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Powder Monkeys

Powder Monkeys were an Australian punk, indie rock band, formed in 1991. The founding mainstays, Tim Hemensley, on bass guitar and lead vocals and John Nolan on lead guitar were both ex-members of Bored!. Powder Monkeys released three studio albums, Smashed on a Knee (March 1994), Time Wounds all Heels (February 1996) and Lost City Blues (2000), before they broke up in 2002. Tim Hemensley died on 21 July 2003, aged 31, of a heroin overdose.

1980s: Pre Powder Monkeys
Hemensley had formed GOD as a punk rock group in 1986. Their most popular track, "My Pal", was released as a single in 1987. They disbanded in July 1989 just before their debut album, For Lovers Only, appeared. Hemensley joined Bored! in late 1989 on bass guitar alongside Nolan. The new line-up of Bored! released a seven-track extended play, Take It out on You (1990), on Dog Meat Records. Both left after that band's 1990 tour of Europe. Nolan then played with Hoss for about a year. The Philisteins were formed by Hibberd on guitar, vocals and harmonica in Hobart as a garage punk outfit in 1985 and had relocated to Melbourne in 1990.

1991-2002: Powder Monkeys
Powder Monkeys were established in 1991 in Melbourne by Tim Hemensley on bass guitar and lead vocals (ex-Royal Flush, GOD, Bored!), Adyn Hibberd on rhythm guitar and vocals (ex-the Philisteins), John Nolan on lead guitar (ex-Behind the Magnolia Curtain, Bored!), Timmy Jack Ray on drums and Jed Sayers on harmonica. Australian musicologist, Ian McFarlane, observed, "[their] hard-driving, seething, strung-out, incendiary blend of punk, high energy rock'n'roll and heavy metal came on like a cross between the Stooges (circa 1973), Motorhead (circa 1976), Rose Tattoo (circa 1978) and US hardcore heroes Black Flag (circa 1980)."

Powder Monkeys first performed in late 1991 at the Great Britain Hotel, Richmond. Hibberd left around June of the following year. He was recorded on their first single, "Yin Yang", which was released in February 1993 on Dog Meat Records. Hibberd's guitar work appears on a few tracks of the band's first album, Smashed on a Knee, recorded in 1992; also one track he wrote and sang, "Ugly", was included. The album was released on Dog Meat in March 1994. McFarlane opined, "Despite its uneven, rough-hewn quality, [the album] possessed enough moments of sheer excitement and blazing energy to catapult the band to the forefront of the independent scene."

Powder Monkeys increased their live performances during 1994 and supported tours by Deniz Tek Group and by Billy Thorpe and the Aztecs. Jed Sayers left at the end of that year and the band continued as a three-piece. They performed at the Big Day Out in Melbourne early in the following year. Their next release, in February 1995, was a five-track EP Straight Until Morning, which was recorded by the Hemensley, Nolan and Ray line-up for a Triple J live broadcast.

In November 1995 they supported United States hardcore singer, Henry Rollins, and then supported the re-formed Australian pre-punk rockers, Radio Birdman, in January 1996. Powder Monkeys released a single, "The Supernova That Never Quits" in December 1995, ahead of their second album, Time Wounds all Heels in February 1996. It was produced by Chris Thompson, with McFarlane declaring, "[it] was almost the definitive example of the band's skilful, diamond-hard blues thrash." Tharunka's reviewer noticed that the band members, "have all had Seattle-grunge bypass operations, allowing them to get on with some serious rock action" and that the album, "is powerful, basic and honest rock'n'roll, played with instinct and the amps turned up loud."

Hemensley and Ray also performed and recorded with the Peter Wells Band in 1996, which resulted in an album, Go Ahead Call the Cops, produced by the band and released in October that year on Dog Meat and Shock Records. There was interest from the US music industry's American Recordings in a local release of Time Wounds All Heels and a tour, but nothing resulted. Powder Monkeys spent most of 1997 in hiatus and re-emerged in August 1997 with a single, "Get the Girl Straight" (400 copies, red vinyl), on the Death Valley label.

Most of 1998 was spent touring. A live album, Blood Sweat & Beers, was recorded at a gig at The Espy, Melbourne in April. It was released early in 1999 on Safety Pin Records (Spain) and on CD via Butcher's Hook Records (United Kingdom). They supported a gig by Swedish garage rockers, the Hellacopters in October in Melbourne. They followed with a European tour from March 1999 for three months. While on tour they recorded two tracks, "Two Tub Man" and "Destination X", both released as split 7-inch singles with the other tracks by the Hellacopters.

Powder Monkeys also recorded a new studio album, Lost City Blues which was released in 2000, with Swedish producer, Fred Estby on their White Jazz label. The album has never seen an Australian release. An EP was also recorded in Spain, Talk Softly & Carry a Big Shtick, which was released on Punch Records.

