text:
Talk:Ovulation

Merger
From VfD:

)

 * Yes, you are right. wiki articles are intended to be approachable by a general audience. We need to work on addressing this issue. Thanks for bringing this up. Chaldor (talk) 19:39, 21 September 2008 (UTC)

Follicular and luteal phase length variation
The recently added (and reverted) comment, "length of follicular phase is more variable than the luteal phase so the length of the menstural cycle in days minus 14 gives the most likely day of ovulation is true. The length of the follicular phase can vary by many weeks - it is more variable than the luteal phase.  And subtracting 14 days from menstruation is a more accurate estimate of ovulation than assuming ovulation on day 14 of the cycle.  Nevertheless, a luteal phase is considered normal anywhere from 10-16 days, so even retrospective day-counting estimations are frequently going to be off by several days.

I support the removal of the sentence, because it's not useful in the context of that paragraph. Sources could easily be found to support its assertions, but that wouldn't make it any more relevant to this article. Lyrl Talk C 01:17, 22 June 2007 (UTC)

Fair use rationale for Image:Mature Graffian follicle.jpg
Image:Mature Graffian follicle.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 16:58, 2 January 2008 (UTC)

How long does a ovulation take?
The duration of ovulation should be mentioned in the introduction. --93.223.20.79 (talk) 23:02, 28 July 2010 (UTC)

Agric science
Ovulation and parturition 41.190.30.63 (talk) 10:14, 27 May 2023 (UTC)

title: Talk:Ovulation


text:
Adiemus (albums)

Adiemus is a series of new-age music albums by Welsh composer Karl Jenkins. It is also the title of the opening track on the first album of the series, Adiemus: Songs of Sanctuary, recorded in 1994 and released the next year.

Concept and origins
Each Adiemus album is a collection of song-length pieces featuring harmonised vocal melody against an orchestra background.

The vocal parts are not written in an actual language, despite some of the lyrics bearing a passing similarity to Latin. The 'words' were written phonetically by Jenkins to match the orchestral parts, with the intention being to have the voices act purely as another instrument.

The word adiemus itself resembles the Latin word adeamus meaning "let us approach" (or "let us submit a cause to a referee"), or, is sometimes regarded as the future tense of the same verb, meaning "we shall approach" or "we shall take possession". The title also resembles two forms of the Latin verb audire ("to hear"): audiemus ("we shall hear") and audiamus ("let us hear"), although Jenkins has said he was unaware of any connections to real Latin words.

The titular piece on Adiemus – Songs of Sanctuary was originally composed for a Delta Air Lines TV commercial. The piece gained significant popularity as a result, and Jenkins then decided to expand it into a full work.

Instrumentation and performers

 * Scoring for Songs of Sanctuary: recorder, 8 percussion, 4 tom-toms, congas, cymbals, claves, floor tom, bass drum, mark tree, bass bell in C, cabasa, wood block, triangle, strings
 * Scoring for Cantata Mundi:2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets, 2 bassoons, 6 horns, 3 trumpets, 4 trombones, tuba, timpani, claves, cowbell, güiro, 2 cabasas, triangle, chenchen, Egyptian tabla, duhulla, tom-tom, cymbals, shekere, xylophone, glockenspiel, bass marimba, bongos, rek, udu pot, tablas, sticks, pandeiro, timbales, surdo, bass drum, tamtam, suspended cymbals, tambourine, recorder, strings (featuring on album are also the violin, electro-acoustic percussion and gemshorn)
 * Scoring for Dances of Time:7 singers, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 6 horns, 3 trumpets, 4 trombones, tuba, timpani, 8 percussionists: bass drum, bongos, cowbell, shekere, chocalho, cymbals, claves, congas, cabasa, castanets, dholak, güiro, 5 low drums, low chekere, marimba, rainmaker, rek, snare drum, shaker, surdo, tom-tom, tabla, tamborim, tambourine, triangle, udo, wood block, xylophone, recorder, strings (featuring on album are also the electro-acoustic percussion and gemshorn)
 * Scoring for The Eternal Knot: recorder, accordion, percussion, harp, strings (on album also the acoustic guitar, Uilleann pipes)
 * Scoring for Vocalise: for voices and orchestra

Session singer Miriam Stockley performed the vocal parts on the first four albums. Stockley was described by Jenkins as central to the Adiemus project due to her range and intonation; however, she was not re-engaged for Vocalise. Additional vocals were provided by Mary Carewe on all but Dances of Time, which saw the introduction of the Finnish Adiemus Singers (who would later appear on Vocalise). Extra vocals and the chorus effects were created by overdubbing multitracked recordings of the singers (in some cases up to 40 times) and varying the speed of the tape.

The Songs of Sanctuary orchestra consisted of a string section augmented by various ethnic percussion instruments, with occasional further additions such as bells, a recorder and a quena. Mike Ratledge, with whom Jenkins had played in Soft Machine, contributed to the first album as well. Jenkins added brass and woodwind for Cantata Mundi, and continued to add more diverse instruments such as acoustic guitar on later albums. From Songs of Sanctuary to Dances of Time, the London Philharmonic Orchestra was used; Jenkins later formed his own Adiemus Orchestra to perform on The Eternal Knot recordings, returning to the London Philharmonic for Vocalise.

Singers

 * Miriam Stockley
 * Mary Carewe
 * Pirjo Aittomäki
 * Mervi Hiltunen
 * Anna-Mari Kähärä
 * Merja Rajala
 * Säde Rissanen
 * Hanna-Riikka Siitonen
 * Mia Simanainen
 * Nina Tapio
 * Riikka Timonen

Musical style
The musical language of Adiemus draws heavily on classical and world music. Jenkins follows conventions of tonality up to a point—his harmony is derived from gospel and African music, decorated with functional dissonances such as suspensions and with greater freedom of movement between loosely related key areas. He avoids the most common time signatures, such as 2/4, 3/4 and 4/4, with a slow 3/2 and 6/8, 9/8 and 5/8 (Cantus Inaequalis from Songs of Sanctuary). "Free time" is also prominent, in this as well as the majority of new age projects. The percussion section, when used prominently, gives the pieces an upbeat, tribal-like rhythm.

The sound of Adiemus is generally identified with new-age or Celtic music; The Eternal Knot is an explicitly Celtic-themed album that formed the sound-track for the S4C documentary The Celts.

Audience
Songs of Sanctuary was a commercial success, topping classical album charts. Though none of its successors has achieved the same critical acclaim, Adiemus acquired a cult following and maintained a place in mainstream consciousness through its use in TV commercials, in particular the track "Adiemus" in a Delta Air Lines commercial (for which the project began) and "Cantilena", from Cantata Mundi, in a Cheltenham & Gloucester TV commercial and "Chorale VI (Sol–Fa) Cantus Song of Aeolus", in a Toyota Prius PHV TV commercial. "Adiemus" was also the eighth feature track of the original 1997 Pure Moods album. It was used at the beginning and end of James Brandon's magic show "Imagine" which played at the Luxor Las Vegas in the late 1990s and continues to be used as the soundtrack behind the Kubla Khan pillar show at the end of the Rotunda cave tour in Kartchner Caverns State Park in Arizona. "Adiemus" was used in the trailer to the Invisible Children documentary film and featured in the titles of the 1996 BBC children's series Testament: The Bible in Animation. That same year, it was used in the Baywatch episode "Beauty and the Beast". "Tintinnabulum" was sampled in Solarstone's 1999 Ibiza trance anthem "Seven Cities".

Adiemus: Songs of Sanctuary

 * 1) "Adiemus" – 4:01
 * 2) "Tintinnabulum" – 10:57
 * 3) "Cantus Inaequalis" – 3:13
 * 4) "Cantus Insolitus" – 5:35
 * 5) "In Caelum Fero" – 7:45
 * 6) "Cantus Iteratus" – 6:36
 * 7) "Amaté Adea" – 5:12
 * 8) "Kayama" – 8:06
 * 9) "Hymn" – 2:38

Adiemus II: Cantata Mundi
Released in 1996, and building on the style established in Adiemus: Songs of Sanctuary, Jenkins broadens his musical approach to Cantata Mundi by including instrumentation and techniques from Eastern Europe, Arabia, and Asia. Compared to the earlier work, the orchestra is also expanded to include woodwinds and brass. The overall form of this album is a cantata of fourteen movements alternating between longer 'cantus' pieces and brief 'chorales'.

Track listing for Adiemus II

 * 1) "Cantus – 'Song of Tears – 9:01
 * 2) "Chorale I (Za Ma Ba)" – 1:50
 * 3) "Cantus – 'Song of the Spirit – 6:09
 * 4) "Chorale II (Roosh Ka Ma)" – 1:50
 * 5) "Cantus – 'Song of the Trinity – 6:11
 * 6) "Chorale III (Vocalise)" – 2:20
 * 7) "Cantus – 'Song of the Odyssey – 7:25
 * 8) "Chorale IV (Alame Oo Ya)" – 2:59
 * 9) "Cantus – 'Song of the Plains – 11:26
 * 10) "Chorale V (Arama Ivi)" – 1:21
 * 11) "Cantus – 'Song of Invocation – 8:45
 * 12) "Chorale VI (Sol–Fa)" / "Cantus – 'Song of Aeolus – 5:46
 * 13) "Chorale VII (A Ma Ka Ma)" – 1:18
 * 14) Bonus Track: "Cantilena" – 3:24
 * 15) Bonus Track: "Elegia" – 4:06

Personnel for Adiemus II

 * London Philharmonic Orchestra
 * Karl Jenkins – Conductor
 * Miriam Stockley – Vocals
 * Mary Carewe – Additional vocals in Choruses
 * Pamela Thorby – Recorders and gemshorn
 * Christopher Warren-Green – Solo violin
 * Jody Barratt-Jenkins – Electro-acoustic percussion

Alternative versions
Several releases, including the United States release, of Cantata Mundi feature two bonus tracks, "Cantilena" and "Elegia", which are early musical sketches composed by Jenkins in preparation for this album.

