulo are all highly related, originating in modular arithmetic. The meanings at modulus are very different among themselves, and the ones at modulo. I think this is a natural setting to have the closely related meanings on a separate page, modulo, and with the "big picture" containing a lot of other things at modulus. I think the merged page would be too big for a disambiguation, and the reader would have trouble navigating all the different meanings, some related, and some not. Oleg Alexandrov (talk) 01:16, 6 March 2006 (UTC)

 * I agree with Oleg. Etymologically, these are merely two cases (nominative and ablative, I think) of the same Latin noun, sincere in English does not simply mean "without wax", although the etymology suggests it does, and similarly modulo has taken on a life of its own. Michael Hardy 01:19, 6 March 2006 (UTC)

Perhaps you've forgotten what disambiguation pages are for: helping the user find the article they're looking for -- they're not supposed to contain new information. Below I've outlined what the cleaned-up pages might look like: there is some overlap but not too much. However many of the pages the reader is supposedly "disambiguating" to either don't mention the term or only mention it in passing (some do reference a similar term Module (mathematics), is it related?) Perhaps what you're really saying then is that you don't think one (or both) of these pages should be disambiguation pages? Ewlyahoocom 05:59, 6 March 2006 (UTC)

Modulo

 * Modular arithmetic
 * Modulo operation
 * Quotient group OK
 * Isomorphism theorem modulo/modulus not mentioned
 * Group (mathematics) modulo/modulus/module not mentioned
 * Ring (mathematics) modulo/module mentioned
 * Ideal (ring theory) module mentioned; modulo/modulus not mentioned
 * Symmetric difference modulo/modulus/module not mentioned
 * Equivalence relation modulo mentioned once, briefly, in an example
 * Modulo (jargon)

Modulus

 * Modular arithmetic
 * Modulo operation
 * Absolute value
 * the length of a vector modulus/modulo not mentioned, module mentioned
 * Modulus of continuity
 * Materials science
 * Young's modulus
 * Modulus Guitars
 * a villain in Marvel's Fantastic Four comic book series
 * Moduli
 * Modulo

Then modulo shouldn't be a disambiguation page, rather a math page on its own, explaining briefly the chief usage as in modular arithmetic, and its derivived meanings. So, will removing the disambig tag solve this problem? Oleg Alexandrov (talk) 17:04, 6 March 2006 (UTC)

Note
Generalized the computing definition of modulo to include real numbers in addition to integers. That's in accordance with modulo operation and remainder and also with common practice such as "angle A is the same as angle B modulo $$2\pi$$." --74.106.238.196 14:12, 23 December 2006 (UTC)

Request move

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

The result of the move request was: moved -- JHunterJ (talk) 12:48, 29 September 2012 (UTC)

Modulo → modulo (disambiguation) –

The content of this article is currently about disambiguation of various aspects related to the term modulo. It is therefore appropriate that it be moved to a disambiguation page. The existing modulo page should probably be redirected to modular arithmetic, as that is the origin of most of the mathematical uses and is still in wide use. 70.247.162.84 (talk) 14:00, 8 September 2012 (UTC)
 * Comment this seems more like a set index than a dab page... or a conceptdab... -- 76.65.131.248 (talk) 22:57, 11 September 2012 (UTC)
 * I don't know what a set index is, but it contains a mix of heterogeneous items that resemble a disambiguation page at one level, and a partial explanation (index?) of the mathematical/jargon usage at another (technical) level. It doesn't do a particular good job at either function, so I'm suggesting it be made an explicit disambig page, so that the technical content focused on math can be merged/redirected elsewhere.  That would make this page less busy.  70.247.162.84 (talk) 15:27, 14 September 2012 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Move discussion in progress
There is a move discussion in progress on Talk:Modulo (mathematics) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:00, 28 December 2022 (UTC)

title: Talk:Modulo (disambiguation)


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2062 Aten

2062 Aten, provisional designation , is a stony sub-kilometer asteroid and namesake of the Aten asteroids, a subgroup of near-Earth objects. The asteroid was named after Aten from Egyptian mythology.

It was discovered on 7 January 1976, at the Palomar Observatory by American astronomer Eleanor Helin, who was the principal scientist for the NEAT project until her retirement in 2002. The S-type asteroid measures approximately 900 meters in diameter, has a longer-than average rotation period of 44.77 hours, and approaches the orbit Earth to 44.1 lunar distances.

Orbit and classification
Aten orbits the Sun at a distance of 0.8–1.1 AU once every 11 months (347 days). Its orbit has an eccentricity of 0.18 and an inclination of 19° with respect to the ecliptic. A first precovery was taken at the discovering observatory in December 1955, extending the body's observation arc by more than 20 years prior to its official discovery observation.

Namesake of the Aten group
Aten was the first asteroid found to have a semi-major orbital axis of less than one astronomical unit and a period of less than one year. A new category of asteroids was thus created, the Atens. As of 2017, the group consists of more than 1,200 numbered members. Other groups of near-Earth objects (NEOs) are the Apollo and Amor asteroids, which are both significantly larger than the Atens, while the Atira asteroids form the smallest NEO-group by far.

Close approaches
The asteroid has an Earth minimum orbit intersection distance of 0.1131 AU which corresponds to 44.1 lunar distances.

Physical characteristics
In the Tholen classification, Aten is a common S-type asteroid. In the SMASS taxonomy it is classified as an Sr-type, a subtype which transitions to the R-type asteroids.

Lightcurve
In the 1990s, Italian astronomer Stefano Mottola obtained a rotational lightcurve of Aten during the EUNEASO survey at La Silla, which was a European near-Earth object search and follow-up observation program to determine additional physical parameters. Lightcurve analysis gave a longer-than average rotation period of 40.77 hours with a brightness variation of 0.26 magnitude (U=2). No additional lightcurves have been obtained since.

Diameter and albedo
According to the survey carried out by NASA's Wide-field Infrared Survey Explorer with its subsequent NEOWISE mission, Aten measures between 700 and 830 meters in diameter and its surface has a high albedo between 0.39 and 0.52.

in 1994, Tom Gehrels published a diameter of 1.1 kilometers and an albedo of 0.26 in his book Hazards Due to Comets and Asteroids. The Warm Spitzer NEO survey ("ExploreNEOs") gives a diameter of 1.3 kilometers with an albedo of 0.20.

The Collaborative Asteroid Lightcurve Link agrees with a revised thermal model for asteroid diameters and albedos, and adopts an albedo of 0.28 with a diameter of 0.91 kilometers based on an absolute magnitude of 17.2. However, the Minor Planet Center (MPC) classifies Aten as a larger "1+ KM" object.

Naming
This minor planet was named from Egyptian mythology after Aten, the ancient Egyptian god of the solar disk, originally an aspect of the god Ra. The official was published by the Minor Planet Center on 1 August 1978 (M.P.C. 4420).

title: 2062 Aten


text:
Mabou Mines

Mabou Mines is an experimental theatre company founded in 1970 and based in New York City.

Founding and history
Mabou Mines was founded by David Warrilow, Lee Breuer, Ruth Maleczech, JoAnne Akalaitis, and Philip Glass, at the house of Akalaitis and Glass near Mabou Mines, Nova Scotia. In 2020, the company announced Carl Hancock Rux and Mallory Catlett as its new co-Artistic Directors.

The company began as a resident company at Ellen Stewart's La MaMa Experimental Theatre Club in the East Village.

In 1986, the company won an Obie Award for Sustained Excellence for its theatrical contributions to the Off-Broadway community.

As the company stated in a 1990 press kit, "The artistic purpose of Mabou Mines has been and remains the creation of new theatre pieces from original texts and the theatrical use of existing texts staged from a specific point of view. Each member is encouraged to pursue his or her artistic vision by initiating and collaborating on a wide range of projects of varying styles, developing them from initial concept to final performance. This process is intense and often lengthy. While the director of a Mabou Mines work is responsible for its concept and its basic structure, the ultimate production reflects the concerns and the artistic input of all its collaborators."