Timmy Jack Ray departed the group shortly after and was replaced by Todd McNear on drums (ex-Seminal Rats). John Nolan had a near-fatal heart attack in 2001, the result of his heroin use, and was left with slightly impaired motor skills. He later reflected on his addiction, "It never affected playing live or touring but I do remember a few times during the recording when I would have to wait until my dealer rocked up at the studio in the morning for me to pretty much 'get going' and stop feeling like total crap and start playing." Nolan spent several months recovering, and the group reconvened in 2002, recording a song for the Dirty Deeds soundtrack as well as a cover of legendary Detroit band The Dogs' "Black Tea". They played their first gig in over a year at the Tote, supporting punk legends The Dictators, and shortly after supporting Dead Moon. These were to be the last Powder Monkeys gigs.

After a lengthy addiction to heroin, Tim Hemensley died from an overdose on 21 July 2003, aged 31. It was a devastating blow to the Melbourne rock scene, which had been severely depleted in previous years with the deaths of Guy Lucas (the Philisteins, Freeloaders), Mick Weber (Seminal Rats), and Sean Greenway (GOD, Freeloaders, The Yes-Men).

The final recordings by Powder Monkeys were compiled on a CD, Outta Control Rock'n'Roll, released posthumously on the Dropkick label in 2005. It included three new songs recorded live at Greenway's wake in 2001, as well as studio recordings of cover versions including the Stooges' "Cock in My Pocket", a staple of their live sets. The group were reformed in July 2013 by Nolan and Ray using guest vocalists in tribute to Hemensley on the tenth anniversary of his death.

Nolan died in December 2021.

title: Powder Monkeys


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Susanna Moore

Susanna Moore (born December 9, 1945) is an American writer and teacher. Born in Pennsylvania but raised in Hawaii, Moore worked as a model and script reader in Los Angeles and New York City before beginning her career as a writer. Her first novel, My Old Sweetheart, published in 1982, earned a PEN Hemingway nomination, and won the Prize for First Fiction from the American Academy of Arts and Letters. She followed this with The Whiteness of Bones in 1989, and her third novel, Sleeping Beauties, in 1993. All three of these novels were set in Hawaii and charted dysfunctional family relationships.

Moore gained particular critical notice for her fourth novel, In the Cut (1995), which marked a departure from her previous works in both setting and content, concerning a New York City teacher who has a sexual affair with a detective investigating violent murders and dismemberments in her neighborhood. It was adapted into a 2003 feature film of the same name by director Jane Campion.

Biography
Moore was born December 9, 1945, in Bryn Mawr, Pennsylvania. Shortly after her birth, her family relocated to Hawaii, where she spent her formative years, and attended the Punahou School in Honolulu. She is the oldest of seven children, and was raised by her widowered father, a physician; her mother died in her childhood.

At age seventeen, Moore returned to the mainland United States to live in Philadelphia with her grandmother. She later lived in New York City and Los Angeles, working as a model and script reader. For a time in the late 1960s, she worked as Warren Beatty's assistant in California. She published her first book, My Old Sweetheart, in 1982, followed by The Whiteness of Bones in 1989, and Sleeping Beauties in 1993—all three books, set in her home state of Hawaii, dealt with themes of familial dysfunction. For My Old Sweetheart, Moore earned a PEN Hemingway nomination, and won the Prize for First Fiction from the American Academy of Arts and Letters.

Her fourth novel, In the Cut (1995), a thriller novel about a teacher in New York City who begins a sexual relationship with a detective investigating nearby murders, marked a notable departure from Moore's previous works, and was adapted into a feature film of the same name in 2003 by director Jane Campion.

In 1999, she received the Academy Award in Literature from the American Academy of Arts and Letters. Moore went on to publish two works in 2003: the British India-set novel One Last Look, and the non-fiction I Myself Have Seen It: The Myth of Hawai‘i, an autobiographical work that explored Moore's upbringing in Hawaii.

In 2006, Moore received a Fellowship in Literature at the American Academy in Berlin; and in 2006 she received a Fellowship in Literature from the Asian Cultural Council, which entailed a three-month fellowship to research on the Meiji Period in Japan.

Moore was a visiting lecturer in Creative Writing at Yale University in 1988, 1989 and 1994; visiting lecturer at New York Graduate School in 1995; creative writing teacher at the Metropolitan Detention Center, Brooklyn between 2004 and 2006; and lecturer of creative writing at Princeton University between 2007 and 2009. During May to August 2009, Moore was Writer-in-Residence at Australia's University of Adelaide. As of a 2012 interview, Moore resided in her home state of Hawaii, though she returns to the East Coast each year to teach courses at Princeton University for the fall semester.