As is common with Adiemus albums, the cover art of releases in certain regions may be different. The cover of the United States release features a silhouetted persons reminiscent of the cover art for Adiemus: Songs of Sanctuary in that region as well as the cover for Diamond Music. European releases depict an insect hive in various shades of reds and yellows within an abstracted mechanical clock. A special edition release in Europe shows a winged figure ascending into the sky. Other releases use dolphins which are characteristic of Adiemus albums in some markets.

Adiemus III: Dances of Time
Released in 1998, this album is a tribute to the interrelationship between music and dance throughout history. As such, most tracks are composed in a traditional style of dance, including meter.

In addition to the multitracked vocals used in the previous Adiemus recordings, Jenkins introduces the Finnish Adiemus Singers to perform the chorus to Miriam Stockley's lead.

Track listing for Adiemus III

 * 1) "Corrente (Courante)" – 5:04
 * 2) "Un Bolero Azul (Blue Bolero)" – 8:35
 * 3) "La La La Koora (Ländler)" – 3:20
 * 4) "Dawn Dancing" – 3:14
 * 5) "Kaya Kakooya (Rumba)" – 4:34
 * 6) "Intrada & Pavan" – 7:25
 * 7) "Minuet" – 1:24
 * 8) "Rain Dance" – 4:30
 * 9) "African Tango" – 8:05
 * 10) "Zarabanda (Sarabande)" – 4:36
 * 11) "Ein Wiener Walzer (A Viennese Waltz)" – 4:59
 * 12) "Hymn to the Dance" – 3:52
 * 13) "Dos a Dos (Square dance)" – 4:15
 * 14) "Tango" – 5:51

Alternate versions of Adiemus III
The final track "Tango" is an edited version of the track "African Tango" and is only available on some releases. A Japanese special edition release includes a second disc featuring "Beyond the Century (Makare Maka)" 4:54, "Elegia" 4:05 from some releases of Adiemus II: Cantata Mundi, "Hymn" 2:38 from Adiemus: Songs of Sanctuary, and an edited version of "Corrente" 4:23 from the first disc of this album.

As is common with Adiemus albums, the cover art of releases in certain regions may be different.

Personnel for Adiemus III

 * Adiemus – Performer
 * David Buckland – Photography
 * Martin Giles – Mastering
 * Nick Harris & The Soundbarriers – Assistant engineer
 * Helen Hodkinson – executive producer, associate producer
 * Jody Jenkins – Electric drums
 * Karl Jenkins – Composer, conductor, producer, orchestration
 * Dick Lewzey – Engineer
 * London Philharmonic Orchestra
 * Matt Marshall – Executive producer
 * Russell Mills – Artwork, design
 * Duncan Riddell – Orchestra leader
 * Säde Rissanen – Vocals
 * Sheila Rock – Photography
 * Mia Simanainen – Vocals
 * Miriam Stockley – Vocals
 * Nina Tapio – Vocals
 * Pamela Thorby – Recorder, gemshorn
 * Riikka Väyrynen – Vocals
 * Michael Webster – Design assistant

Adiemus IV: The Eternal Knot
Released in 2001, this album was inspired by Celtic history and mythology, and served as the soundtrack to the S4C International documentary The Celts. In addition to rich string orchestrations and vocals borrowing from world musical styles common to Adiemus, Jenkins adds the accompaniment of ethnic instruments such as the Uilleann pipes and Carnyx.

Track listing for Adiemus IV

 * 1) "Cú Chullain" – 6:15
 * 2) "The Eternal Knot" – 4:04
 * 3) "Palace of the Crystal Bridge" – 3:42
 * 4) "The Wooing of Étaín" – 5:25
 * 5) "King of the Sacred Grove" – 6:05
 * 6) "Saint Declan's Drone" – 3:58
 * 7) "Salm O 'Dewi Sant'" – 4:23
 * 8) "Connla's Well" – 4:19
 * 9) "The Dagda" – 7:56
 * 10) "Children of Dannu" – 3:32
 * 11) "Ceridwen's Curse" – 4:30
 * 12) "Hermit of the Sea Rock" – 1:45
 * 13) "Isle of the Mystic Lake" – 3:16
 * 14) "Math Was a Wizard" – 2:57

Personnel for Adiemus IV

 * Adiemus Orchestra
 * Karl Jenkins – Conductor
 * Miriam Stockley – Vocals
 * Mary Carewe – Additional vocals in choruses
 * Pamela Thorby – Recorder
 * Caryl Ebenezer – High soprano
 * Davy Spillane – Uilleann pipes
 * Martin Taylor – Acoustic guitar
 * David Farmer – Accordion
 * Catrin Finch – Harp
 * Jody K Jenkins – Carnyx effect and percussion

Alternate versions of Adiemus IV
The theme from "Salm O 'Dewi Sant'" is derived from "Psalm 27" of Jenkins's Dewi Sant. The theme from "The Dagda" was borrowed from "Lacus Pereverantiae" from Jenkins's earlier work Imagined Oceans. The theme for "Isle of the Mystic Lake" is that of "Palus Nebularum" also from Imagined Oceans. "The Eternal Knot" went on to become the theme for "Benedictus" from Jenkins's mass The Armed Man.

As is often the case with albums in the Adiemus project, releases in different regions may have different cover art. The cover Japanese release of Adieums IV: The Eternal Knot Has gold text and designs, including a dolphin, over a green background whereas other releases have white text over a Celtic knot on a bluish-green background.

Adiemus V: Vocalise
Released in 2003. In contrast to Jenkins's past Adiemus compositions, several of the tracks in this album are arrangements or variations on existing classical works. Additionally, the lyrics for some tracks are borrowed from religious texts or even the title of the piece rather than the invented phonetic language used exclusively in the preceding Adiemus albums. Adiemus V: Vocalise features the broadest range in musical styles and instrumentation of the series.

Track listing for Adiemus V
All tracks by Karl Jenkins

 * 1) "Rondo" (after Violin Concerto (Beethoven)) – 4:09
 * 2) "The Protector" (lyrics translated from Hebrew Grail text) – 4:11
 * 3) "Allegrettango" (after Symphony No. 7 (Beethoven), second movement) – 6:01 (with Terry Barber, countertenor)
 * 4) "Dona Nobis Pacem Part I" (lyrics from Agnus Dei of the Ordinary of the Mass) – 2:26
 * 5) "Dona Nobis Pacem Part II" (lyrics from Agnus Dei of the Ordinary of the Mass) – 6:00
 * 6) "Akruzam" (after mazurkas by Frédéric Chopin) – 4:29
 * 7) "Schwanda the Bagpiper" (arrangement of Jaromír Weinberger's Švanda the Bagpiper) – 1:49
 * 8) "Exit Schwanda" – 1:18
 * 9) "Bendigedig" – 5:20 (with Terry Barber, countertenor)
 * 10) "Schubert's Dance" (after Franz Schubert) – 3:20
 * 11) "Berceuse pour un Enfant Solitaire" – 6:11
 * 12) "Aria" (arrangement of "Cantilena" from Heitor Villa-Lobos's Bachianas Brasileiras) – 5:30 (with Terry Barber, countertenor, and Richard Harwood, cello)
 * 13) "Mysterious are Your Ways" – 3:30
 * 14) "Mi Contra Fa, Diabolus in Musica" – 5:55
 * 15) "Vocalise" (arrangement of Sergei Rachmaninoff's "Vocalise") – 4:31 (with Terry Barber, countertenor)
 * 16) encore: "Boogie Woogie Llanoogie" – 3:29

Personnel for Adiemus V

 * Pirjo Aittomäki – Vocals
 * Terrance L. Barber Jr. – Countertenor (Vocal)
 * Mary Carewe – Vocals
 * Paul Clarvis – Percussion
 * Helen Connolly – Executive producer, associate producer
 * Mark Feltham – Harmonica
 * Martin Giles – Mastering
 * Richard Harwood – Cello
 * Mervi Hiltunen – Vocals, soloist
 * Nigel Hitchcock – Saxophone, wind controller
 * Gavin Horsley – Bass (vocal)
 * Jody Barratt Jenkins – Percussion, piano, programming, producer, editing
 * Karl Jenkins – Piano, arranger, conductor, producer, concept, song notes
 * Anna-Mari Kähärä – Vocals
 * London Philharmonic Orchestra
 * Steve Price – Mixing
 * Merja Rajala – Vocals
 * Säde Rissanen – Vocals
 * Pieter Schoeman – Orchestra leader
 * Hanna-Riikka Siitonen – Vocals
 * Mia Simanainen – Vocals
 * Belinda Sykes – Vocals, soloist
 * Nina Tapio – Vocals
 * Martin Taylor	– Guitar
 * Pamela Thorby – Recorder
 * Riikka Timonen – Vocals
 * Paul Vozdic – Cover photo
 * Kenny Wheeler – Flugelhorn
 * Guy Wiffen – Engineer

Singles and alternative versions
Common to albums in the Adiemus project, releases in different regions may have different cover art, such as the Japanese release of Adieums V: Vocalise.

Special albums

 * 2000 – The Journey: The Best of Adiemus
 * 2002 – Adiemus Live
 * 2002 – Adiemus New Best & Live
 * 2003 – The Essential Adiemus
 * 2013 – Adiemus Colores
 * 2017 – Symphonic Adiemus

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

title: Adiemus (albums)


text:
William Kennedy (author)

William Joseph Kennedy (born January 16, 1928) is an American writer and journalist who won the 1984 Pulitzer Prize for his 1983 novel Ironweed.

Kennedy's other works include The Ink Truck (1969), Legs (1975), Billy Phelan's Greatest Game (1978), Roscoe (2002) and Changó's Beads and Two-Tone Shoes (2011). Many of his novels have featured the interactions of members of the fictional Irish-American Phelan family in Albany, New York.

Kennedy has also published a non-fiction book entitled O Albany!: Improbable City of Political Wizards, Fearless Ethnics, Spectacular Aristocrats, Splendid Nobodies, and Underrated Scoundrels (1983).

Early life, family, and education
William Joseph Kennedy was born January 16, 1928, in Albany, New York to William and Mary Kennedy. He is an only child. Kennedy's parents were working-class Irish-Americans. Kennedy was raised Catholic and grew up in the North Albany neighborhood. He attended Public School 20 and Christian Brothers Academy. Kennedy studied at Siena College in Loudonville, New York, from which he graduated in 1949.