In 2005, Mabou Mines was among 406 New York City arts and social service organizations to receive part of a $20 million grant from the Carnegie Corporation, which was made possible through a donation by New York City mayor Michael Bloomberg.

The company also runs a Resident Artist Program, which has included award-winning artists Lynn Nottage, Carl Hancock Rux, and Basil Twist. In 2020, Rux and his co-artistic directors formed a new arts residency program called Suite Space, dedicated to developing the work of multidisciplinary artists of color. The program convenes annually and has included the works of composer Tamar-Kali, choreographer Edisa Weeks, musicians Mary Prescott, Tariq Al-Sabir, and Marcelle Lashley, among others. The company's associate artist-in-residence program includes Carrie Mae Weems, Nona Hendryx, Dianne Smith, Basil Twist and several others.

Production history

 * Faust 2.0 (2019)
 * Animal Magnetism - ON TOUR AT THE WUZHEN THEATRE FESTIVAL (2018)
 * Gospel at Colonus (2018)
 * Medea (in Development, 2018)
 * Glass Guignol (2017)
 * A Coffin in Egypt (2017)
 * Imagining The Imaginary Invalid (2016)
 * La Divina Caricatura (2013)
 * We Would Find Landscapes (2012)
 * Finn (2010)
 * PATAPHYSICS PENYEACH: SUMMA DRAMATICA & PORCO MORTO (2009)
 * Song For New York: What Women Do While Men Sit Knitting (2007)
 * Lucia's Chapters of Coming Forth by Day (2007)
 * A Prelude to Death in Venice (Harvey's Version) (2007)
 * Summa Dramatica: A Pataphysical Acting Lesson (2005)
 * Red Beads (2005)
 * Mabou Mines DollHouse (2003, adapted from Henrik Ibsen's A Doll's House)
 * Cara Lucia (2003)
 * Ecco Porco (2002)
 * Animal Magnetism (2000)
 * Belén-A Book of Hours (1999)
 * Happy Days (1996)
 * The Red Horse Animation (1996, reconstruction/revival)
 * Pootanah Moksha (1996)
 * Peter and Wendy (1996)
 * An Epidog (1995)
 * Reel To Real (1994)
 * Mother (1994)
 * The MahabharANTa, and Selected Stories from the Insectiad (1992)
 * The Bribe (1991)
 * The Quantum (1991)
 * In the Jungle of Cities (1991)
 * The Miller Series (1990, for radio)
 * Mabou Mines Lear (1990)
 * The B. Beaver Animation (1990, reconstruction/revival)
 * The Gospel at Colonus (1988)
 * Sueños (1987)
 * Worstward Ho (1986)
 * The Kafka Parables (1986, for radio)
 * Help Wanted (1986)
 * C.E.O (1986)
 * The Interview Series (1985, for radio)
 * Starcock (1985)
 * It's a Man's World (1985)
 * Flow My Tears, The Policeman Said (1985)
 * Through the Leaves (1984)
 * Pretty Boy (1984)
 * Imagination Dead Imagine (1984)
 * The Joey Schmerda Story (1983, for radio)
 * Hajj (1983)
 * Company (1983)
 * Cold Harbor (1983)
 * The Keeper Radio Series (1982)
 * Wrong Guys (1981)
 * Dead End Kids (1980)
 * Vanishing Pictures (1980)
 * Sister Suzie Cinema (1980)
 * Easy Daisy (1980, for radio)
 * A Prelude to a Death in Venice (1980)
 * Southern Exposure (1979)
 * Mercier and Camier (1979)
 * Shaggy Dog Animation (1978)
 * Dressed Like An Egg (1977)
 * The Saint and the Football Player (1976)
 * The B. Beaver Animation (1975)
 * Cascando (1975)
 * The Lost Ones (1975)
 * Mabou Mines Performs Samuel Beckett (1974)
 * Send / Receive / Send (1973)
 * Music for Voices (1972)
 * Arc Welding (1972)
 * Play (1971)
 * Come and Go (1971)
 * The Red Horse Animation (1970)

title: Mabou Mines


text:
Hiawatha (disambiguation)

Hiawatha (Haiëñ'wa'tha) is a Native American semi-historical figure who was the co-founder of the Iroquois Confederacy.

Hiawatha may also refer to:

Arts

 * A fictional character in the epic poem by Henry Wadsworth Longfellow, The Song of Hiawatha
 * The Song of Hiawatha (Coleridge-Taylor), a trilogy of cantatas by Samuel Coleridge-Taylor, based on Longfellow's poem; the first part Hiawatha's Wedding Feast is the best known
 * Little Hiawatha (a.k.a. Hiawatha), a 1937 animated family comedy short film produced by Walt Disney as part of 1937's Silly Symphonies
 * Hiawatha (1952 film), a 1952 film starring Vince Edwards
 * Hiawatha (1913 film), a 1913 American silent drama film
 * "Hiawatha (A Summer Idyl)", a popular instrumental song written by Neil Moret in 1901
 * Hiawatha (sculpture), a 19th-century marble by Augustus Saint-Gaudens

Other

 * Hiawatha (web server), a web server developed by Hugo Leisink since 2002
 * Hiawatha Music Festival, an annual traditional, acoustic, American music festival held in Marquette, Michigan, United States
 * Hiawatha Seaway Council, a local council of the Boy Scouts of America headquartered in Syracuse, New York, United States

People

 * Hiawatha Bray, columnist for The Boston Globe
 * Hiawatha Coleridge-Taylor, son of Samuel Coleridge-Taylor
 * Hiawatha Estes (1918–2003), California-based architect

Australia

 * Hiawatha, Victoria, a town in the Shire of Wellington

Canada

 * Hiawatha First Nation, Ontario
 * Island of Hiawatha, former name of the Toronto Islands, Ontario

Greenland

 * Hiawatha Glacier

United States

 * Hiawatha, Colorado, a place in Moffat County
 * Hiawatha, Iowa
 * Hiawatha, Kansas
 * Hiawatha, Minneapolis, Minnesota
 * Hiawatha, Nebraska
 * Lake Hiawatha, New Jersey
 * Hiawatha, Utah
 * Hiawatha, West Virginia
 * Hiawatha Island in Tioga County, New York
 * Hiawatha Lake in Syracuse, New York
 * Lake Hiawatha in Minneapolis, Minnesota
 * Hiawatha Township, Michigan
 * Hiawatha National Forest in Michigan

Ships

 * USS Hiawatha, the name of several United States Navy ships
 * MV Hiawatha, an 1895 passenger ferry in Toronto, Canada
 * Steamboat Hiawatha, an Ocklawaha River passenger steamer on the St. Johns River in Palatka, Florida, United States
 * Hiawatha (riverboat), an American paddlewheel river boat

Transportation routes

 * Hiawatha (train), a fleet of named passenger trains of the Chicago, Milwaukee, St. Paul and Pacific Railroad in the United States
 * Hiawatha Service, a descendant of the above
 * Hiawatha Line, the former name of the METRO Blue Line, a light rail corridor in Minneapolis and neighboring Bloomington, Minnesota, United States
 * Hiawatha Avenue, a highway in Minneapolis, Minnesota, United States
 * Hiawatha LRT Trail, a mixed-use path in Minneapolis, Minnesota, United States
 * Min Hi Line, a linear park parallel to Minnehaha and Hiawatha Avenues in Minneapolis, Minnesota, United States

title: Hiawatha (disambiguation)


text: Category:Films by director

title: Category:Films by director


text:
Antipope Theodoric

Theodoric was an antipope in 1100 and 1101, in the schism that began with Wibert of Ravenna in 1080, in opposition to the excesses of Pope Gregory VII and in support of the Emperor Henry IV.

Biography
The earliest record of Theodoric is his signature on a document of the antipope Clement III (Wibert) dated 4 November 1084, where he signs as cardinal deacon of S. Maria in Via Lata. In a letter of 29 July 1099, Clement III refers to Theoderic as one of those cardinals who anathematized Gregory VII (who died on 25 May 1085) as a heretic and simoniac.