Moore has a daughter, Lulu, with production designer and art director Richard Sylbert, and later lived with Michael Laughlin. Lulu acted as a child, playing Paul Le Mat's half-alien daughter in Strange Invaders.

Fiction

 * My Old Sweetheart (1982)
 * The Whiteness of Bones (1989)
 * Sleeping Beauties (1993)
 * In the Cut (1995)
 * One Last Look (2003)
 * The Big Girls (2007)
 * The Life of Objects (2012)
 * The Lost Wife (2023)

Non-fiction

 * I Myself Have Seen It: The Myth of Hawai‘i (2003)
 * Paradise of the Pacific: Approaching Hawai‘i (2015)
 * Miss Aluminum: A Memoir (2020)

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

title: Susanna Moore


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Talk:Don't Dilly Dally on the Way

[Untitled]
This is just the refrain of the song "My Old Man (Said Follow the Van)". For the complete lyrics, see -- Picapica 19:21, 17 Jul 2004 (UTC)

"Well you can't trust a special like the old time coppers" made me curious - do we have a year for this song, useful context? —Preceding unsigned comment added by 77.98.198.151 (talk) 19:34, 1 February 2010 (UTC)

can any1 give me information for a singing grade about the song dont dilly dally or my old man — Preceding unsigned comment added by 2.100.77.16 (talk) 18:28, 2 May 2012 (UTC)

I stopped on the way to have me old half quarten,[7] I am sure the lyric is "me old half porter" ie. half a pint of stout or dark beer which is far more logical. The definition of "quarten" provided is rubbish Silent Billy (talk) 06:50, 26 June 2014 (UTC)

title: Talk:Don't Dilly Dally on the Way


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Narcisse Virgilio Díaz

Narcisse Virgilio Díaz de la Peña (20 August 1807 – 18 November 1876) was a French painter of the Barbizon school.

Early life
Diaz was born in Bordeaux to Spanish parents. At the age of ten, Diaz became an orphan, and misfortune dogged his early years. His foot was bitten by a reptile in Meudon wood, near Sèvres, where he had been taken to live with some friends of his mother. The bite was poorly dressed, and ultimately he lost his leg. However, as it turned out, the wooden stump that replaced his leg became famous.

At fifteen he entered the studios at Sèvres, first working on the decoration of porcelain and later turning to painting. Turkish and Oriental scenes attracted him, and he took to painting Eastern figures dressed in richly coloured garments; many of these paintings remain extant. He also spent much time at Barbizon, near the Fontainebleau Forest, where some of his most famous paintings were made. One of his teachers and friends in Paris was François Souchon.

Around 1831 Díaz encountered Théodore Rousseau, for whom he possessed a great veneration, despite the fact that Rousseau was four years younger. At Fontainebleau Díaz found Rousseau painting his wonderful forest pictures, and was determined to paint in the same way if possible. However, Rousseau was then in poor health, embittered against the world, and consequently was difficult to approach. On one occasion, Diaz followed him surreptitiously to the forest, with his wooden leg hindering his advance, but he dodged around after the painter, trying to observe his method of work. After a time Díaz found a way to become friendly with Rousseau, and revealed his eagerness to understand the latter's techniques. Rousseau was touched with the passionate words of admiration, and finally taught Diaz all he knew.

Díaz exhibited many pictures at the Paris Salon, and was decorated in 1851 with the rank of Chevalier (Knight) of the Légion d’honneur. During the Franco-German War (1870-1871) he went to Brussels. After 1871, his works became fashionable and rose gradually in the estimation of collectors, and he worked constantly and successfully. Díaz's finest pictures are his forest scenes and storms, and it is on these that his fame rests. There are several examples of his work in the Louvre, and three small figure pictures in the Wallace Collection, Hertford House. Perhaps the most notable of Diaz's works are The Pearl Fairy (1857); Sunset in the Forest (1868); The Forest of Fontainebleau (1870), and The Storm (1871). The Metropolitan Museum of Art holds some two dozen works by Díaz, including another version of The Forest of Fontainebleau and many drawings and studies.

Diaz himself had no well-known pupils, but François Visconti emulated his work to some degree and Léon Richet followed markedly his methods of tree-painting. For a period, Jean-François Millet also painted small figures in avowed imitation of Diaz's then popular subjects. Renoir once said "my hero was Díaz". In 1876, while visiting his son's grave, he caught a cold. He went to Menton in an attempt to recover his health, but on 18 November that year he died.

Díaz's son, Eugène-Émile (1837–1901), achieved some fame as composer Eugène Diaz.