Career
Kennedy began pursuing a career in journalism after college by joining the Post Star in Glens Falls as a sports reporter. He was drafted in 1950 and served in the US Army, where he worked for an Army newspaper in Europe. After his discharge, Kennedy joined the Albany Times Union as a reporter. He then relocated to Puerto Rico in 1956 and became managing editor of the San Juan Star, a new English language newspaper. While living in San Juan, he befriended the journalist and author Hunter S. Thompson.

Kennedy, who had been eager to leave Albany, returned to his hometown in 1963. He worked for the Times Union as an investigative journalist, writing stories exposing activities of Daniel P. O'Connell and his political cronies in the dominant Democratic Party. He was nominated for a Pulitzer Prize in 1965 for a series of articles on ghettos.

Kennedy published his first novel, The Ink Truck, in 1969. The novel's main character is a columnist who leads a strike at his newspaper in Albany.

Kennedy lectured in creative writing and journalism from 1974 to 1982 at the University at Albany, becoming a full professor in 1983. He taught writing as a visiting professor at Cornell University during the 1982–1983 academic year.

Kennedy published Legs (about Jack (“Legs”) Diamond, a gangster killed in Albany in 1931) in 1975 and Billy Phelan’s Greatest Game (about a fictional Albany hustler) in 1978. While both novels were well received by critics, they did not sell well. Kennedy and his family experienced financial difficulties.

Kennedy's next novel, Ironweed (1983), was rejected by publishers 13 times. However, author Saul Bellow urged Viking Press to reconsider. Viking Press published the novel. The novel was commercially successful, and it won Kennedy a Pulitzer Prize and a National Book Critics Circle Award. The novel was adapted into a 1987 film of the same name for which Kennedy wrote the screenplay.

Kennedy also published a nonfiction book entitled O Albany!: Improbable City of Political Wizards, Fearless Ethnics, Spectacular Aristocrats, Splendid Nobodies, and Underrated Scoundrels (1983).

Kennedy's other novels include Quinn’s Book (1988), Very Old Bones (1992), The Flaming Corsage (1996), Roscoe (2002), and Changó’s Beads and Two-Tone Shoes (2011). He has also authored plays and screenplays, and co-authored two children's books with his son, Brendan Kennedy.

Kennedy's use of Albany as the setting for eight of his novels was described in 2011 by book critic Jonathan Yardley as painting "a portrait of a single city perhaps unique in American fiction".

Awards
Kennedy received the 1984 Pulitzer Prize for Fiction for his novel Ironweed. He also won the National Book Critics Circle Award.

Personal life
Kennedy met Dana Daisy Sosa (born Ana Segarra), a Broadway dancer, in her native Puerto Rico. They married in 1957 and had three children. In 1963, they moved from Puerto Rico to Averill Park, New York, where she would die on September 29, 2023.

Fiction

 * The Ink Truck. New York: Viking Press, 1969.

The Albany Cycle

 * Legs. New York: Coward, McCann & Geoghegan, 1975.
 * Billy Phelan's Greatest Game. New York: Viking Press, 1978.
 * Ironweed. New York: Viking Press, 1983.
 * Quinn's Book. New York: Viking Press, 1988.
 * Very Old Bones. New York: Viking Press, 1992.
 * The Flaming Corsage. New York: Viking Press, 1996.
 * Roscoe. New York: Viking Press, 2002.
 * Changó's Beads and Two-Tone Shoes. New York: Viking Adult, 2012.

Nonfiction

 * O Albany!: Improbable City of Political Wizards, Fearless Ethnics, Spectacular Aristocrats, Splendid Nobodies, and Underrated Scoundrels. New York: Viking Press, 1983.
 * The Making of Ironweed. New York: Viking Penguin, 1988.
 * Riding the Yellow Trolley Car. New York: Viking Press, 1993.

Screenplays

 * The Cotton Club. Co-authored with Francis Ford Coppola. New York: St. Martin's Press, 1986.
 * Ironweed. Tri-Star, 1987.

Plays

 * Grand View. Premiered at Capital Repertory Theatre, Albany, New York, 1996.
 * In the System. HumaniTech* Short Play Project Premiere, University at Albany, March 2003.
 * The Light of the World. Premiere reading at Capital Repertory Theatre in Albany, starring Aidan Quinn. November 2014.

Children's books

 * Charlie Malarkey and the Belly Button Machine (co-authored with Brendan Kennedy). New York: Atlantic Monthly Press, 1986.
 * Charlie Malarkey and the Singing Moose (co-authored with Brendan Kennedy). New York: Viking Children's Books, 1994.

Criticism

 * Flanagan, Thomas. O Albany!. New York Review of Books. April 25, 2002
 * Giamo, Benedict F. The Homeless of Ironweed: Blossoms on the Crag. Iowa City: University of Iowa Press, 1997.
 * Gillespie, Michael Patrick. Reading William Kennedy. Syracuse: Syracuse University Press.
 * Lynch, Vivian Valvano. Portraits of Artists: Warriors in the Novels of William Kennedy. Bethesda: International Scholars Publications, 1999.
 * Mallon, Thomas. William Kennedy's Greatest Game. The Atlantic Monthly. February 2002.
 * Seshachari, Neila C. Courtesans, Stars, Wives, & Vixens: The Many Faces of Female Power in Kennedy's Novels, AWP Conference, Albany, NY. April 17, 1999.
 * Marowski, Daniel G. and Matur, Roger, editors. "William Kennedy." Contemporary Literary Criticism, Vol. 53, Detroit: Gale Research, 1989, pp. 189–201.
 * Michener, Christian. From Then into Now: William Kennedy's Albany Novels. University of Scranton Press, 1998.
 * Reilly, Edward C. Twayne's United States Authors Series: William Kennedy. Boston: Twayne Publishers, 1991.
 * Van Dover, J. K. Understanding William Kennedy. Columbia, SC: University of South Carolina Press, 1991.
 * Seshachari, Neila C., editor. Conversations with William Kennedy. Jackson, MS: University Press of Mississippi, 1997.

title: William Kennedy (author)


text:
Lauren Hutton

Lauren Hutton (born Mary Laurence Hutton; November 17, 1943) is an American model and actress. Born and raised in the southern United States, Hutton relocated to New York City in her early adulthood to begin a modeling career. Though she was initially dismissed by agents for a signature gap in her teeth, Hutton signed a modeling contract with Revlon in 1973, which at the time was the biggest contract in the history of the modeling industry.

Over her career, Hutton has worked both as a model and an actress, making her film debut in the sports drama Paper Lion in 1968, opposite Alan Alda. She also played central roles in The Gambler (1974) and American Gigolo (1980), and later appeared on television in the network series Paper Dolls, Falcon Crest, Central Park West and Nip/Tuck.

Hutton has continued to model into her seventies, appearing in numerous advertising campaigns for H&M, Lord and Taylor, and Alexander Wang, and performed on the runway for Tom Ford's spring 2012 collection, as well as for Bottega Veneta at the 2016 New York Fashion Week.

Early life
Hutton was born Mary Laurence Hutton on November 17, 1943, in Charleston, South Carolina, to Lawrence Bryan Hutton and Minnie (Behrens) Hutton. Her father was a native of Mississippi, where he grew up next-door to William Faulkner, and was stationed in England, during World War II when Lauren was born.

After the war, Hutton's mother divorced her father in 1945, and she relocated to Miami, and later, Tampa, Florida. Hutton spent the remainder of her early life in Tampa, not knowing her father, who died June 24, 1956, from a heart attack at age 37. He was working as a Farm Editor for The Cotton Trade Journal, living in Shelby, Tennessee with his second wife, Mary Elizabeth (Everette) Hutton. He is buried at Oxford Memorial Cemetery, in Oxford, Mississippi. "Never meeting my father was the most painful thing in my life," Hutton said in 1996. "I look just like him and I'm named for him, but all I have are these two books of his letters and drawings from the war. The day of my birth he wrote and told me about our ancestors, what he thought was important in the world, what books I should read and what he wanted for me."

After her mother remarried, Hutton took the surname "Hall", although her stepfather never formally adopted her. She graduated from Chamberlain High School in Tampa in 1961 and was among the first students to attend the University of South Florida in 1961. Hutton later relocated with former Tampa disc jockey Pat Chamburs, a war veteran 19 years her senior who had lost a leg in a kamikaze attack, to New York City, where she worked as a "Bunny" waitress at the Playboy Club, at which time she made her first appearance on camera as a decoy contestant on To Tell The Truth in 1963. The pair lived in Europe, the Bahamas and later moved to New Orleans, where she attended Newcomb College, then a coordinate college within Tulane University, and graduated with a Bachelor of Arts degree in 1964.

1964–2007: Early work and Revlon
Hutton returned to New York by herself in the mid 1960s, changed her name to "Lauren Hutton" and embarked on a career as a model. She was advised by agents to hide the gap in her teeth and tried using morticians' wax to cover the gap; she later used a cap to hide it, which she would often swallow, laugh out, or misplace. Hutton eventually retained this "imperfection" and the All Movie Guide stated that it "gave her on-camera persona a down-home sensibility that other, more ethereal models lacked." She continued to book modeling jobs, and appeared in a Chanel advertisement in 1968, photographed by Richard Avedon.

In 1973, Hutton signed a contract with Revlon cosmetics, worth US$250,000 a year for 20 days' work, a professional relationship that lasted for 10 years. At the time, it was the biggest contract in the history of the modeling industry. Hutton's initial contract with Revlon involved representation of the Ultima II brand. Twenty years later, she signed a new contract with Revlon to be the spokeswoman for Results, a collection of corrective moisturizing treatments. Her contract with Revlon garnered Hutton further modeling work, and she became a "cover girl," appearing on the front cover of Vogue a record 26 times.

In 1982, Hutton appeared in two Pepsi Light commercials, one where she strips down to her one-piece swimsuit and dives into a swimming pool and one where she gets all wet when the shower turns on by itself.