In 1098, Cardinal Theodoric became involved in German affairs, as papal legate of Clement III. Archbishop Rothardus of Mainz had not only refused to accept the legitimacy of antipope Clement III, but was working against the Emperor Henry and his antipope by rallying the bishops of Germany to meet in a synod in Mainz on 1 December 1097. Clement had tried several times to bring the archbishop under control. First, he had Rothardus summoned to the papal court to answer charges of simony; when he refused to appear, Theodoric and another bishop summoned him; finally the Deacon Hugo also summoned him. Having failed to appear, on 29 July 1099 the people of Mainz were released from their obedience to Rothardus and warned of the interdict that would be inflicted on any who associated with him. Theodoric wrote and witnessed the papal letter. On 18 October 1099, he was in Tivoli, where he witnessed a document of antipope Clement III in favor of Cardinal Romanus of S. Ciriaco.

The legitimate pope, Urban II, died on 29 July 1099, and his successor Paschal II was elected at the church of San Clemente on 13 August 1099, and consecrated on 14 August 1099 in St. Peter's Basilica. The Antipope Clement III was expelled from Rome at the same time, and died on 8 September 1100, at Civita Castellana, some 60km (37 mi) north of Rome.

According to the "Annales Romani", the followers of Clement met secretly in Rome, at night, in St. Peter's Basilica, where they elected and enthroned Cardinal Theodoric, the Bishop of Albano, who may have assumed the name Sylvester III. But he did not dare to remain in the city. Forced to abandon Rome to seek protection of the emperor, Theodoric was seized by partisans of Pope Paschal II, and sent to Rome. He was convicted by judgment of the fathers, and immediately sent to the monastery of Santissima Trinità di Cava, near Salerno, where he was compelled to become a monk, or, according to the "Life of Pope Paschal II," a hermit.

He died at Cava in 1102, according to the epitaph in the crypt of the monastery. A later memorial plaque in La Cava commemorates him under the pontifical name of "Sylvester III", because the earlier Pope Sylvester III (Giovanni dei Crescenzi), at that time was considered an antipope. Theodoric's successor was Antipope Albert, elected in 1101, or in February or March 1102.

title: Antipope Theodoric


text:
Talk:Samaritan Pentateuch

Name and language

 * 1) What did/do Samaritan's call the collection of these five books? Obviously, this is the Pentateuch/Torah, although since Pentateuch is a Greek term, I suspect they didn't call it that.  (Did they?)  But, would they have just called it the Torah, or—since it constituted their entire canon—would they have referred to it as their Tanakh (just as Christians refer to all of the books in their own canons as the Bible despite disagreeing with one another as to which books are canonical)?  And, if the latter—if they were willing to call these five books the Tanakh: would they have also called it their Torah, or would they have simply dropped that term altogether, it being superfluous to them and more relevant to Jews? Conversely, it also seems possible they had an entirely unique term for their collection of these five boks.  If they did, what was it?  (Also, how would that translate to English?  E.g., 'Torah' means "Instruction" or "Teaching.")
 * 2) I am inferring from this that the original 'Samaritan Torah' was written in Samaritan Hebrew, not in Samaritan Aramaic. Is this correct?
 * 3) The five Jewish books of the Torah are:
 * 4) *Bereshit ("In the Beginning")
 * 5) *Shemot ("Names")
 * 6) *Vayikra ("And He Called")
 * 7) *Bamidbar ("In the Desert [Of]")
 * 8) *Devarim ("Things" or "Words")
 * Are the titles identical for the five Samaritan books of the Torah? If not, what are they?

allixpeeke (talk) 11:13, 3 February 2017 (UTC)
 * 1) Did the Samaritans place the five books in the same order as Jews/Christians?  If not, in what order did they place them?
 * I can't answer all your questions here, but I can clear up a few things. First, the term "Tanakh" is in Hebrew an acronym TaNaKh, which stands for "Torah" (the five book attributed to Moses) "Neviim" (Joshua through the minor prophets), and Ketuvim (all the other books). So there's no way the Samaritans, who have only "Torah," would use that term. You are correct that the Samaritan Torah is written in Hebrew. If you read it and the Masoretic Text side to side, most verses are basically identical, with some differences here and there. It's the same language with only minor differences. They call Genesis "Barashet" instead of "Bereshit." I only know this because a former Samaritan (now converted to Judaism) named Sofi Tsedaka is a minor celebrity as a singer in Israel, and she produced a CD called "Barashet" named after the Samaritan name for Genesis. Like Jews, Samaritans have a cycle of Torah readings that divide the various books up into chunks (see here, scroll down the table of readings). In Judaism, the first reading from Bereshit is called Bereshit. Similarly, among the Samaritans the first reading from Barashet is called Barashet. If the analogy holds instead of "Ve Ele Shemot" the Samaritans read Willa Shemot; instead of Vayiqra, Wyikra al mushi; instead of Bamidbar, Bamadbar; instead of Ele ha-Devarim, Illa addebarem. They pronounce many vowels differently, and do not pronounce the "h" consonant at all. Alephb (talk) 21:26, 1 March 2017 (UTC)
 * The first word בראשית from which the name is derived is identical in the Masoretic and Samaritan versions. I suspect the apparent name difference is just one of pronunciation; it isn't clear if that's what you mean. Zerotalk 23:37, 1 March 2017 (UTC)
 * Most of the differences are just pronunciation. I'm not certain in this case. I don't know my way around Samaritan Hebrew well enough to say for sure, but it looks to me like Barashet is arthrous, while Bereshit is anathrous. In other words, the first "a" vowel in Barashet looks to me like the "a" vowel that is used for "the" when following a "b-" prefix. In other words, where the Hebrew reads literally "In beginning (of)" the SamPent reads "In the beginning," I think. Alephb (talk)

 * You are right in that Samaritans call it their Torah (and not Pentateuch, which is a Greek word, even though both Torah and Pentateuch are synonyms in English). Still, as it is the form used by the Samaritans, and as the Jewish Pentateuch article is listed under Torah and not Pentateuch, I believe we should move this page as well, from Samaritan Pentateuch to Samaritan Torah. Would anyone oppose it? Dan Palraz (talk) 12:51, 22 May 2022 (UTC)

there are no surviving copies of the Septuagint!
The text days the Samaritan Torah has two thousand similarities with the original Septuagint. How come this be so, since there are no existing copies of this mentioned text?? Davidrojaselbirt (talk) 00:21, 23 October 2018 (UTC)
 * Hello, David. The text doesn't say the Samaritan Pentateuch has two thousand similarities with the original Septuagint. Alephb (talk) 01:20, 23 October 2018 (UTC)

wrong alphabet
"Samaritans commonly refer to their Pentateuch as קושטה", and quotations from the Samaritan pentateuch use the Hebrew alphabet, not the Samaritan alphabet. — Preceding unsigned comment added by 2001:16b8:5cf9:200:d5be:e1f0:ac99:e004 (talk • contribs)

failure of impartiality
The comparison of the Samaritan Pentateuch with the Masoretic text implicitly or explicitly treats the latter as canonical and regards the Samaritan as a variant text, e.g. "This variation has similarities to Deuteronomy 27:2-8 and is supported by changes to the verbal tense within the Samaritan text of Deuteronomy indicating that God has already chosen this place." This section should stick to presenting the differences. Explanation and evaluation of those differences is a matter for the section of textual criticism. — Preceding unsigned comment added by 2001:16b8:5cf9:200:d5be:e1f0:ac99:e004 (talk • contribs)

 * Agreed. Will add POV template referencing this section of the talk page to that section. -- Jacob's Crackers (talk) 18:22, 24 May 2020 (UTC)

Including a comparison of aalaakem to parashiyot
Samaritan practice, like Jewish practice, divides the Pentateuch into weekly portions, referred to (per Tsedaka) as aalaakem. The portions are different, and I've produced this chart based on Tsedaka's and Shoulson's work for Genesis to demonstrate the distinctions. I would like to suggest it is added to the article somewhere. The transliteration system is intended to reflect the one already found on Samaritan pages on Wikipedia. I'm not great at formatting tables so if someeone would like to clean it up with some nice RTL formatting I wouldn't say no.