The rue Narcisse Diaz in Auteuil, Paris is named after him.

title: Narcisse Virgilio Díaz


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Holmen (company)

Holmen AB is a Swedish company which bases its business in the forest industry and the pulp and paper industry. Holmen's main products are paperboard for consumer packaging and graphical applications. Printing paper for magazines, supplements, direct mail, directories, books and newspapers. Holmen also produce sawn timber for flooring, window components, furniture or construction.

History
Holmen was originally called Mo och Domsjö AB (MoDo), a Swedish company created in 1874. Carl Kempe (1799-1872), a Pomeranian-born merchant, originally partnered with his brother-in-law, but was from 1836 single owner of a sawmill in Mo, at the river Moälven, near Örnsköldsvik in northern Sweden. Carl Kempe later established a steam-powered sawmill at Domsjö on Moälven. The latter has been running as an independent company called Domsjö Fabriker since 2000, and in 2011 it was acquired by India's Aditya Birla Group.

The company Mo och Domsjö AB was created in 1874 by Carl Kempe's sons from these holdings, among several other industries controlled by the Kempe family. It was led at various times by the brothers Bernhard (1830-1908), Wilhelm and Frans Kempe (1847-1924) and remained in the control of the Kempe family for most of the next century.

Originally producing and exporting timber, the company moved into pulp and paper at the end of the 19th and early years of the 20th century and into wood-based chemicals during the middle part of the 20th century. The name was usually abbreviated to Modo and has since 1963 through sponsoring given its name to the ice hockey team Modo Hockey.

The company was merged with the Norrköping-based industrial company Holmens Bruk AB in 1988 under the name Mo och Domsjö AB.

In February 2000, the group changed its name to Holmen AB.

In June 2016 the newsprint mill in Madrid, Spain, was sold to International Paper.

Organisation
Holmen consists of several subsidiaries: Holmen Paper, Iggesund Paperboard, Iggesund Timber, Holmen Skog and Holmen Energi. The largest one is Holmen Paper with a total of two paper mills in Sweden; Hallsta and Braviken. Iggesund Paperboard has two paperboard mills; one in Iggesund, Sweden and one in Workington, England,

Sustainability
In January 2017 Holmen was ranked number 21 on the Global 100.

Owners
The largest owner in Holmen is L E Lundbergföretagen, controlled by billionaire Fredrik Lundberg with 32.9% of the shares and 61.6% of the total vote.

Markets
The European market makes up about 88% of Holmen's total net sales. Holmen's single largest market is Sweden, with 24% of the net sales.

Products
The business area Iggesund Paperboard produces paperboard for use in the premium packaging and graphics sectors. The brands consist of Invercote and Inverform produced at the Iggesund Mill and Incada produced at the Workington Mill.

The business area Holmen Paper produces paper for magazines, catalogues, direct mail, supplements, book paper and gift wrap at the two paper mills. The brands include: Holmen TRND, Holmen VIEW, Holmen UNIQ, Holmen NEWS, Holmen GIFT, Holmen XLNT, Holmen PLUS and Holmen BOOK.

The business area Holmen Timber makes construction timber and joinery timber at three sawmills in Sweden.

title: Holmen (company)


text:
Russian orthography

Russian orthography (правописа́ние) is an orthographic tradition formally considered to encompass spelling (орфогра́фия) and punctuation (пунктуа́ция). Russian spelling, which is mostly phonemic in practice, is a mix of morphological and phonetic principles, with a few etymological or historic forms, and occasional grammatical differentiation. The punctuation, originally based on Byzantine Greek, was in the seventeenth and eighteenth centuries reformulated on the models of French and German orthography.

The IPA transcription attempts to reflect vowel reduction when not under stress. The sounds that are presented are those of the standard language; other dialects may have noticeably different pronunciations for the vowels.

Spelling
Russian is written with a modern variant of the Cyrillic script. Russian spelling typically avoids arbitrary digraphs. Except for the use of hard and soft signs, which have no phonetic value in isolation but can follow a consonant letter, no phoneme is ever represented with more than one letter.

Morphological principle
Under the morphological principle, the morphemes (roots, suffixes, infixes, and inflexional endings) are attached without modification; the compounds may be further agglutinated. For example, the long adjective шарикоподшипниковый, sharikopodshipnikoviy ('pertaining to ball bearings'), may be decomposed as follows (words having independent existence in boldface):

Note again that each component in the final production retains its basic form, despite the vowel reduction.

The phonetic assimilation of consonant clusters also does not usually violate the morphological principle of the spelling. For example, the decomposition of счастье ('happiness, good fortune') is as follows:

Note the assimilation with $⟨сч⟩$- so that it represents the same sound (or cluster) as $⟨щ⟩$-. The spelling <щастие> was fairly common among the literati in the eighteenth century, but is usually frowned upon today.