In 1988, she appeared in a campaign for Barneys New York, and in 1993, performed as a runway model for designer Calvin Klein, to which The New York Times responded by publishing an article stating that Hutton was "just as good as the current flock of fledglings." In 1997, Hutton became a brand ambassador and appeared in multiple advertising campaigns for the Australian department store David Jones; in 2001, she was replaced by Megan Gale.

Hutton was presented on the November 1999 Millennium cover of American Vogue as one of the "Modern Muses". Following her recovery from a motorcycle accident in 2000, she became the spokeswoman for her own signature brand of cosmetics, "Lauren Hutton's Good Stuff", a line of cosmetic products for mature women. The brand was sold primarily in the USA, but was also available through secondary distribution channels throughout Europe and South America.

In October 2005, Hutton was interviewed on ABC's Good Morning America program in relation to the future release of an edition of Big magazine that was entirely dedicated to Hutton's career and included eight pages of nude photos. Hutton agreed to pose nude for the feature, titled "Lauren Hutton: The Beautiful Persists", when she was 61 years old, and explained to GMA:

I want them [women] not to be ashamed of who they are when they're in bed. Society has told us to be ashamed ... The really important [thing] is that women understand not to listen to a 2,000-year-old patriarchal society.

Hutton, who is supposedly one of four women offered US$1 million by Larry Flynt to pose nude, also explained that she first sought permission from her 14 godchildren, who told her the photographs would be "inspirational".

2008–2021: Runway and campaigns
In 2008, Hutton accepted an offer from Mary-Kate and Ashley Olsen to appear in the lookbook for their clothing line The Row, and explained in 2010: "I saw the clothes, and they were wonderful, real simple, minimalist designs... Ash had a place on the beach, so we did it at her place... And they would dance on the deck, and I would do what they were doing. And it was good." During the same year, retailer Mango launched a fashion collection inspired by Hutton's personal style, and she also appeared in Lord & Taylor's fall/winter and spring collections. The following year, she was featured in a campaign by Badgley Mischka.

Alongside celebrity models such as Iman and Paulina Porizkova, Hutton was one of the panel members in a roundtable discussion for the "Model as Muse: Embodying Fashion" gala, an annual event organized by the Metropolitan Museum's Costume Institute. Held in May 2009, the discussion occurred at New York's Minetta Tavern. Photographs of Hutton were also displayed as part of the exhibition The Model as Muse: Embodying Fashion that was taking place at The Met and acknowledged the significance of fashion models.

A third-party licensing brand of the Jim Henson Company, Henson Independent Properties (HIP), entered into an agreement with Hutton in November 2010 to act as the global licensing agent for her merchandising program. Targeted at women over 40 years of age, the brand launched products such as eyewear, handbags, and luggage, and home décor, globally in 2012. HIP's senior vice president at the time referred to Hutton as a "trailblazer" in the press release. Hutton was also a guest judge on the fashion designer reality television show Project Runway in 2010, also appearing in advertisements for J.Crew the same year.

In 2011, Hutton walked the runway for Tom Ford's spring 2012 collection, and was selected as the house model for the Alexis Bittar jewelry brand. Designer Alexis Bittar, a recipient of the CFDA Accessory Designer of the Year award, personally selected Hutton after choosing Joan Collins for the previous year. Hutton stated that Bittar's jewelry is "like art and still doesn't look like anything I have ever seen." Her photos for the campaign were shot by Jack Pierson. Hutton then appeared alongside people such as actress Shuya Chang and Annie Lennox's daughter Tali Lennox in the spring 2011 ad campaign for the Club Monaco retail brand. The lookbook was photographed by Ryan McGinley, the youngest photographer to be featured in the Whitney Museum of American Art at the time of the Club Monaco shoot.

She appeared in a campaign title "Do Something" by designer Alexander Wang, alongside Rod Stewart and Kate Moss in 2015, and was featured in Tod's Timeless Icons retrospective in 2016. She was also featured in H&M's fall 2016 video campaign alongside Hari Nef. In 2016 for Milan Fashion Week, Hutton walked the runway for Bottega Veneta's Spring 2017 show.

Film and television career
Before becoming an established model, Hutton made her film debut in Paper Lion (1968), and later notices for her performances in James Toback's The Gambler (1974), opposite James Caan.

She also starred in John Carpenter's TV movie Someone's Watching Me! (1978) and played the female lead in American Gigolo (1980). She went on to appear in Lassiter (1984), Once Bitten (1985), a modest hit, and Guilty as Charged (1992). She also made an uncredited cameo appearance as a celebrity party guest in the 1985 film Perfect.

In 1984, Hutton joined the cast of the short-lived primetime soap drama, Paper Dolls, which co-starred Lloyd Bridges and Morgan Fairchild. In 1986, she co-starred in the lavish TV miniseries Sins, which starred Joan Collins, and also starred opposite Stacy Keach in The Return of Mike Hammer TV movie. In the spring of 1987, Hutton had a starring role opposite William Devane in a sci-fi themed CBS Movie of the Week titled Timestalkers, and later that year guest-starred in the primetime soap drama Falcon Crest for several episodes.

In 1995, Hutton was cast in the CBS soap opera Central Park West, playing the wealthy socialite Linda Fairchild until the show was canceled the following year.

The following year, Hutton's late-night talk show for Turner Original Production, Lauren Hutton and..., debuted and ran until 1997. Hutton's partner at the time, Luca Babini, was the director, set designer and post-production supervisor of the talk show, and the couple founded Lula Productions as part of their arrangement with the Turner media company.

Hutton appeared in her first feature film in two decades with the 2009 release of The Joneses, in which she starred alongside David Duchovny and Demi Moore. When asked about her decision to play the head of a marketing company, Hutton explained:

I thought it was an extraordinary script, and a great idea, this stealth marketing. My character had worked with Demi [Moore] when Demi was an 18-year-old, having her sitting on bar stools at expensive bars and ordering certain champagnes and certain cigarettes. And now she has little pods of these families all over the country, and she's got them in rented houses for a year at a whack to heist all the neighbors. And I thought that capitalism could be as vicious as anything they ever came up with in the U.S.S.R. And certainly to some degree, we do seem to be involved in that, don't we? All these people who do double jobs of acting were on red carpets wearing diamonds and $20,000 dresses, and that's a full-time job. I never did that.

Personal life
Hutton was involved in a 27-year-long relationship with her manager Bob Williamson, who died in 1997. Williamson squandered some US$13 million of her money. Hutton later explained that he had saved her life on five occasions and made sure that she "didn't get seduced by the work." She spoke of a void that Williamson filled:

I didn't have a father, and I wanted to be a child with a protector. I'd never seen a shrink, and there was a psychological situation that clearly needed to be addressed. But, you know, I wanted to see the world and how people lived and think about who are we, how are we, why is the world? And Bob did that for me.

Hutton met Luca Babini on a film set in 1991 and he said of the relationship's development in 1996: "I was coming out of a divorce, and she became like a sister to me. Then I fell in love with her. And I loved her feet, which say so much about a person." Babini also referred to Hutton as "accessible and down to earth," and described her as a person with "very clear opinions" that she was willing to express.

In October 2000, Hutton joined a motorbike group, which included actors Dennis Hopper, Laurence Fishburne and Jeremy Irons, to celebrate "The Art of the Motorcycle" exhibit at the Hermitage-Guggenheim museum in Las Vegas, Nevada. Prior to the journey, Hutton informed the Las Vegas Review-Journal: "I love the feeling of being a naked egg atop that throbbing steel. You feel vulnerable—but so alive." En route, while going over 100 mi per hour, Hutton crashed near Hoover Dam, on the border between the US states of Arizona and Nevada, and suffered multiple leg fractures, a fractured arm, broken ribs and sternum, and a punctured lung. Hopper later recalled from before the start of the ride: "She had on a little helmet, sort of tied under her chin. It was cute. And Jeremy [Irons] came up to her and said, 'You got to be kidding.' He took it off her and gave her a proper helmet."

Hutton is the original vice-president of the Guggenheim Museum Motorcycle Club, and, in 2003, was a board member of the National Museum of Women in Arts in Washington, D.C., US.

In July 2013, Hutton revealed that she was in the process of writing her memoir, which may be titled Smile, and also explained the value of traveling and exploration in her life thus far: "whenever I came back from Africa or the Antarctic, head swelling with the beauty of it all, I found I was loving life again. You look different because of everything that has gone on inside of you..."

She has lived in NoHo in Manhattan in New York City. As of 2004, Hutton resided mainly in Taos, New Mexico, where she owns a prefab steel home.

Scuba diving
Hutton was inducted into the Women Divers Hall of Fame in 2007 as a conservationist and scuba advocate. She started scuba diving in the 1960s, and has dived worldwide. She used her status as a celebrity to promote marine conservation, particularly of sharks, and supports the Shark Research Institute. She has also supported the recreational activity of scuba diving in interviews, articles and personal appearances at dive shows.

title: Lauren Hutton


text: User talk:213.176.80.98

title: User talk:213.176.80.98


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Oldehove (tower)

The Oldehove (Aldehou ) is a leaning and unfinished church tower in the medieval centre of the Dutch city of Leeuwarden.

Oldehove is also the name of an artificial mound (terp) on which in the late 9th century a (Catholic) church dedicated to Saint Vitus was built. Construction of the adjoining Late Gothic tower began in 1529, after the citizens of Leeuwarden demanded a tower taller than the one in the city of Groningen, the Martinitoren. In charge were Jacob van Aken (or Aaken) and, after his death, Cornelis Frederiksz.

The tower's tilt began during construction. The builders tried to compensate for the tilt, but the project was stopped in 1532 (1533 according to another source). In 1595–1596, the then derelict church was demolished, but the tower remains. It consists mostly of brick, but the builders also used so-called Bentheim sandstone. There are two bells. A bell cast in 1633 by Hans Falck and a bell cast in 1637 by Jacob Noteman, weight 2100 kg. It is listed as a Rijksmonument, number 24331.