Isaacmayer9 (talk) 09:00, 29 December 2020 (UTC)

 * You should include the refs in this table draft. Looks interesting though, and with refs I believe it would be a good addition to the article. Nice work! Thank you, warshy (¥¥) 18:53, 29 December 2020 (UTC)

Codex B
This article reads "Interest in the Samaritan Pentateuch was awakened in 1616 when the traveler Pietro della Valle purchased a copy of the text in Damascus. This manuscript, now known as Codex B...".

Does this "Codex B" have the same text as the Codex Vaticanus? (Codex Vaticanus is also known as Codex B; or, Codex Vaticanus B).

George Rodney Maruri Game (talk) 12:15, 28 January 2022 (UTC)

 * Good question! Article Codex Vaticanus seems as though its subject might have an alternate name of "Codex B", and to be about a Greek copy of the Christian Bible.  Our article here seems to be specifically Samaritan Pentateuch.  Further, article Codex Vaticanus B appears to be about something from Mexico, so would be completely different.
 * If this is right, it suggests (at least) three different documents, each having an associated name within its context of "Codex B". We probably need a disambiguation page. Let's see if anyone else has any thoughts.  In a few days, if I remember and if there are no contra-indications in this discussion, I'll go ahead with the disambiguation page.  I'll also take account of an additional complication, namely the redirect at "Codex b" (lowercase "b") which is different from that at "Codex B" (uppercase "B").
 * Feline Hymnic (talk) 23:03, 28 January 2022 (UTC)

 * On reflection, cleaning up the redirects and creating the disambiguation page seem uncontroversial. So, following WP:BOLD, I've done that.
 * In addition the articles themselves might benefit from something like a "for" or "not to be confused with" hatnote near where they mention "Codex B". I'll give some thought to that.
 * Feline Hymnic (talk) 10:50, 29 January 2022 (UTC)

failure of impartiality
The comparison of the Samaritan Pentateuch with the Masoretic text implicitly or explicitly treats the latter as canonical and regards the Samaritan as a variant text, e.g. "This variation has similarities to Deuteronomy 27:2-8 and is supported by changes to the verbal tense within the Samaritan text of Deuteronomy indicating that God has already chosen this place." This section should stick to presenting the differences. Explanation and evaluation of those differences is a matter for the section of textual criticism. — Preceding unsigned comment added by 2001:16b8:5cf9:200:d5be:e1f0:ac99:e004 (talk • contribs)

 * Agreed. Will add POV template referencing this section of the talk page to that section. -- Jacob's Crackers (talk) 18:22, 24 May 2020 (UTC)

 * Also agreed. I will go through all sources given and try to work on this section, taking into account your comments - no version should be referred as the canonical one nor as the variant one, both being two different versions which are obviously considered by their own groups to be the original, canonical one. Dan Palraz (talk) 10:42, 22 May 2022 (UTC)

Requested move 22 May 2022

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

The result of the move request was: not moved. Current title is the WP:COMMONNAME. (closed by non-admin page mover) Vpab15 (talk) 12:54, 30 May 2022 (UTC)

Samaritan Pentateuch → Samaritan Torah – Pentateuch and Torah are perfect synonyms, but the most common name is Samaritan Torah, and it is the form used by the Samaritans themselves Dan Palraz (talk) 12:34, 22 May 2022 (UTC)
 * This is a contested technical request (permalink). DanCherek (talk) 12:57, 22 May 2022 (UTC)

 * I think this would benefit from a RM discussion given the previous objection raised at Talk:Samaritan Pentateuch/Archive 1. Though it was more than a decade ago, it looks like there is still a disparity in Google Scholar hits (304 vs 7500); whether or not that's actually important would be a matter for a full discussion. DanCherek (talk) 12:45, 22 May 2022 (UTC)
 * Thanks! As you pointed out, a discussion happened 11 years ago and no one actually opposed moving it to Samaritan Torah (which would also sound more fair, as the Jewish text is under Torah rather than Pentateuch), the only problem they pointed out was that the article is so sporadically visited that they thought a discussion wouldn't take place. 11 years later, I have to agree... But I will accept what you deem as appropriate. Thanks again. Dan Palraz (talk) 12:54, 22 May 2022 (UTC)
 * So, I support moving the article from Samaritan Pentateuch to Samaritan Torah. Can anyone else please state their opinions? Thank you. Dan Palraz (talk) 13:04, 22 May 2022 (UTC)
 * Oppose: "Samaritan Pentateuch" brings 114 000 results on Google.com, while "Samaritan Torah" only brings 9 950 there; WP:COMMONNAME. Veverve (talk) 14:38, 22 May 2022 (UTC)

 * The numbers shown in a quick Google search are not reliable, if you move on to page 12 of the search you'll see that Google actually only has 144 results for Samaritan Pentateuch: https://www.google.com/search?q=%22Samaritan+Pentateuch%22&newwindow=12&ei=jp-KYpnNE9iQxc8PtrW34As&start=110 Either way, Pentateuch is still a little more common as it is the Greek, Christian version of the Hebrew word Torah, but as the Jewish Pentateuch's main article is Torah and not Pentateuch, it seems reasonable that we should grant the same treatment to the Samaritans. Dan Palraz (talk) 20:42, 22 May 2022 (UTC)

 * Oppose. The current title is far more common. Srnec (talk) 17:55, 23 May 2022 (UTC)

 * Oppose. WP:COMMONNAME, largely because the text is more widely discussed by outside scholars than by adherents, especially in English. It's also more specific: "torah" also has a wider sense of "teachings" to both Jews and Samaritans, which is why Jews often refer to the Pentateuch as "chumesh". This is IMO a very serious issue with the current page Torah, which is confusingly half about the Pentateuch and half about the wider sense of the word. Not relevant to the move but if it helps: I've had a number of opportunities to discuss this text with Samaritan leadership, including Benyamim Tsedaka, and IIRC none of them objected to the use of "Pentateuch." Over the last few years I've started to see "Samaritan text" and "ST" a lot more, so we might have reason to change this soon (also the Hebrew page is נוסח שומרון), but "Samaritan Torah" is too niche to be appropriate. GordonGlottal (talk) 14:32, 29 May 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

title: Talk:Samaritan Pentateuch


text:
Squib (explosive)

A squib is a miniature explosive device used in a wide range of industries, from special effects to military applications. It resembles a tiny stick of dynamite, both in appearance and construction, but has considerably less explosive power. A squib consists of two electrical leads separated by a plug of insulating material; a small bridge wire or electrical resistance heater; and a bead of heat-sensitive chemical composition, in which the bridge wire is embedded. They can be used to generate mechanical force to shatter or propel various materials; and for pyrotechnic effects for film and live theatrics.

A squib generally consists of a small tube filled with an explosive substance, with a detonator running through the length of its core, similar to a stick of dynamite. Also similar to dynamite, the detonator can be a slow-burning fuse, or as is more common today, a wire connected to a remote electronic trigger. Squibs range in size from ~2 to 15 mm in diameter.

Film industry
In the film industry, the term squib often refers to electric matches and detonators used to trigger larger pyrotechnics. They are generally (but not always) the main explosive element in an effect, and are often used in special effects to simulate bullet impacts on inanimate objects or actors. Fake blood packets are typically coupled with squibs and attached to the stage clothes worn by actors, referred to as dead-character costumes, that burst through pre-made "bullet" holes to simulate the appearance of a person being shot and wounded. This creates a realistic and convincing visual effect for movies, TV shows, and stage performances.

Automotive industry
Squibs are used in emergency mechanisms where gas pressure needs to be generated quickly in confined spaces, while not harming any surrounding persons or mechanical parts. In this form, squibs may be called gas generators. Two such mechanisms are the inflation of automobile air bags and seat belt pretensioners which sometimes use pyrotechnic devices.