Phonetic principle
The phonetic principle implies that:
 * all morphemes are written as they are pronounced in isolation, without vowel reduction, Church Slavonic style, or, more strictly, taking inflexion into account (this in combination with the morphological agglutination described above is sometimes called the morphemic principle);
 * certain prefixes that end in a voiced consonant (in practice, only those in -$⟨з⟩$ ) have that consonant devoiced (become ) to voicing assimilation. This may be reflected orthographically.  For example, for the prefix/preposition без  'without':

 * certain roots and prefixes occasionally have their vowel modified in individual cases to reflect historical changes in pronunciation, usually as a result of being unstressed or, conversely, stressed. In practice, this usually applies to -$⟨o⟩$-  changing to -$⟨a⟩$-  or  (akanye), and alternations between the allophonic vowels  and  (represented by $⟨ы⟩$ and $⟨и⟩$ respectively):

 * borrowed words and foreign names are usually spelled as orthographic transcriptions, or, more precisely, mixed transcriptions-transliterations based mainly on original pronunciation (Jacques-Yves Cousteau is rendered in Russian as Жак-Ив Кусто; the English name Paul is rendered as Пол, the French name Paul as Поль, the German name Paul as Пауль) but also on original spelling (the German surnames Schmied, Schmidt, Schmitt are rendered in Russian as Шмид, Шмидт, Шмитт). In particular, double consonants are usually retained from original spelling when their pronunciation is not normally geminated. In addition, unpalatalized consonants are usually followed by $⟨е⟩$ rather than $⟨э⟩$ (e.g. кафе ,'café'); 19th-century linguists, such as Yakov Karlovich Grot, considered unpalatalized pronunciation of consonants before to be foreign to Russian, though this has now become the standard for many loanwords.

Pronunciation may also deviate from normal phonological rules. For example, unstressed (spelled $⟨о⟩$) is usually pronounced  or, but радио ('radio') is pronounced , with an unstressed final.

Etymological principle
The fact that Russian has retained much of its ancient phonology has made the historical or etymological principle (dominant in languages like English, French, and Irish) less relevant. Because the spelling has been adjusted to reflect the changes in the pronunciation of the yers and to eliminate letters with identical pronunciation, the only systematic examples occur in some foreign words and in some of the inflectional endings, both nominal and verbal, which are not always written as they are pronounced. For example:

Grammatical principle
The grammatical principle has become stronger in contemporary Russian. It specifies conventional orthographic forms to mark grammatic distinctions (gender, participle vs. adjective, and so on). Some of these rules are ancient, and could perhaps be considered etymological; some are based in part on subtle, and not necessarily universal, distinctions in pronunciation; and some are practically arbitrary. Some characteristic examples follow.

For nouns ending in a sibilant -$⟨ж⟩$, -$⟨ш⟩$ , -$⟨щ⟩$ , -$⟨ч⟩$ , a soft sign $⟨ь⟩$ is appended in the nominative singular if the gender is feminine, and is not appended if masculine:
 * Neither of the aforementioned consonants has phonemically distinct palatalized and unpalatalized variants. Hence, the use of $⟨ь⟩$ in these examples is not to indicate a different pronunciation, but to help distinguish different grammatical genders. A common noun ending in a consonant without -$⟨ь⟩$ is masculine while a noun ending in -$⟨ь⟩$ is often feminine (though there are some masculine nouns ending in a "soft" consonant, with the -$⟨ь⟩$ marking a different pronunciation).
 * Though based on common ancient etymology, by which a hard sign ъ was appended to masculine nouns before 1918, both symbols having once been pronounced as ultra-short ("reduced") vowels (called yers in Slavic studies), the modern rule is nevertheless grammatical, because its application has been made more nearly universal.

The past passive participle has a doubled -$⟨нн⟩$-, while the same word used as an adjective has a single -$⟨н⟩$- :
 * This rule is partly guided by pronunciation, but the geminated pronunciation is not universal. The rule is therefore considered one of the difficult points of Russian spelling, since the distinction between adjective (implying state) and participle (implying action) is not always clear. A proposal in the late 1990s to simplify this rule by basing the distinction on whether or not the verb is transitive has not been formally adopted.

Prepositional phrases in which the literal meaning is preserved are written with the words separated; when used adverbially, especially if the meaning has shifted, they are usually written as a single word:
 * (This is extracted from a whole set of extremely detailed rules about run-together, hyphenated, or separated components. Such rules are essentially arbitrary. There are enough sub-cases, exceptions, undecidable points, and inconsistencies that even well-educated native speakers sometimes have to check in a dictionary.  Arguments about this issue have been continuous for 150 years.)