The height of the tower is 39 m. The tower has 183 steps. The top of the tower is displaced horizontally 2 m from the centre. The original plan included attaching a new church to the tower, which would replace the old saint vitus church, but this was never realized. Custodian of the tower is Historisch Centrum Leeuwarden.

title: Oldehove (tower)


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Golden Arches

The Golden Arches are the symbol of McDonald's, the global fast food restaurant chain. Originally, real arches were part of the restaurant design. They were incorporated into the chain's logo in 1962, which resembled a stylized restaurant, and in the current Golden Arches logo, introduced 1968, resembling an "M" for "McDonald's". They are widely regarded to be one of the most recognizable logos in the world.

History
In 1952, brothers Richard and Maurice McDonald decided they needed a new building to house their hamburger restaurant in San Bernardino, California. They wanted this building to have an entirely new design which would achieve two goals: even greater efficiency, and an eye-catching appearance. They interviewed at least four architects altogether, finally choosing Stanley Clark Meston, an architect practicing in nearby Fontana, in late 1952. The arches had a direct bearing on the interviewing process and their choice of Meston: the first architect they interviewed objected to the arches the brothers wanted; a second wanted to change the arches; a third, prominent Los Angeles architect Douglas Honnold, said that if the brothers were going to tell him what to do they would be better off doing it themselves. Along with their practical knowledge, the brothers brought Meston a rough sketch of two half-circle arches drawn by Richard. The idea of an arch had struck Richard as a memorable shape to make their stand more visible. After considering one arch parallel to the front of the building, he had sketched two half-circles on either side of the stand. Meston, together with his assistant Charles Fish, responded with a design which included two 25 ft yellow sheet-metal arches trimmed in neon, called "golden arches" even at the design stage. His design also included a third, smaller arch sign at the roadside with a pudgy character in a chef's hat, known as Speedee, striding across the top, trimmed in animated neon.

According to architectural historian Alan Hess, "Meston and Fish turned the crude half-circle suggested by Richard McDonald's sketch into a tapered, sophisticated parabola, with tense, springing lines conveying movement and energy." In the same article Hess added this footnote: "Who first suggested the parabola is unclear. Richard McDonald and George Dexter, the sign contractor who fabricated the first arches, recalled that Dexter came up with the idea and added them to the plans. Charles Fish, who did the working drawings and aided Meston in the design, attributes the idea to his familiarity with the form from a school project in which he used structural parabolas for a hangar. The form was one of many advanced engineering solutions, including folded plate roofs, that were in common currency."

The first franchised outlet bearing Meston's design opened in May 1953 in Phoenix, Arizona. Subsequent franchisees of the McDonald brothers were also required to use Meston's design, although Meston adapted the plans for each to the conditions and building codes of each site. In 1962, seeking to upgrade its image, the company sought a new logo. Fred Turner sketched a stylized "V", but the company's head of engineering and design, Jim Schindler, extended the "V" into an "M" resembling a McDonald's store viewed from an angle, with a red isosceles trapezoid "roof" serving as background for lettering.

While, the Golden Arches have remained in the logo, and as a commonly understood term for the company. This was partially due to Louis Cheskin's argument that the arches, which he likened to "mother McDonald's breasts", had "Freudian applications to the subconscious mind of the consumer and were great assets in marketing McDonald's food."

Alan Hess summarized the arch's origin in Googie architecture and ultimate significance as follows:

"The arch was conceived by businessman Richard McDonald, an untrained designer with no knowledge of erudite architectural examples. His intent was pragmatic: to be noticed. This determined its scale, position, and simple shape visible over long distances following the precedent of earlier drive-ins with which he was familiar. To McDonald, the arch was an arbitrary form, without symbolic or historic associations, which he hoped would come to symbolize McDonald's. The arches' position implies no traditional use of the arch as an entry, nor are they structural. The architect delineated this formal concept determined by the client in the energetic lines and machine-like surfaces of a popular commercial vernacular style current in the 1940s and 1950s ... Meston's design proved successful as design and icon because of, not in spite of, its commercialism."

Variations
All restaurants operated by McDonald's Canada use a variation of the Golden Arches, which features a maple leaf inserted into the centre of the Golden Arches; subsuming a Canadian national symbol into its corporate symbol. The McDonald's arches in Sedona, Arizona, were made turquoise when the yellow color had been deemed by government officials to be contrasting too much against the scenic red rock.

As of 2019, seven McDonald's signs only have one arch, including locations in Magnolia, New Jersey; Winter Haven, Florida; Montrose, Colorado; and McDonald's sign in Pine Bluff, Arkansas.

The McDonald's restaurant at 610 Del Monte Ave., Monterey, California, has black arches.

The McDonald's in North Scottsdale, Arizona, on 18241 N Pima Rd also has black arches.

The McDonald's restaurant at 2172 Sunset Blvd. in Rocklin, California, has dark red arches.

The restaurant at Champs-Elysées in Paris, France, includes a neon McDonald's sign with white arches. Also, a recently built McDonald's in Bruges, Belgium, has white arches.

In 2017, McDonald's China Division was renamed to Golden Arches while keeping the restaurant's name as McDonald's. McDonald's spokesperson explained that the rename was due to McDonald's Corporation sold bulk of its China Division to CITIC Group and Carlyle Capital.

In 2018 and again in 2019, McDonald's turned the arches upside down on its social media accounts in celebration of International Women's Day, changing the "M" to a "W." A McDonald's franchise operated by Patricial Williams in Lynwood, California, also flipped the arches on its sign. This prompted a mild backlash, with some arguing that the move was hypocritical due to the chain's underpaying of employees, and others observing that the "M" in the logo could just as easily stand for "men" as it could for "McDonald's."

Influence
The term "Golden Arches" is sometimes used as metonym, symbolizing capitalism and globalization. In phrases such as the "Golden Arches Theory of Conflict Prevention", it is asserted that "No two countries that both had McDonald's had fought a war against each other since each got its McDonald's". McDonald's Golden Arches is used as it is one of the more prominent American corporations that have become global in their reach (along with Coca-Cola and Nike).

The shape and color of the prominent space frame trusses used in the heavy-lift ship VB-10,000 have led some to nickname it the "Golden Arches".

title: Golden Arches


text: User talk:130.179.49.30

title: User talk:130.179.49.30


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Colombian necktie

A Colombian necktie (corte de corbata, tie-cut) is a form of execution or post-mortem mutilation in which the victim’s tongue is pulled through a deep cut beneath the jaw and left dangling on the neck. It first appeared in Colombia during the period known as La Violencia (1948–1958) as a method of psychological warfare designed to scare and intimidate. It was one of several documented types of public mutilation in the conflict used to terrorize people away from their land. Others included killing a pregnant woman, extracting the fetus and placing it on her body and replacing it with a rooster; stuffing the genitals of dead men into their mouths; and the "flower-vase-cut" where the victim's limbs were cut off and stuffed into their torso. The methods served to dehumanize victims, as can be seen in terms used by perpetrators such as bocachiquear and picar para tamal, which refer respectively to the preparation of fish and tamales.

Its invention is sometimes erroneously attributed to drug kingpin Pablo Escobar. During the O. J. Simpson murder case, defense lawyers claimed that hitmen hired by drug dealers gave Nicole Brown Simpson a Colombian necktie, but this was barred from testimony for not having supporting evidence.

title: Colombian necktie


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Two-tier healthcare

Two-tier healthcare is a situation in which a basic government-provided healthcare system provides basic care, and a secondary tier of care exists for those who can pay for additional, better quality or faster access. Most countries have both publicly and privately funded healthcare, but the degree to which it creates a quality differential depends on the way the two systems are managed, funded, and regulated.

Some publicly funded universal healthcare systems deliver excellent service and the private system tends to be small and not highly differentiated. In other, typically poorer countries, the public health system is underfunded and overstretched, offering opportunities for private companies to deliver better-quality, albeit more expensive coverage.

Canada
In Canada, patients have freedom with regard to which doctors and facilities they use. Under Canada's single-payer system, all Canadian citizens have the right to access healthcare services governed by provincial and territorial authorities. Within a person's province of residence, where they pay taxes, they are able to access any doctor they choose for most basic and essential healthcare services free of charge. Both referrals to specialists and hospital visits are covered.

The decentralized, universal, publicly-funded health system is called Canadian Medicare. The federal government distributes funds to the provinces for healthcare, providing that the provinces have designed their systems to meet certain criteria, which they all do at present. Most people receiving care in Canada do not pay for their care apart from prescriptions and certain procedures that are not covered, such as visits to dentists, optometrists, and some others. The healthcare system is financed primarily through tax revenue. Canadians can choose to purchase health insurance to cover some or all of the healthcare services that are not covered by the government. Medical providers are generally paid fixed fees depending on the type of visit. The average doctor is paid $258,049 a year for the care provided. In situations where a doctor is being paid by their respective provincial healthcare system, the law bans the medical provider from charging patients to supplement their income from Medicare.

Canada technically does not have a two-tiered healthcare system. However, some services in Canada are covered not by government provided healthcare, but instead by the private sector (dentistry, laser eye surgery, most cosmetic plastic surgeries), while most basic essential services are provided by the public healthcare systems, which are primarily administered by the country's 13 provinces and territories. Each province and territory has their own insurance plan receiving federal funding on a per-capita basis. About 70% of Canada's healthcare spending is via the public system. The other 30% comes from private funding, divided approximately equally between out-of-pocket funding and private insurance, which may be complementary (meeting costs not covered by the public system such as the cost of prescription medicines, dental treatments, and copayments) or supplementary (adding more choice of provider or providing faster access to care). Financial disincentives are in place to make private medicine for services that are covered by Medicare less economical.

Six of Canada's ten provinces used to ban private insurance for publicly insured services to inhibit queue jumping and so preserve fairness in the health care system. In 2005, the Supreme Court of Canada ruled that in Quebec, such bans are unconstitutional if the waiting period for care is excessively long. However, this ruling only applies within the Province of Quebec. A second court challenge to determine whether the prohibition of private parallel health care violates the patients' right to life, liberty, and security under Section 7 of the Canadian Charter of Rights and Freedoms was defeated by the Supreme Court of British Columbia in 2020.

Some private hospitals operating at the time the national healthcare plan was being instituted (for example, the Shouldice Hernia Centre in Thornhill, Ontario) continue to operate, but they may not bill additional charges for medical procedures. The Shouldice Hospital, however, has mandatory additional room charges not covered by public health insurance. That effectively places it in the "upper tier" of a two-tier system. Welfare recipients, for example, cannot be referred there, as they would not be able to afford the extra costs.