Pyro fuses are also used to disconnect the vehicle's power circuit. The pyro fuse is installed on the positive terminal of the battery and receives a signal from the vehicle's control unit in the event of an accident. During an accident, the pyrotechnic charge in the pyrofuse is triggered, which uses a piston to break the power circuit and de-energize the vehicle's battery.

In 2003, the European Commission adopted Directive 2000/53/EC on end-of-life vehicles (ELV Directive). This measure was introduced to prevent potential fires that may occur due to battery damage during an accident. Battery pyro-fuses ensure instant power disconnection, minimizing the risk of short circuits and fires

Aerospace industry
In military aircraft, squibs are used to deploy countermeasures and are also implemented during ejection to propel the canopy and ejection seat away from a crippled aircraft. They are also used to deploy parachutes.

Other uses
Squibs are also used in automatic fire extinguishers, to pierce seals that retain liquids such as halon, fluorocarbon, or liquid nitrogen.

History
Squibs were originally made from parchment tubes, or the shaft of a feather, and filled with fine black powder. They were then sealed at the ends with wax. They were sometimes used to ignite the main propellant charge in a cannon.

Squibs were once used in coal mining to break coal away from rock. In the 1870s, some versions of the device were patented and mass-produced as "Miners' Safety Squibs".

The famous "Squib Case"
Squibs are mentioned in the prominent tort case from eighteenth-century England, Scott v. Shepherd, 96 Eng. Rep. 525 (K.B. 1773). A lit squib was thrown into a crowded market by Shepherd and landed on the table of a gingerbread merchant. A bystander, to protect himself and the gingerbread, threw the squib across the market, where it landed in the goods of another merchant. The merchant grabbed the squib and tossed it away, accidentally hitting a man in the face, putting out one of his eyes.

Squibs in films
The first documented use of squibs to simulate bullet impacts in cinema was in the 1943 US war film Bataan.

Other early films using squibs include the 1955 Polish film Pokolenie by Andrzej Wajda, where for the first time audiences were presented with a realistic representation of a bullet impacting on an on-camera human being, complete with blood spatter. The creator of the effect, Kazimierz Kutz, used a condom with fake blood and dynamite.

However, the American western, River of No Return, filmed in 1953 and released in 1954, used a blood squib to simulate realistic bullet impact in the story's climax, when the story's antagonist is shot dead. As such, this film precedes Run of the Arrow (1957) – often credited with being the first to use blood squibs – by three years, and Pokolenie by one.

Origin of the phrase "damp squib"
While most modern squibs used by professionals are insulated from moisture, older uninsulated squibs needed to be kept dry in order to ignite, thus a "damp squib" was literally one that failed to perform because it got wet. Often misheard as "damp squid", the phrase "damp squib" has since come into general use to mean anything that fails to meet expectations. The word "squib" has come to take on a similar meaning even when used alone, as a diminutive comparison to a full explosive.

title: Squib (explosive)


text:
Ways & Means (album)

Ways & Means is a double album recorded by Australian artist Paul Kelly and originally released in February 2004, which peaked at #13 on the ARIA Albums Charts. It won the 2004 ARIA Music Award for Best Adult Contemporary Album. It was issued on EMI in Australia and Cooking Vinyl in the US. Kelly's backing band were later called The Boon Companions and consisted of his nephew Dan Kelly on guitar, Peter Luscombe on drums and his brother Dan Luscombe on guitar and keyboards, and Bill McDonald on bass guitar. "Beautiful Feeling" was used as the theme song for the ABCTV series Fireflies (2004).

Paul Kelly & the Boon Companions released a DVD titled, Ways & Means later in 2004. It contained 31 tracks divided into three sections: 15 tracks subtitled, Live in Boston, 12 tracks subtitled, Musicmax Sessions - Live at the Sydney Opera House (recorded on 27 January), and four tracks subtitled, Film Clips.

Background
Ways & Means was released by Paul Kelly on 17 February 2004, which peaked at #13 on the ARIA Albums Charts. Though identified as a solo record, it was more of a group effort, with a backing band later dubbed The Boon Companions co-writing many of the tracks. The Boon Companions consisted of Kelly's nephew Dan Kelly on guitar, Peter Luscombe on drums and his brother Dan Luscombe on guitar and keyboards, and Bill McDonald on bass guitar. On 7 February, the Australian Broadcasting Corporation had started broadcasting the television series Fireflies which featured a score by Kelly and Stephen Rae. The associated soundtrack CD Fireflies: Songs of Paul Kelly included tracks by Kelly, Paul Kelly & the Boon Companions, Professor Ratbaggy (containing Kelly and three earlier bandmates), Paul Kelly with Uncle Bill, and "Los Cucumbros" by the Boon Companions featuring Sian Prior, which was later a track on Stardust Five by Stardust Five (same line-up as Paul Kelly & the Boon Companions).

Personnel
Paul Kelly Band aka Paul Kelly & the Boon Companions Credits:
 * Dan Kelly – guitars, vocals
 * Paul Kelly – vocals, guitars
 * Dan Luscombe – guitars, keyboards
 * Peter Luscombe – drums
 * Bill McDonald – bass guitar

Production details
 * Producer – Tchad Blake, Paul Kelly

title: Ways & Means (album)


text:
Talk:Efraín Ríos Montt/Archive 1

Wow. I'm just finding out that the Supreme Court has reveresed its decision. I'm going to have to rewrite this article in light of the breaking news. 172 09:23 27 Jul 2003 (UTC)

Just made numerous small changes...
...In an attempt to establish some type of NPOV for this article. It's probably hopeless though, as the entire article seems to be written by a Montt-hater with an axe to grind. In tone, and in what it chooses to reveal about it's subject it is obviously biased. There is so much anti-Montt, anti-Reagan, anti-Cold War, anti-Rightist slant that I'm surprised this is eve being presented as a fact-based encyclopedic article. Especially troubling was the author's presentation of unproven leftist propoganda against the School of the Americas as if it was hard fact. I have fixed that by removing all mention of the SOTA that follows the sentence stating the (fact) that Montt was educated there.

See 'ya later.

-Anti-Commie.

 * What changes would make this article NPOV? ffirehorse 03:13, 21 Jul 2004 (UTC)

 * Besides the removal of the highly POV comment about the School of the Americas "torture, murder, assassinations, etc" (which, as well as being highly disputed to begin with, is irrelevant to the article at hand), I amended a few loaded paragraphs which stated the authors seeming opinion that Montt's victims consisted almost entirely of "Poor, downtrodden peasant" types who were caught in his reactionary, repressive net. It should be reflected in an NPOV article that while some political factions believe this to be true, others (including Montt himself) maintain that the majority of the army violence during his tenure was aimed squarely at factions of the Guatemalan population who were aiding and abetting the rise of Communist terrorism in Guatemala, or against those civilians and rebel soldiers (peasant or otherwise) who were attempting to establish a communist or socialist government alike to the Sandanistas or the Cubans.

Whether the harsh tactics of Montt were justified in light of increasingly dangerous and radical communist activity, or were simply vicious attacks on "dissidents" of the regime is not a matter for this article to decide.

Instead, we must strive to keep this Encyclopedia (which is, in reality, only a catelogue of facts and information) from obtaining a noticible political bias on it's subjects. Even to his harshest critics, Montt is not Hitler or Stalin. He has a massive base of support nearly equal to that of his detractors. We must, therefore, present both sides of the story on Montt.

Somebody has taken it upon themselves to supply the left-wing take on Montt. I have balanced it by supplying the right-wing viewpoint to follow the author's bias.

-ANTI-COMMUNIST

 * Will the biased turd who keeps reverting my changes stop before I alert a moderator? We'll see.  I added nothing more than what was necessary to balance the strong left-wing bias of the author of the article.  I will do it again.

-ANTI-COMMUNIST.

NPOV questions
Anti-Commie, I have no doubt of your sincerity, but you need to stop name-calling {like "biased turd"). That's not how we do things here.