Basic symbols
The full stop (period) (.), colon, semicolon , comma , question mark (?), exclamation mark (!), and ellipsis (…) are equivalent in shape to the basic symbols of punctuation (знаки препинания ) used for the common European languages, and follow the same general principles of usage. The colon is used exclusively as a means of introduction, and never, as in slightly archaic English, to mark a periodic pause intermediate in strength between the semicolon and the full stop (period) (cf. H.W. Fowler, The Kingˈs English, 1908).

Comma usage
The comma is used very liberally to mark the end of introductory phases, on either side of simple appositions, and to introduce all subordinate clauses. The English distinction between restrictive and non-restrictive clauses does not exist:

Hyphenation
The hyphen (-), and em dash (—) are used to mark increasing levels of separation. The hyphen is put between components of a word, and the em-dash to separate words in a sentence, in particular to mark longer appositions or qualifications that in English would typically be put in parentheses, and as a replacement for a copula:

In short sentences describing a noun (but generally not a pronoun unless special poetic emphasis is desired) in present tense (as a substitution for a modal verb "быть/есть" (to be)):

Direct speech
Quotes are not used to mark paragraphed direct quotation, which is instead separated out by the em-dash (—):

Quotation
Inlined direct speech and other quotation is marked at the first level by guillemets «», and by lowered and raised reversed double quotes („“) at the second:

Unlike American English, the period or other terminal punctuation is placed outside the quotation. As the example above demonstrates, the quotes are often used to mark the names of entities introduced with the generic word.

Parenthetical expressions
These are introduced with the international symbol of parentheses. However, their use is typically restricted to pure asides, rather than, as in English, to mark apposition.

Spelling
As in many languages, the spelling was formerly quite more phonemic and less consistent. However, the influence of the major grammarians, from Meletius Smotrytsky (1620s) to Lomonosov (1750s) to Grot (1880s), ensured a more careful application of morphology and etymology.

Today, the balance between the morphological and phonetic principles is well established. The etymological inflexions are maintained by tradition and habit, although their non-phonetic spelling has occasionally prompted controversial calls for reform (as in the periods 1900–1910, 1960–1964). A primary area where the spelling is utterly inconsistent and therefore controversial is:
 * the complexity (or even correctness) of some of the grammatical principles, especially with respect to the strung-together, hyphenated, or disjoint writing of the constituent morphemes.

These two points have been the topic of scientific debate since at least the middle of the nineteenth century.

In the past, uncertainty abounded about which of the ordinary or iotated/palatalizing series of vowels to allow after the sibilant consonants $⟨ж⟩$, $⟨ш⟩$ , $⟨щ⟩$ , $⟨ц⟩$ , $⟨ч⟩$ , which, as mentioned above, are not standard in their hard/soft pairs. This problem, however, appears to have been resolved by applying the phonetic and grammatical principles (and to a lesser extent, the etymological) to define a complicated though internally consistent set of spelling rules.

In 2000–2001, a minor revision of the 1956 codification was proposed. It met with public protest and has not been formally adopted.

1918 Bolshevik reform
Russian orthography was simplified by unifying several adjectival and pronominal inflections, conflating the letter ѣ (Yat) with е, ѳ with ф, and і and ѵ with и. Additionally, the archaic mute yer became obsolete, including the ъ (the "hard sign") in final position following consonants (thus eliminating practically the last graphical remnant of the Old Slavonic open-syllable system). For instance, Рыбинскъ became Рыбинск ("Rybinsk").

Examples:
 * Сѣверо-Американскіе Соединенные Штаты to Северо-Американские Соединённые Штаты – The United States of America (lit. 'North American United States', popular pre-revolutionary name of the United States in Russia)
 * Россія to Россия
 * Петроградъ to Петроград (Petrograd)
 * раіонъ to район (region/district)
 * мараѳонъ to марафон (marathon)
 * дѣти to дети (children)
 * Іисусъ Христосъ to Иисус Христос (Jesus Christ)

Practical implementation
In December 1917, the People's Commissariat of Education, headed by A. V. Lunacharsky, issued a decree stating, "All state and government institutions and schools without exception should carry out the transition to the new orthography without delay. From 1 January 1918, all government and state publications, both periodical and non-periodical were to be printed in the new style." The decree was nearly identical to the proposals put forth by the May Assembly, and with other minor modifications formed the substance of the decree issued by the Soviet of People's Commissars in October 1918.

Although occasionally praised by the Russian working class, the reform was unpopular amongst the educated people, religious leaders and many prominent writers, many of whom were oppositional to the new state. Furthermore, even the workers ridiculed the spelling reform at first, arguing it made the Russian language poorer and less elegant.

In this way, private publications could formally be printed using the old (or more generally, any convenient) orthography. The decree forbade the retraining of people previously trained under the old norm. A given spelling was considered a misspelling only if it violated both the old and the new norms.