Clinics are usually private operations but may not bill additional charges. Private healthcare may also be supplied, both in uncovered fields and to foreigners.

Denmark
Healthcare in Denmark, although primarily subsidised by the government at the county and the national levels health, is supported by complementary insurance plans to cover elective services not covered by the public system; they also help cover copayments.

France
Healthcare in France is a system of private and public physicians, who largely draw their income from the government. There are public as well as private hospitals.

Patients pay a small copayment for certain aspects of care, but many people choose to cover the costs by taking out supplemental health insurance for which a small premium is payable each year.

Thus, France also has a mixed delivery system with complete patient freedom of supplier choice. There is a two-tier funding arrangement, with compulsory funding of core medical services from taxation, with optional private insurance for the cost of copayments.

Germany
Healthcare in Germany has multiple sickness funds, either publicly owned or not-for-profit mutuals. Membership of a sickness fund is compulsory for everyone except certain people, who opt out of the insurance system altogether. Doctors are usually self-employed, and hospitals may be publicly owned, privately owned or not for profit.

Ireland
Healthcare in the Republic of Ireland is financed mainly by the state. However, all citizens have the option of buying additional private health insurance, provided by four companies. They include VHI, a large publicly owned insurer, operating, like all other insurers, community rating; people are insured at the same basic rate regardless of health status. The other insurers are Glo Healthcare, LAYA and Avivia. Also, much smaller restricted membership companies provide benefits for certain professions, such as police officers.

There are public as well as private hospitals. Private patients are often treated in public hospitals, as all privately insured patients have an entitlement to use the publicly funded system.

Netherlands
Healthcare in the Netherlands is essentially single tier, with all persons accessing a common system of private and public providers with complete freedom of choice between providers. Insurers are all private companies. It is heavily subsidized from tax revenues and heavily regulated, with a common, regulated standard insurance policy coverage set nationwide for all providers and a more flexible top up insurance, which is less regulated and set by each company as it chooses.

Insurers set a standard price for each adult for the year throughout the country and must insure all people who apply for insurance at that price regardless of the age or health status of the applicant. An equalization fund, which is essentially a national sickness fund funded from a form of income tax on employers and employees, is used to pay for the health care of all children and to compensate insurers if they have more high risk profile clients than the other insurers.

Thus, Dutch insurers welcome the sick and the elderly because they are fully compensated for the higher-risk profile of these clients. People living in more expensive areas of the country have to pay higher premiums, since they get less compensation from the government because they can afford to pay more but the elderly and the sick pay the same premiums as everyone else in that region. Social insurance covers the insurance costs of those with limited incomes, such as the unemployed and the permanently disabled.

Singapore
Healthcare in Singapore uses a true two-tier system for both the provider network and the insurance funds. A government-sponsored and subsidized system of hospitals accepts all patients, with a guaranteed list of services. A parallel system of private hospitals provides services not available in public hospitals or available with extra amenities (such as private rooms and other boutique services).

Singapore uses a universal insurance fund in which all citizens are required to participate, as a baseline. Seniors and certain groups are subsidised in their membership in the universal basic insurance fund.

Optional additional supplementary insurance funds are available for purchase for elective coverage, such as for plastic surgery or for extra amenities in hospital.

Spain
Private insurance, private hospitals and private management of public hospitals exist in Spain, and coexist with hospitals completely run by the government. Public insurance guarantees universal coverage, with no expenditure from patients other than a fraction of prescription drug cost. Some private hospitals are only accessible with private insurance. The system is regularly ranked amongst the world's best.

Switzerland
Private health insurance is compulsory for all persons residing in Switzerland. Insurance companies are required to sell the compulsory basic health insurance at cost, and individuals who cannot afford the premium (based on a premium-to-income ratio) are provided with public cash subsidies. Public hospitals are subsidised, but there are also private hospitals that provide additional services, such as elective services.

In addition to the compulsory basic health insurance, optional complementary and supplementary private insurance plans are available for purchase.

United Kingdom
The National Health Service (or NHS) provides universal coverage to all residents of the United Kingdom.

Private healthcare has continued parallel to the NHS, paid for largely by private insurance, and is used by about 11% of the population, generally as an add-on to NHS services and mostly obtained by employer funded insurance schemes. That is a taxable benefit to the employee, the value imputed by the tax authorities as income to the beneficiary. Because NHS services are so comprehensive, there are many areas in which the private sector usually does not compete and private insurers almost always refuse to fund. Childbirth and perinatal services are good examples.

Conversely, there are some areas where the NHS does not offer free treatment (cosmetic surgery for vanity purposes, for example) and so the private sector offers a pay-for-service alternative.

Historically, avoiding waiting lists was the main reason that patients opted out of NHS treatment and into private care. Queues of many months are common. NHS Consultants, who can run both NHS and private services during their NHS contracts, used to be in charge of waiting lists and had a financial incentive to keep the public waiting list long, to ensure a stream of private income to the private business.

Since the Blair government reforms of the NHS, strict rules apply to waiting lists (see hospital choice in the NHS). That and the allocation of better funding in hospitals both reduced waiting times significantly. Most hospital patients are in fact not admitted from a list at all, and those that do, on average, wait less than 9 weeks. Nobody should wait more than 18 weeks. The 18 weeks is not dead time because it includes the time taken to book a first appointment, to conduct all the tests, for the doctor and patient to agree on the desired treatment, and to book and execute an operation or commence the treatment regime. A patient not seen in the 18-week period without just cause has the legal right to go private at the NHS's expense. As of August 2020, 53.6% of patients were waiting for more than 18 weeks.

As a result of these improvements, long waiting times reduced, and the private healthcare sector now sells its surplus capacity to the NHS. Dentistry is an area where many practitioners prefer to work privately (because they can set their own fees). NHS dentistry can then be patchy, and some people may find that private dentistry is the only practical option open to them in their locality.

There has always been a degree of private medicine conducted within NHS hospitals, with private work being done in those hospitals and the patient being accommodated in segregated accommodation. Until recently, few NHS patients were ever treated in private hospitals. In the English NHS, however, there has been greater willingness to outsource some work to the private sector, and so some NHS patients do sometimes gain access to private health care facilities at public expense. The equivalent NHS operations in Wales, Scotland and Northern Ireland do not often fund treatment outside of their own facilities.

Whether the NHS funds treatment in a private hospital is a decision for the local commissioning health authority based on formal service contracts.

United States
The United States has a two-tier health system, but most of the population cannot gain access to the public provision tiers. Healthcare provided directly by the government is limited to military and veteran families and to certain Native American tribes. Certain cities and towns also provide free care directly but only to those who cannot afford to pay. Medicare, Medicaid, and the State Children's Health Insurance Program pay for health care obtained at private facilities but only for the elderly, disabled, and children in poor families. Since enacting the Patient Protection and Affordable Care Act in 2010, Medicaid has been substantially expanded, and federal subsidies are available for low- to middle-income individuals and families to purchase private health insurance.

The debate over healthcare reform in the United States has included a proposal for a public option or Medicare for all, a government-run insurance program, available to all US citizens, to compete with or replace private insurance plans.

title: Two-tier healthcare


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USS Franks

USS Franks (DD-554), a World War II-era Fletcher-class destroyer in the service of the United States Navy, was named after Medal of Honor recipient Acting Master's Mate William Joseph Franks.

Franks was launched on 7 December 1942 by Seattle-Tacoma Shipbuilding Corporation, Seattle, Washington; sponsored by Mrs. Martha F. W. Carr, a cousin of Acting Master's Mate Franks, and commissioned on 30 July 1943.

History
Franks arrived at Pearl Harbor 25 October 1943 to prepare for the invasion of the Gilbert Islands, for which she sortied 10 November. She screened escort carriers providing air cover for the Tarawa landings, then patrolled off Betio until 27 December, returning then to Pearl Harbor for a brief repair period. The destroyer was underway once more 22 January 1944 with the Southern Attack Force for the invasion of Kwajalein, during which she patrolled against submarines, as well as closing Ebeye Island for reconnaissance and bombardment. Again she replenished at Pearl Harbor, between 18 February and 4 March, then sailed for convoy and patrol duty in the Solomon Islands, arriving at Purvis Bay 15 March.

Targets for Franks' reconnaissance and bombardment missions in March and April 1944 included Mussau, north of New Ireland; Kapingamaringi; and Bougainville. In May, screening minelayers in Buka Passage, Franks and USS Haggard (DD-555) contacted, attacked, and sank the JSUB I-176 on 16 May. Returning to the central Pacific the next month, Franks joined in the preinvasion bombardment of Guam from 12 July, and gave fire support to the assault troops who landed there 21 July. After replenishing at Eniwetok, Franks sailed back to the South Pacific to prepare for the invasion of the Palaus, off which she arrived 15 September. She served as screen and fighter-director ship, then covered the occupation of Ulithi 23 September.

On 1 October 1944, Franks sailed from Manus, beginning a month and a half of operations in the Philippines screening escort carriers. She took part in the preinvasion strikes on Leyte and the landings there, then fought gallantly to protect the escort carriers in the Battle off Samar phase of the Battle of Leyte Gulf, coming under the pounding fire of Japanese battleships 25 October. After replenishing at Manus, she returned to Leyte late in November, and in December joined the fast carrier task force to cover the landings on Mindoro, and to conduct strikes in preparation for the Luzon assault of January 1945.

Still screening the fast carriers, Franks took part in strikes on the Japanese home islands on 16 and 17 February 1945 on the eve of the invasion of Iwo Jima, then sailed from Ulithi 14 March for strikes on Kyūshū and the Nansei Shoto in preparation for the Okinawa operation. On 18 March her task force came under heavy enemy air attack, and Franks claimed one of the attacking aircraft, joining in the fire which brought several others down. Joining the battleship group, Franks closed the southern coast of Okinawa on 24 March for a preinvasion bombardment, which hid the intention to land at Hagushi on the western coast. Franks cruised off Okinawa, serving as plane guard for carriers covering the landings 1 April, until 2 April, when she was badly damaged and her commanding officer was fatally injured in a collision with the battleship USS New Jersey (BB-62). She sailed at once for temporary repairs at Ulithi, from which she departed 13 April for overhaul at Puget Sound Naval Shipyard.