Some of your changes were good, but some feel that most of your changes left the text much more POV than it had been before. That's why it was reverted -- I'm sure no one intended to be rude to you. It would be best to talk about specific changes here. For instance, you added "allegedly" to "Ríos Montt seized power in a coup d'état that was quietly backed by the CIA and the Reagan administration." Do you really doubt that the CIA backed the coup? You took out info about the School of the Americas. Do you think the school really didn't do those things? Let's discuss. Quadell (talk) 22:55, Jul 22, 2004 (UTC)

 * This anon is clearly a vandal with no perspective on what makes a proper encyclopedia article and no understanding of Central American history. His edits are clearly uninformed, ungrammatical, and slanted. Apart from his/her removal of straightforward, factual content, noted above by Quadell, note the following additions:

 * While some have claimed that Montt was responsible during his term for the murders of many Peasants and innocents, others have stated that Montt was justified in his attacks upon the revolutionary leftist groups of Guatemala because of their commitment to the Soviet Union and it's dictatorial, economically-ruinous socialist ideals.

 * It should be noted that at no time during Montt's reign was the nation of Guatemala at peace from the frequent attacks on the structure of it's society by Marxist communist guerrillas. Montt's supporters often claim that his repressive tactics were often necessary because of these hostile circmstances.

 * Wikipedia is not a dumping ground for crap. If people want to write opinionated rants, they can join an online blog or chatroom; but we cannot allow them to make Wikipedia into their playground. 172

 * Well, I'd say that phrases like "dumping ground for crap" are clearly indicitive of your OPINION. I hope you aren't writing your articles like that. After all, if you are editing this article with the preconceived notion that the claims of Montt supporters aren't as valid as that of his opponents, then it is YOU who is blatantly violating the NPOV of this article.

Yes, I was a little rude earlier, and I apologize for it. I am, however, frustrated by the appearance of a very anti-Montt, anti-anti-communist, and anti-American slant in an article that is supposed to be as neutral as possible. I am simply trying to supply the side of a right-wing Montt supporter to balance the opinion pieces already listed in the article from left-wing detractors (Amnesty International, political opponents, and liberal authors are all credited in the article.)

Also, yes, it is VERY POV to state as fact those accusations against the School of the Americas. While those atrocious things have been alleged by critics for many years, it has never been proven by a reasonable doubt by a non-partisan array of sources that the SOTA was ever involved in the activity stated.

By removing the accusations from this article, I have helped to balance it by removing one of the more partisan attacks in the article.

Also, it should be noted that there is a very real dispute over what, if any, involvement Reagan's Administration had in Montt's rise to power, with even Reagan and Weinberger disputing the accusations. To list it as a fact is far too POV.

You guys should remenber that, despite the name, I am not trying to shift this piece at all but to balance it politically. I have not removed any of your (quite valid) statements on Montt's documented crimes; rather I have added material that will present a legitimate side of Montt (his supporters, his reasoning) that has so far been COMPLETELY NEGLECTED by contributors. It is not NPOV to use one-sided info to paint Montt as a monster without printing the other side of the story. Ask yourselves if it is truly fair to represent only leftist opinions in this supposedly unbiased article? Why is your slant more valid than mine?

ANTI-COMMUNIST

title: Talk:Efraín Ríos Montt/Archive 1


text: Category:Actors by nationality

title: Category:Actors by nationality


text:
Wikipedia:Articles for deletion/Template:20cen

Let's not get started with that. There are thousands of common expressions that could be abbreviated with templates like that, e.g. for George W. Bush but then the article source texts will become unreadable. Gzornenplatz 03:05, Jul 24, 2004 (UTC)

Process issue: IMO this should proceed, but Templates should not in future be listed on VfD, and instead be treated separately as Redirs, Copyvios, etc. are. Discussion on Wikipedia talk:Votes_for_deletion --Jerzy(t) 15:35, 2004 Jul 26 (UTC)
 * You're supposed to read the article, not the markup; it's easy anyway to refer to the article in the midst of editing, when confused by the markup. (Maybe i'm odd, but that's how i learned the markup, not via tutorials.) --Jerzy(t) 15:35, 2004 Jul 26 (UTC)
 * Delete - it won't even work right in cases where having an abbreviation is useful due to the template inclusion limit. -- Cyrius|✎ 04:51, 24 Jul 2004 (UTC)
 * Frankly, i may be the only one using, and it is only using it as transclusion that might boost use to point where it's a problem: think of calling it by transclusion as a public-service announcement ("You should Sup-case your centuries; here's how to make that easy") toward the point where the problem is real. Then the problem can be solved by starting to use the subst mechanism with the same template (see markup below). How about a __FORCE SUBST__ operator built into abbreviation templates once they become popular (and into the VfD template: read the Template:VfDFooter). --Jerzy(t) 15:35, 2004 Jul 26 (UTC)
 * (Template creator, so is this not a vote?) Should be kept. Create a mechanism for alerting users to use it as, which will let it work just fine.  Avoiding the long, finicky syntax can alleviate the tendancy to code simply 20th century, without everyone having to copy the syntax into their own cut-and-paste library of some sort.  Also can be enhanced via parameterization to work with any century starting with 4th century, saving 15 other templates. --Jerzy(t) 15:35, 2004 Jul 26 (UTC)
 * But "20th century" is perfectly correct. It is not a good idea to get unnecessarily fancy by superscripting the "th". Most people do not and will never do that anyway. Also, when it's part of an underlined link, the underline under the "th" will be superscripted too, breaking the line. Gzornenplatz 18:25, Jul 29, 2004 (UTC)
 * Delete. Postdlf 04:11, 28 Jul 2004 (UTC)


text:
The Open Theater

The Open Theater was an experimental theatre group in New York City, active from 1963 to 1973.

Foundation
The Open Theater was founded in New York City by a group of former students of acting teacher Nola Chilton, together with director Joseph Chaikin (formerly of The Living Theatre), Peter Feldman, Megan Terry, and Sam Shepard. Joseph Chaikin had just left the Living Theater, following the arrest of Julian Beck and Judith Malina for tax evasion. He felt that the Living Theater had become less interested in artistic exploration and experimentation, and more interested in political activism and he felt that actors needed specific training to do the sorts of pieces that the Living Theater did. The group's intent was to continue Chilton's exploration of a "post-method", post-absurd acting technique, by way of a collaborative and wide-ranging process that included exploration of political, artistic, and social issues, which were felt to be critical to the success of avant-garde theatre. The company, developing work through an improvisational process drawn from Chilton and Viola Spolin, created well-known exercises, such as "sound and movement" and "transformations", and originated radical forms and techniques that anticipated or were contemporaneous with Jerzy Grotowski's "poor theater" in Poland. According to playwright Megan Terry, the notion of a minimalist aesthetic was fueled by the company's quest to achieve narrative insight and political accountability through the body of the actor:

"During the sixties we were concerned with stripping away. Chaikin and the Open Theater actors worked to reveal the actor's imagination as projected by the actor's presence. We showed that full, exciting theatrical productions could be done with nothing but actors and two benches or four chairs or only a bare stage. It was not only a matter of economics, it was essential to demonstrate the profound power of the actor's imagination and the actor's ability to create place; i.e. scenery through the power of belief via total technique and through the use of transformation not only of character but of time and place."

The Open Theater formed as an offshoot of the Living Theater. The Living Theater initially divided because actor Joseph Chaikin felt that the troupe had become less interested in artistic exploration and experimentation, and more interested in political activism. He felt that actors needed specific training to do the sorts of pieces that the Living Theater did.

Theatrical explorations
Chaikin's theatrical exploration came from within; he was interested in the personal experience of the actor, and of the actor's relationship to the rest of the community. He developed improvisational exercises designed to help the actor become freer. The technique was initially inspired by method acting, in which the actor draws on his or her own experiences and emotions, but the goal of Chaikin's work was to free the actor from the natural restraints of method acting. He called his technique the "sound and movement" technique. In his book entitled The Presence of the Actor, Chaikin wrote "Traditional acting in America has become a blend of that same kind of synthetic 'feeling' and sentimentality which characterizes the Fourth of July parade, Muzak, church services, and political campaigns." This further explains the purpose for the Open Theater and the reasoning behind opening such a space.