However, in practice, the Soviet government rapidly set up a monopoly on print production and kept a very close eye on the fulfillment of the edict. A common practice was the forced removal of not just the letters І, Ѳ, and Ѣ from printing offices, but also Ъ. Because of this, the usage of the apostrophe as a dividing sign became widespread in place of ъ (e.g., под’ём, ад’ютант instead of подъём, адъютант), and came to be perceived as a part of the reform (even if, from the point of view of the letter of the decree of the Council of People's Commissars, such uses were mistakes). People resisting the implementation of the new orthography were deemed enemies of the people and executed. Nonetheless, some academic printings (connected with the publication of old works, documents or printings whose typesettings predated the revolution) came out in the old orthography (except title pages and, often, prefaces) up until 1929.

Simplification
The reform reduced the number of orthographic rules having no support in pronunciation—for example, the difference of the genders in the plural and the need to learn a long list of words which were written with yats (the composition of said list was controversial among linguists, and different spelling guides contradicted one another).

The reform resulted in some economy in writing and typesetting, due to the exclusion of Ъ at the end of words—by the reckoning of Lev Uspensky, text in the new orthography was shorter by one-thirtieth.

The reform removed pairs of completely homophonous graphemes from the Russian alphabet (i.e., Ѣ and Е; Ѳ and Ф; and the trio of И, І and Ѵ), bringing the alphabet closer to the Russian language's actual phonological system.

Criticism
According to critics, the choice of Ии as the only letter to represent that side and the removal of Іі defeated the purpose of 'simplifying’ the language, as Ии occupies more space and, furthermore, is sometimes indistinguishable from Шш.

The reform also created many homographs and homonyms, which used to be spelled differently. Examples: есть/ѣсть (to be/eat) and миръ/міръ (peace/the World) became есть and мир in both instances.

In a complex system of cases, -аго was replaced with -его (лучшаго → лучшего), in other instances -аго was replaced with -ого, -яго with -его (e.g., новаго → нового, ранняго → раннего), feminine cases moved from -ыя, -ія — to -ые, -ие (новыя (книги, изданія) → новые); Feminine pronouns онѣ, однѣ, однѣхъ, однѣмъ, однѣми were replaced with они, одни, одних, одним, одними; ея (нея) was replaced with на её (неё).

The latter was especially controversial, as these feminine pronouns had been deep-rooted in the language and extensively used by writers and poets.

Prefixes ending with -з/с underwent a change: now all of them (except с-) end with -с before voiceless consonants and with -з before voiced consonants or vowels (разбить, разораться, but расступиться). Previously, the prefixes showed concurrence between phonetic (as now) and morphological (always з) spellings; at the end of the 19th century and the beginning of the 20th century the standard rule was: с-, без-, ч(е)рез- were always written in this way; other prefixes ended with с before voiceless consonants except с and with з otherwise (разбить, разораться, разступиться, but распасться). Earlier 19th-century works also sometimes used з before ц, ч, ш, щ.

title: Russian orthography


text:
Gloria Winters

Gloria Winters (November 28, 1931 – August 14, 2010) was an actress most remembered for having portrayed the well-mannered niece, Penny King, in the 1950s–1960s American television series Sky King.

Early life and career
Born Gloria Carolyn Hirst in Los Angeles on November 28, 1931, She grew up in the San Fernando Valley of Los Angeles, and later moved to Hollywood with her family. A child actress, she made her debut, she said in a mid-2000s radio interview, "when I was about five", with a small role in a Shirley Temple movie. "I came running out to Shirley Temple, and she was supposed to help me, like I had just gone to the little girls' room."

Winters went on to a Pete Smith movie short, in a scene of her coming down a slide to the grass, where a black Scottie dog licked her face. She also appeared in an Our Gang feature. She performed onstage, and took tap dance classes, and in the late 1940s and early 1950s was first cast in Western films such as Driftwood (1947) and El Paso (1949), and in such television series as The Lone Ranger, The Range Rider and The Gene Autry Show. Her roughly twenty films, mostly Westerns, include The Lawless (1950) and Gambling House (1951).

She portrayed daughter Babs Riley in the first season of the NBC sitcom The Life of Riley (1949 to 1950), starring [William Bendix and Rosemary DeCamp.

Sky King
Winters' signature role was in the television drama Sky King, starring Kirby Grant as rancher and pilot Schuyler "Sky" King in Arizona of the 1950s. Winters played the blonde, baby-faced, perky but earnest, and helpful teenage niece, Penny King, who lived with her uncle at the Flying Crown Ranch and often became involved in his varied adventures. She played the role in seventy-two episodes from 1952 to 1959. Ron Hagerthy appeared in nineteen episodes during 1952 as Sky King's nephew and Penny's brother, Clipper. Sky King ran on NBC and ABC, and was filmed from 1951 to 1952 and from 1955 through at least 1959, as sponsors changed. It ran after that in syndication, but the actors received no residuals.