Franks returned to the western Pacific on 17 August 1945 at Eniwetok, and on 3 September rendezvoused with the fast carrier task force for air-sea rescue and weather station duty for flights between Okinawa and Honshū. She entered Tokyo Bay 13 September, and on 1 October sailed for the west coast. Franks was placed out of commission in reserve at San Pedro, California 31 May 1946, and sold for scrapping on 1 August 1973.

Honors
Franks received nine battle stars for World War II service. Credited with the first swimming rescue of downed Navy aviators, Mel Collins radar man and first SEAL rescue diver. (Murphy,B 1st navy seals)

title: USS Franks


text:
Hope Cooke

Hope Cooke (born June 24, 1940) was the Gyalmo (Queen Consort) of the 12th Chogyal (King) of Sikkim, Palden Thondup Namgyal. Their wedding took place in March 1963. She was termed Her Highness The Crown Princess of Sikkim and became the Gyalmo of Sikkim at Palden Thondup Namgyal's coronation in 1965. She is the first American-born Queen Consort.

Palden Thondup Namgyal eventually was the last king of Sikkim as a protectorate state under India. By 1973, both the country and their marriage were crumbling; soon Sikkim was merged into India. Five months after the takeover of Sikkim had begun, Cooke returned to the United States with her two children and stepdaughter to enroll them in schools in New York City. Cooke and her husband divorced in 1980; Namgyal died of cancer in 1982.

Cooke wrote an autobiography, Time Change (Simon & Schuster 1981) and began a career as a lecturer, book critic, and magazine contributor, later becoming an urban historian. In her new life as a student of New York City, Cooke published Seeing New York (Temple University Press 1995); worked as a newspaper columnist (Daily News); and taught at Yale University, Sarah Lawrence College, and Birch Wathen, a New York City private school.

According to BBC report Hope Cooke's tenure as queen of Sikkim was marked by controversy, notably surrounding allegations of being an agent of the CIA. Speculation suggested she advocated for American interests and opposed Sikkim's integration with India.

Early life and family
Cooke was born in San Francisco to John J. Cooke, a flight instructor, and Hope Noyes, an amateur pilot. She was raised in the Episcopal Church. Her mother, Hope Noyes, died in January 1942 at age 25 when the plane she was flying solo crashed.

After her mother's death, Cooke and her half-sister, Harriet Townsend, moved to a New York City apartment across the hall from their maternal grandparents, Helen (Humpstone) and Winchester Noyes, the president of J.H. Winchester & Co., an international shipping brokerage firm. They were raised by a succession of governesses. Her grandfather died when she was 12 and her grandmother died three years later. Cooke became the ward of her aunt and uncle, Mary Paul (Noyes) and Selden Chapin, a former US Ambassador to Iran and Peru. She studied at the Chapin School in New York and attended the Madeira School for three years before finishing high school in Iran.

Marriage to the Crown Prince of Sikkim
In 1959, Cooke was a freshman majoring in Asian Studies at Sarah Lawrence College and sharing an apartment with actress Jane Alexander. She went on a summer trip to India and met Palden Thondup Namgyal, Crown Prince of Sikkim, in the lounge of the Windamere Hotel in Darjeeling, India. He was a 36 year-old recent widower with two sons and a daughter. They were drawn to each other by the similar isolation of their childhoods. Two years later, in 1961, their engagement was announced, but the wedding was put off for more than a year because astrologers in both Sikkim and India warned that 1962 was an inauspicious year for marriages.

On March 20, 1963, Cooke married Namgyal in a Buddhist monastery in a ceremony performed by fourteen lamas. Wedding guests included members of Indian royalty, Indian and Sikkimese generals, and the US Ambassador to India, John Kenneth Galbraith. Cooke renounced her United States citizenship as required by Sikkim's laws and also as a demonstration to the people of Sikkim that she was not an "American arm" in the Himalayas. She was dropped from the Social Register but the marriage was reported in National Geographic magazine. The New Yorker followed the royal couple on one of their yearly trips to the United States. Although her husband was Buddhist, Cooke did not officially convert from Christianity to Buddhism though she had practiced Buddhism from an early age (Henry Kissinger once remarked "she has become more Buddhist than the population"). Namgyal was crowned monarch of Sikkim on April4, 1965. However, their marriage faced strains, and both had affairs: he with a married Belgian woman, and she with an American friend.

At the same time, Sikkim was under strain due to annexation pressures from India. Crowds marched on the palace against the monarchy. Cooke's husband was deposed on April10, 1975 and confined to his palace under house arrest. The couple soon separated. Cooke returned to Manhattan, where she raised her children, Palden and Hope Leezum. In May 1975, Representative James W. Symington (D-MO) and Senator Mike Mansfield (D-MT) sponsored private bills to restore her citizenship; however, after the bill passed the Senate, several members of the House Judiciary Subcommittee on Immigration objected, and the bill had to be amended to grant her only U.S. permanent resident status before it could gain their support and pass Congress. President Gerald Ford signed the bill into law on June16, 1976. By 1981 she still had not been able to regain U.S. citizenship. The royal couple divorced in 1980, and Namgyal died of cancer in 1982 in New York City.

Later life
With child support from Namgyal and an inheritance from her grandparents, Cooke rented an apartment in the Yorkville area of New York City. This time around, she felt "profoundly displaced" in the city and started going on walking tours and then creating her own. She studied Dutch journals, old church sermons, and newspaper articles to acquaint herself with the city and lectured on the social history of New York. She wrote a weekly column, "Undiscovered Manhattan", for the Daily News. Her books include an award-winning memoir of her life in Sikkim, Time Change: An Autobiography (1981), an off-the-beaten-path guide to New York, Seeing New York, developed from her walking tours, and, with Jacques d'Amboise, she published Teaching the Magic of Dance.

Cooke remarried in 1983 to Mike Wallace, a Pulitzer Prize-winning historian and Distinguished Professor of History at John Jay College of Criminal Justice. They later divorced. Hope Cooke's son, Prince Palden, a New York banker and financial advisor, married Kesang Deki Tashi and has a son and three daughters. Cooke's daughter, Princess Hope, graduated from Milton Academy and Georgetown University, and married (and later divorced) Thomas Gwyn Reich, Jr., a US Foreign Service officer; she later remarried, to Yep Wangyal Tobden.

Cooke lived in London for a few years before returning to the United States, where she now lives in Brooklyn and currently works as a writer, historian, and lecturer. She was a consultant for PBS's New York: A Documentary Film (1999–2001). Cooke is a regular contributor to book reviews and magazines and also lectures widely.

Controversies
Hope Cooke faced controversy during her tenure as queen due to allegations of being an agent of the CIA, purportedly promoting American interests and opposing Sikkim's merger with India.Her American background fueled suspicions of CIA influence in Sikkim's affairs.

Publications

 * Time Change: An American Women's Extraordinary Story, New York: Simon & Schuster (1981); ISBN 0-671-41225-6.
 * Teaching the Magic of Dance (with Jacques d'Amboise), New York: Simon & Schuster (1983); ISBN 0-671-46077-3.
 * Seeing New York: History Walks for Armchair and Footloose Travelers, Philadelphia: Temple University Press (1995); ISBN 1-56639-289-6.
 * Cooke wrote several articles for the Bulletin of Tibetology, published by the Namgyal Institute of Tibetology.

title: Hope Cooke


text:
Lead ship

The lead ship, name ship, or class leader is the first of a series or class of ships that are all constructed according to the same general design. The term is applicable to naval ships and large civilian vessels.

Large ships are very complex and may take as many as five to ten years to build. Improvements based on experience with building and operating the lead ship are likely to be incorporated into the design or construction of later ships in the class, so it is rare to have vessels that are identical.

The second and later ships are often started before the first one is completed, launched and tested. Nevertheless, building copies is still more efficient and cost effective than building prototypes, and the lead ship will usually be followed by copies with some improvements rather than radically different versions. The improvements will sometimes be retrofitted to the lead ship. Occasionally, the lead ship will be launched and commissioned for shakedown testing before following ships are completed, making the lead ship a combination of template and prototype, rather than expending resources on a prototype that will never see actual use.

Naming
Ship classes are typically named in one of two ways; echoing the name of the lead ship, such as the Pennsylvania-class battleships, whose lead ship was USS Pennsylvania (BB-38), and the Olympic-class ocean liner, whose lead ship was RMS Olympic, or defining a theme by which vessels in the class are named, as in the Royal Navy's Tribal-class frigates, named after tribes of the world, such as HMS Mohawk (F125). If a ship class is produced for another navy, the first active unit will become the lead ship for that navy; for example, the Oliver Hazard Perry-class frigate s are known as the Adelaide-class frigate in Royal Australian Navy service.

title: Lead ship


text:
Beach ball

A beach ball is an inflatable ball for beach and water games. Their large size and light weight require little effort to propel them.

They became popular in the beach-themed films of the 1960s starring Annette Funicello and Frankie Avalon. These movies include Beach Party, Muscle Beach Party, Beach Blanket Bingo and How to Stuff a Wild Bikini.

Design
Beach balls range from hand-sized to over 3 ft across or larger. They generally have a set of soft plastic panels, with two circular end panels, one with an oral inflation valve, intended to be inflated by lung power or pump. A common design is vertical solid colored stripes alternating with white stripes. There are also other designs, including beach balls in a single solid colour, promotional beach balls with advertisements or company slogans, as globes or as Emojis.

Some manufacturers specify the size of their beach balls (which is often confused with the diameter) as the tip-to-tip length of a deflated ball (approximately half the circumference), or even the length of the panels before they have their ends cut and joined into a beach ball. Thus the actual diameter may be about $$\frac{2}{\pi}$$ (≈ 0.6366…) of the nominal size.

Other sizes of beach balls exist, ranging from smaller to larger ones. There are beach balls that have a diameter of 5 ft or even 9 ft.