Ensemble work
Chaikin used ensemble casts as a way to explore the relationship between the actor and the outside world. He relied on the performers to interact not as characters in fictional settings, but as real people in real situations. While the Living Theater's ensemble was very external and audience oriented, Chaikin's was internal and oriented within the troupe itself. In 1963, Chaikin said "Working together, we teach ourselves." The ensemble worked in the "poor theater" style. There was no need for sets, costumes, props, or any of the other theatrical elements. There were no moving lights, only enough stationary light to be able to see. There was no music, instead, the actors would use their voices to create the sound effects. There were hardly any aspects of "rich" theater involved.

On his reasons for using ensembles instead of a traditional cast and show, Chaikin said: I felt a terrific longing for a kind of ensemble. I wanted to play with actors, actors who felt a sensitivity for one another... In order to come to a vocabulary, we had to teach each other: we had no ambitions other than to meet and play around... Off-off Broadway's impulse was a terrific dissatisfaction with what is possible on Broadway... Off-off broadway is really an attack on the fourth wall. I want to destroy the fourth-wall business. I have difficulty believing most of what happens on Broadway. Mary Martin's like a character in a television commercial: nobody'’s like that.

Location
The ensemble met on Spring Street in Lower Manhattan in a warehouse.

Disbanding and further works
Chaikin disbanded the Open Theater in 1973, amid fears that it was becoming too institutionalized. He later went to work for the Public Theater. Chaikin continued to create workshops, but he was increasingly working on mainstream projects.

Productions
During the first two years of its existence, there were no productions performed by the Open Theater. Instead, there were occasional open rehearsals or workshops.

The first major production was The Serpent, and it toured both nationally and internationally.The Serpent typifies what is extraordinary about the Open Theater. The production is a perfect example of experimental theatre at the time and how willing the company was to employ unconventional theatre techniques that were based on improvisation in order to create a very pointed piece. According to the playwright Jean Claude Van Itallie, a member of the company, the piece was conceived with the idea that the actors would act as priests and that there would be a sense of one-ness amongst the congregation that they are questioning the same things in which the priest is questioning. Questions such as where does evil come from? What provokes people to commit murder? Is maintaining innocence a possibility within the contaminated world that which we walk upon? Though most of the piece is done in choreographed movement, mime, human sound-effects, hand-held instruments, there is text as well coming directly from the Bible along with a number of speeches written exclusively for the show.

The plot of The Serpent takes an extremely non-direct route in order to answer these questions. The play opens with a group of actors onstage where one recites a graphic description of an autopsy while the other members of the group are creating different sound effects and movements that match the text. Then the remaining members of the ensemble join the stage to partake in a stylized re-enactment of the John F. Kennedy assassination. One actor counts slowly to twelve while the other actors partake in the re-enactment in slow motion, moving to a new position and new sound effect per count. This scene is run forward, backwards, and out of order to the point that it becomes so ritualized that there is now an element of comedy in play within this depiction of someone's untimely death. There is a sense of realization of how the horror of the murder rushes over the ensemble as they break free from their rigid formation and become instead a group of individuals fleeing from the evil that has just occurred. The ensemble then moves to the retelling of the banishment of Adam and Eve from the Garden of Eden. Four actors take the shape of the serpent that convinces Eve to eat the forbidden fruit and are present as Eve then moves to convince Adam to partake of it. After being banished by God from the Garden, the actors then partake in a ritual enactment of the first true discovery of sexual love which takes place alongside a recitation of how the descendants of Adam begat the rest of mankind. This passionate celebration of sexuality is very much embraced onstage. The ensemble eventually collapses slowly to the floor when, at first, a hum falls over the group which soon turns into song. They eventually rise to their feet and travel down the aisles embracing audience members and smiling until the song is complete.

The Serpent aims to remind the audience of the idea that we are all caught in a neverending battle between the fact that we are neither as innocent nor as guilty as we may think we might be, having fallen victim to the at times foul planet that we reside on. The goal of the play was not to find answers the specific questions which were asked, but rather to visualize these inquiries through improvisation and to help the actors, as well as the audience members, to find their own personal truths.

Some of the company's best known works include Terry's Viet Rock (1966) with musical compositions by Marianne de Pury, Jean-Claude van Itallie's America Hurrah (1966) and The Serpent (1969).

Other works included Endgame, American Hurrah, The Mutation Show, Nightwalk, and Terminal.

Members of the theatre simulated an orgy in Death Valley in a scene in the 1970 movie Zabriskie Point. The U.S. Justice Department later investigated the film questioning whether the orgy violated the Mann Act which criminalized the interstate transport of females for "immoral purposes". However, the movie producers pointed out that no actual sex had taken place and that the actors had not crossed a state line since the town of Zabriskie Point is in California.

After the company's dissolution, its members formed The Talking Band, and Medicine Show Theatre Ensemble and Spiderwoman Theater. Chaikin went on to have a celebrated career as a theatre director until his death in 2003.

title: The Open Theater


text:
Squib (keelboat)

A Squib is a type of small racing keelboat designed in 1967 by Oliver Lee as a successor to the Ajax 23. It is a strict "one-design" class of boat, having a length of 19' (5.79 metres), beam of 6'1½" (1.87 metres), a sail area of 170 sq. ft. (15.8 sq. mts.) upwind, 310 sq. ft. (29 sq. mts.) total and a weight of 1500 lb (680 kg) (including sails and fittings). The usual crew is two people and the boat can be cruised or raced with a Portsmouth Yardstick of 1142. The Squib has been adopted by the RYA as the National Keelboat and is big enough to race at sea and small enough to be trailed easily behind a family car.

Early history
Oliver Lee built the prototype Squib in 1967, using cold moulded wood. Following a succession of trials, the prototype was used as a "plug" from which copies of the boat could be built using glass-reinforced plastic construction. The first to be built was launched in June 1968, with sail number 11. Much later the plug was turned into a functioning boat and still sails. During 1968, a further five Squibs were built, and the first fleet began racing at the Royal Corinthian Yacht Club at Burnham-on-Crouch. Over the following few years numbers grew at Burnham and new fleets were formed at Waldringfield, Brixham, Abersoch and Aldeburgh. The Squib was granted national status by the Royal Yachting Association in 1972, when numbers exceeded 300.

In 1974, with sail numbers approaching 400, some of Britain's yachting journalists were invited to Burnham-on-Crouch to race Squibs, in an event called the "Squib Symposium". This resulted in raising the Squib's profile with the yachting press. Around this time, the Design Centre (now retitled as the Design Council) decided to put the Squib on its index of selected designs.

Squib builders
Boats from number 11 to 157 were built by Oliver Lee in Burnham.

From 158 to 724, Squibs were built under licence by Hunter Boats.

Numbers 725 to 767 were built by Oliver Lee Racing Yacht.

After the death of Oliver Lee, in 1994, the licence moved to Barker Brewer Boats who built 768 to 782.

In 1997 the licence was acquired by Bruce Parker Sailboats who, by Spring 2009, had built 100 Squibs, their first being 783 and final boat 885. They were the only official builder of Squibs until they went into liquidation.

The moulds have been owned by the National Squib Owners Association since 1994 and a new deck and a new hull mould were commissioned in 2009. Strict control is kept over Squib build to ensure that older boats do not become uncompetitive as has happened in some other classes. However, there were keel mould changes in Squib number 230 and again at 465.

Older Squibs are still prized. In 1996, the National Championship winning boat was a Barker Brewer build (771 Arctic Fox.) In 1999 and 2008, Parker built Squibs won. All the other Championships since 1996 were won by older boats, nine of them by boats built before 1972.

By 2010 over 810 Squibs have been built and the National Squib Owners Association has over 640 members.

In June 2014 The National Squib Owners Association (NSOA) announced that Rondar Race Boats have been chosen to be the next builder of the National Squib and it has been decided to number all new Squibs starting at No. 900.

The squib today
By 2010, there are 27 local fleets in the British Isles and Ireland, 10 of which have over 20 boats. In 2008, the 40th Anniversary Regatta, with 45 entries, was held at Burnham-on-Crouch.