The world's largest beach ball was made in London, England on May 30, 2017. It was carried by a barge on River Thames. It had a diameter of 65.6 ft with the word "Baywatch" written all over it. It was produced by Paramount Pictures to promote the 2017 movie Baywatch. The record was registered by Guinness and the certificates were given to the members of the film's cast.

Uses
Beach ball sports include water polo and volleyball. While they are much less expensive than the balls used in professional sports, they are also much less durable, as most of them are made of soft plastic. Giant beach balls may be tossed between crowd members at concerts, festivals, and sporting events. Many graduates use beach balls as a prank during ceremonies, hitting them around the crowd. They are bounced around crowds at cricket, baseball and football games, but are frequently confiscated and popped by security. Some security personnel at these events might inspect the ball's interior after tearing it, most likely searching for illegal items (e.g. narcotics) that might be transported inside the beach ball. Guards may also do this so that the ball cannot enter the field and obstruct or distract players. This happened in August 1999, in a baseball game between the Cleveland Indians and the Los Angeles Angels, where the distraction caused by a beach ball on the field resulted in the Angels' defeat.

Their light weight and stability make beach balls ideal for trained seals to balance on their noses, which has become an iconic scene. Beach balls are also a popular prop used in swimsuit photography and to promote or represent beach-themed events or locations. Popular games using the beachball include, volley ball, beach ball, and ball.

Some more basic uses of beach balls include a game's tool, a toy, or just a decoration in certain events. Another basic use of them is simply for sitting, sizes ranging from 24 inches to 48 inches are commonly used. Some examples regarding to the use of sitting are for seats in certain parties (i.e. birthday parties, pool parties, house parties, etc.), However, they are not as reinforced as exercise balls. Excessive sitting and bouncing can slowly damage the beach ball, which may cause it to eventually leak or even pop so it is also recommended to keep an eye on the weight limit of the ball by examining the size of the ball. For example, 24" beach balls are suitable for kids and young teens which has an approximate weight limit of 110 lbs. Meanwhile, the sizes above it, like 36" or 48", are suitable for teens and adults which has an approximate weight limit of 176 lbs.

title: Beach ball


text:
Dun (fortification)

A dun is an ancient or medieval fort. In Great Britain and Ireland it is mainly a kind of hillfort and also a kind of Atlantic roundhouse.

Etymology
The term comes from Irish dún or Scottish Gaelic dùn (meaning "fort"), and is cognate with Old Welsh din (whence Welsh dinas "city" comes).

In certain instances, place-names containing Dun- or similar in Northern England and Southern Scotland, may be derived from a Brittonic cognate of the Welsh form din. In this region, substitution of the Brittonic form by the Gaelic equivalent may have been widespread in toponyms.

The Dacian dava (hill fort) is probably etymologically cognate.

Details
In some areas duns were built on any suitable crag or hillock, particularly south of the Firth of Clyde and the Firth of Forth. There are many duns on the west coast of Ireland and they feature in Irish mythology. For example, the tale of the Táin Bó Flidhais features Dún Chiortáin and Dún Chaocháin.

Duns seem to have arrived with the Celts in about the 7th century BC. Early duns had near vertical ramparts made of stone and timber. There were two walls, an inner wall and the outside one. Vitrified forts are the remains of duns that have been set on fire and where stones have been partly melted. Use of duns continued in some parts into the Middle Ages.

Duns are similar to brochs, but are smaller and probably would not have been capable of supporting a very tall structure. Good examples of this kind of dun can be found in the Outer Hebrides of Scotland, on artificial islands in small lakes.

Toponymy
The word dun is, along with like-sounding cognate forms, an element frequently found in Celtic toponymy; especially that of Ireland and Scotland. It can include fortifications of all sizes and kinds:

Ireland

 * Donegal
 * Doneraile
 * Down
 * Dún Laoghaire
 * Dún an Ri (Kingscourt), County Cavan
 * Dundalk
 * Dundonald
 * Dundrum, County Down
 * Dundrum, Dublin
 * Dungannon
 * Dungarvan
 * Dunmurry
 * Portadown

Scotland
Many settlement and geographical names in Scotland are named with Gaelic dun ("fort"), as well as cognates in Brittonic languages such as Cumbric and Pictish.

 * Drumpellier, Lanarkshire
 * Dumbarton, Dunbartonshire
 * Dumfries, Dumfriesshire – possibly Brittonic din-pres ("thicket fort").
 * Dundee, Angus
 * Dunearn, Nairnshire
 * Dunearn, Fife – possibly dùn-Èirinn ("fort of Ireland").
 * Dunfermline, Fife
 * Duniface, Fife – possibly Pictish equivalent of Welsh din-y-faes ("fort of the field").
 * Dunimarle, Fife
 * Dunino, Fife
 * Dunipace, Stirlingshire - Brittonic equivalent of Welsh din-y-bas ("fort of the shallow").
 * Dunlop, Ayrshire
 * Dunoon, Argyll and Bute
 * Duns, Berwickshire
 * Duntarvie, West Lothian
 * Tantallon, East Lothian
 * Edinburgh, - Name in Scottish Gaelic is Dun Eideann.

England
Some place-names in England are derived from Brittonic cognates of Welsh din (c.f. Cornish dyn, Cumbric *din), and fewer perhaps from the Gaelic form.

 * Din Guoaroy, Northumberland – obsolete name for Bamburgh. Equivalent to Welsh din-gwarae ("fort of the play").
 * Dinckley, Lancashire - equivalent to Welsh din ("fort") + coed ("wood") (+ English, -ley).
 * Dinder, Somerset - formerly Dinre, compare Welsh dinbre ("hill with a fort").
 * Dinedor, Herefordshire - formerly Dunre, Welsh dinbre; compare Dinder above.
 * Dunmallard Hill, Cumberland
 * Durham - Dunelm
 * Glendinning Rigg, Cumberland
 * Londesborough, Yorkshire – Lugudunum, *lọ:co- + duno ("shining fort").
 * Temon, Cumberland - possibly equivalent to Welsh din ("fort") + maen ("rock").
 * Tintagel, Cornwall

Roman-era toponyms ending in -dunum may represent an ancient Brittonic *duno.
 * Cambodunum, Yorkshire
 * Rigodunum, Lancashire
 * Segedunum, Northumberland
 * Uxelodunum, Cumberland – c.f. Welsh ucheldin ("high fort").

London has been etymologised as Brittonic *lin- + dun- ("lake fort"). Coates has rejected such an etymology as "incompatible with early forms".

Wales

 * Carmarthen, Carmarthenshire – Moridunum ("sea fort").
 * Denbigh, Denbighshire – from dinbych ("small fort")
 * Tintern, Monmouthshire

Italy

 * Duno
 * Induno Olona
 * Verduno

France and Switzerland
The Proto-Celtic form is *Dūno-, yielding Greek δοῦνον. It is ultimately cognate to English town. The Gaulish term survives in many toponyms in France and Switzerland:
 * Autun - Augustodūnon fort of Augustus
 * Lyon – Lugudūnon "Lugus' fort"
 * Nevers – Nouiodūnon "new fort"
 * Olten – Ol(l)odūnonm "fort on the Olon river"
 * Thun – Dūnon
 * Verdun – Uerodūnon "strong fort"
 * Yverdon-les-Bains – Eburodūnon "yew fort"

Germany

 * Kempten, Bavaria – Cambodunum

Bulgaria and Serbia

 * Dunonia
 * Singidunum

Romania

 * Noviodunum - Ancient Latin name of the town Isaccea in Dobruja, Romania

Elsewhere in the world

 * Dunedin, New Zealand – from Dùn Èideann, the Gaelic name for Edinburgh.
 * Dunedin, Florida, USA – see Dunedin, New Zealand.

title: Dun (fortification)


text:
Talk:Ship class

Move from lead ship
This is mostly a description of "ship classes" in general, and not the "lead ship" specifically, so the article title is a bit misleading; but of course all the links are to this one and not to "class". Splitting into two shorter articles is possible, say "ship class" or "class (shipbuilding)", although the one article reads well now. Any ideas, or is this too much ado about nothing? Stan 22:23, 24 Jul 2004 (UTC)
 * Move to ship class and rewrite the opening paragraph. Gdr 12:27, 2004 Oct 25 (UTC)

(from WP:RM)

Lead ship → Ship class

 * because it's really about the latter subject. The first paragraph will need a bit of rewriting, but that's all. Gdr 12:29, 2004 Oct 25 (UTC)
 * There are a lot of links to lead ship. Will all those need changing? Will it make sense for them all to point to ship class instead? Angela. 03:24, Oct 30, 2004 (UTC)
 * I think one article can work for both topics, with some careful writing in the first paragraph. Gdr 22:34, 2004 Nov 3 (UTC)

Move
Sorry - I seem to have caused some confusion with my move of lead ship to ship class. As requested on WP:RM, I moved the page; however, having read the text, I realised that there was sufficient information about the term "lead ship" to leave that there - see lead ship - so it isn't just a simple redirect here: the two articles cross-refer. The bulk of the information was about "ship class" and remains here. Hope that helps, and apologies for any confusion caused. -- ALoan (Talk) 23:45, 6 Nov 2004 (UTC)

Ship Classes- the other kind
This article misses the topic of ship classification entirely (there is no such topic with the name ship classification). See Classification society. To me, this is much more important than lines of military ships build to a template and thus labeled as a 'class'. I will try to do something about this when I find the time.--Dj245 22:54, 6 September 2007 (UTC)

Reference Definition of Ship Class
I've added a reference to confirm the definition of ship class given here. The article excerpt used as a reference (the full text of the article is not currently available online) doesn't fully spell out A.D. Baker's bonafides. The book it reports he authored, Combat Fleets of the World, is the U.S. Naval Institute's Naval Institute Guide to Combat Fleets of the World. He edited it from 1977 to 2002. --Columbia clipper (talk) 23:14, 23 March 2010 (UTC)

hyphenation
Other than it being a pain to correct, is there any reason not to have proper hyphenation in the various ship-class articles, such as County class cruiser → County-class cruiser? (We use a link workaround in this article.) — kwami (talk) 06:56, 22 March 2011 (UTC)

title: Talk:Ship class