The Squib is not only raced. Cruising is a major feature of the life of the Squib Fleet at Newhaven and Seaford YC and a version of the Squib cruised from Glasgow to Inverness – and one crossed the Atlantic.

The Squib is a favourite boat for people with disabilities and, for example, the East Anglia Sailing Trust, an organisation aimed at providing sailing opportunities for disabled people, uses a fleet of Squibs. In 2009, the Special Olympics (for people with learning disabilities) were held in Leicester. The sailing events were at Rutland and the Squib was selected as the competition boat.

The class is beginning to have international aspirations. In the early days a couple of Squibs went to Tortola, in the British Virgin Islands as day charter boats and a fleet grew there but none of the boats now remain in use. Other early Squibs went to South Africa, Greece, Germany and Australia. Six brand new Squibs recently went to Germany and there is talk of the class featuring in Kiel Woche and of racing on the IJsselmeer in the Netherlands.

Racing
The first UK National Championship was held at Burnham, in 1972, with 29 competitors, and the event has been held at a different venue every year since then. The Nationals move around the Britain and Ireland and have been held from Dundee to Plymouth, as well as in Ireland (four times) and in Wales (eight times). The first 100 boat Nationals fleet was at Howth near Dublin in 1996 and attendance at the Nationals is regularly over 80 boats. In 2009, in Weymouth, 108 Squibs competed in the National Championship. When the UK Nationals are not held in Ireland, a combined northern and Southern Irish Championship is held.

In 1995 Rutland Sailing Club instituted a UK Inland Championship which has proved so popular that it has been held on Rutland Water every year since with the entry limited to 55. In Ireland the Inland Championship is always held at Lough Derg Yacht Club in Dromineer. The first such event was held in 2011. There were 29 entries in 2021.

Squibs are one of the largest fleets at Cowes Week. In 2008, there were 40 Squibs racing, appropriately in the Squib’s 40th year.

Counting regional championships, invitational events and regattas, Squibs compete in 25 open events each year – all over Britain and Ireland and, occasionally, on the Continent. Ranked by attendance at National Championships, the Squib is consistently one of the top ten classes. In 2007, only five other classes had larger numbers than the Squib and four of these were children’s boats.

Squibs race as a class in Aldeburgh Week, Medway Week, Menai Strait Fortnight, Oulton Week and Tay Week.

In Ireland there are Squib fleets on the East coast at Howth and Dublin Bay. In the North at Cultra on Belfast Lough, and at Killyleagh on Strangford Lough. Squibs on the South coast sail from Kinsale and Glandore. The only inland freshwater fleet is at Dromineer on Lough Derg with a fleet of almost 30 Squibs.

Related design
The Sandhopper is a shallow draft version of the Squib, also designed by Oliver Lee. Among others, there are regular racing fleets at locations on the East Coast of England.

The Hunter 19 (Europa) is a development of the Squib, with a cabin added.

title: Squib (keelboat)


text: Category:Cuban actors

title: Category:Cuban actors


text:
Squib (writing)

A squib is a brief satirical or witty piece of writing or speech, like a lampoon, or a short, sometimes humorous piece in a newspaper or magazine, used as a filler. It can be intended to ignite thinking and discourse by others on topics of theoretical importance, but is often less substantial than this and just humorous (see The Daily Squib).

One of the most famous squibs in English literature is The Candidate by Thomas Gray.

In linguistics, the term "squib" is used for a very short scholarly article; this usage in the field was popularized by John R. “Haj” Ross in the 1960s. A squib may outline anomalous data but not suggest a solution, or develop a minor theoretical argument. A particularly interesting variety of squibs are the so-called snippets, which are "the ideal footnote: a side remark that taken on its own is not worth lengthy development but that needs to be said". The online journal Snippets is dedicated to this type of squib.

title: Squib (writing)


text:
...Nothing but a Dream

...nothing but a dream is a studio album recorded by Australian singer-songwriter, Paul Kelly. It was released on 13 August 2001 via EMI Records, and peaked at No. 7 on the ARIA Albums Chart and No. 46 on the Official New Zealand Music Chart. It was also released in the United States on Cooking Vinyl and included four tracks from Kelly's earlier extended play, Roll on Summer (2000). In Australia and New Zealand the album provided three singles, "Somewhere in the City" (July 2001), "Love Is the Law" (October) and "If I Could Start Today Again" (January 2002).

Two days before the album appeared Kelly had issued a five-track EP, Paul Kelly Exclusive CD, which was provided free with The Weekend Australian Magazine – it has two tracks, "The Pretty Place" and "Somewhere in the City", from the album. It was the first CD to be included with an Australian newspaper magazine, although this did cause problems with home deliveries, with many subscribers missing out. At the ARIA Music Awards of 2002 ...nothing but a dream won Best Adult Contemporary Album for Kelly and he was nominated for Best Male Artist.

Reception
AllMusic's Jason MacNeil rated the US version of ...nothing but a dream at four-out-of-five stars and explained, "the songs speak of a certain longing and asking for redemption, but are dominantly roots pop arrangements." He observed, "An added bonus is the four additional tracks from a previously released EP, with the funky duet of 'Roll on Summer' being the high point of the lot."

Steve Newton of The Georgia Straight felt it, "contains its share of solo, acoustic ballads, but also sees the singer-songwriter performing with the full band." Newton described the track, "Would You Be My Friend", where Mick Harvey is "handling guitar, organ, bass, and drums" as a "soothing" rendition. They recorded it in Harvey's back yard shed and Kelly explained, "'He's got a bigger shed than me, but he's got the same eight-track tape machine, so we've got a similar basic setup'."

Personnel
Credits:
 * Musicians
 * Peter Luscombe – drums
 * Dave Ruffy – percussion, drums
 * Spencer P. Jones – guitar (electric), vocals
 * Bic Runga – vocals
 * Bruce Haymes – organ, vocals, keyboards
 * Billie Godfrey – vocals
 * Paul Kelly – guitar, vocals, keyboards
 * Shane O'Mara – guitar (electric)
 * Renee Geyer – vocals
 * Linda Bull – vocals
 * Vika Bull – vocals
 * Steve Hadley – bass, fiddle
 * Mick Harvey – organ, bass, guitar (electric), drums (track 10)

 * Recording and artwork details
 * Don Bartley – mastering
 * Adam Rhodes – engineer
 * James Sanger – co-production, programming, sound design
 * Martin Philbey – photography
 * Paul Kelly – producer (all tracks except track 10)
 * Mick Harvey – producer (track 10)
 * Mark Wallis – producer (all tracks except track 10)

Paul Kelly Exclusive CD
Paul Kelly Exclusive CD is a five-track extended play by Paul Kelly, which was provided free with The Weekend Australian Magazine in August 2001. It is a compilation with four audio tracks including two from Kelly's forthcoming album, ...nothing but a dream ("The Pretty Place" and "Somewhere in the City"), one from his previous four-track EP Roll on Summer ("I Was Hoping You'd Say That") in 2000, and one from an associated project Professor Ratbaggy's 1999 self-titled album ("Love Letter"). A music video for "Somewhere in the City" was provided as the fifth track.

It was the first CD to be included with an Australian newspaper magazine, although this did cause problems with home deliveries, with many subscribers missing out.

Personnel
Credits:
 * Musicians
 * Stephen Hadley – bass guitar (tracks 1–2)
 * Bruce Haymes – keyboard (tracks 1–3)
 * Spencer Jones – guitar (track 1)
 * Paul Kelly – guitar, vocals (tracks 1–5)
 * Peter Luscombe – drums (tracks 1–2)
 * Linda Bull – vocals (track 1)
 * Vika Bull – vocals (track 1)

 * Recording details
 * Producer – Mark Wallis (track 1), Paul Kelly (tracks 1–5), Professor Ratbaggy (track 2), Andy Baldwin (tracks 2–3)
 * Director – Tony Mahony (track 5)

title: ...Nothing but a Dream