During the run of Sky King, Winters and Kirby Grant performed as a song-and-dance team as headliners on the state fair circuit. Winters recalled a State Fair of Texas in Dallas in which the two signed autographs. Waiting for their signatures were astronauts Gus Grissom, Pete Conrad, Alan Shepard, and Wally Schirra in line with their children. As the magazine publisher Airport Journal noted, the series Sky King inspired several youngsters to take up flying when they became older.

Winters married Dean Stevens Vernon, a sound engineer on Sky King, and gave up acting following a 1960 appearance on Hugh O'Brian's ABC western series, The Life and Legend of Wyatt Earp.

Other roles
In the interim, Winters had guest roles in series, including the anthology Death Valley Days, The Jack Benny Program, Richard Diamond, Private Detective; Racket Squad; The Gene Autry Show, in which she made her singing debut in the 1951 episode "Warning! Danger!", The Adventures of Wild Bill Hickok, Brave Eagle, Four Star Playhouse, General Electric Theater, Frontier Doctor, Judge Roy Bean (in the episode "Four Ladies from Laredo"), The Roy Rogers Show, and Sheriff of Cochise.

On Jim Davis' Stories of the Century anthology series, Winters played the teenaged bandit Little Britches, opposite James Best as the outlaw Dave Ridley, with whom she is smitten.

During this time, Winters appeared in movies, including Hold That Line (1952), starring the Bowery Boys, and She Couldn't Say No.

Later life
In 1964, Winters wrote Penny's Guide to Teen-Age Charm and Popularity (Prentice Hall), an etiquette book aimed at young girls, which inspired the alternative rock band Nada Surf's 1996 song and video "Popular." As well, Jimmy Buffett's song "Pencil Thin Mustache" contains a reminiscence about being "bucktoothed and skinny ... writin' fan letters to Sky's niece Penny."

When her husband retired, the two moved to Vista, California. He died in 2001, and Winters succumbed nine years later of complications from pneumonia at her home. She was survived by her sister-in-law Phyllis DeCinces and was interred alongside her husband at the Fort Rosecrans National Cemetery in San Diego.

Awards
In 2002, she was awarded the Motion Picture & Television Fund's Golden Boot Award for her work in Western films and television programs.

title: Gloria Winters


text:
Murias

Murias may refer to:

People

 * Halina Murias (born 1955), Polish politician
 * Manolo Sánchez Murias (born 1976), Spanish retired footballer and a current manager

Places

 * Murias (Aller), a village in the municipality of Aller, Asturias, Spain
 * Murias (Candamo), a village in the municipality of Candamo, Asturias, Spain
 * Murias de Paredes, a municipality located in the province of León, Castile and León, Spain

Other uses

 * Euskadi–Murias, a Spanish UCI Professional Continental cycling team
 * Murias, a city of the Mythological Cycle of early Irish literature; see Four Treasures of the Tuatha Dé Danann

title: Murias


text:
Pierre-François Casgrain

Pierre-François Casgrain, (August 4, 1886 – August 2, 1950) was a Canadian lawyer and politician. He was Speaker of the Canadian House of Commons from 1936 to 1940.

Born in Montreal, Quebec, his father was a physician. Following the death of his mother when he was three years old, he was raised by his grandmother. Casgrain graduated in law from Université Laval and practiced in Montreal where he worked as an organizer for the Liberal Party of Canada and the Quebec Liberal Party.

When his father-in-law, Sir Rodolphe Forget, the Conservative Member of Parliament (MP) for Charlevoix, retired from politics, Casgrain decided to run for the seat as a Liberal in the 1917 election. The campaign occurred as a result of the Conscription Crisis of 1917. Casgrain ran as an opponent of the draft (see Laurier Liberals, and was elected to the House of Commons of Canada.

From 1921 to 1925, Casgrain was the parliamentary whip of the Quebec Liberal caucus, and from 1926 to 1936, he was the Chief Whip of the Liberal caucus.

Casgrain was nominated by Prime Minister William Lyon Mackenzie King to be Speaker of the House in 1936. He served in this position until 1940 when he was appointed to the Cabinet as Secretary of State for Canada, a position that had sweeping emergency powers during World War II. On December 15, 1941, Casgrain was appointed Puisne Judge of the Superior Court of Quebec and retired from politics. He died in 1950.

After his death in 1950, he was entombed at the Notre Dame des Neiges Cemetery in Montreal.

Casgrain's wife, Thérèse Casgrain, was a prominent political figure in her own right.

There is a Pierre-François Casgrain fonds at Library and Archives Canada.

title: Pierre-François Casgrain


text:
Kirby Grant

Kirby Grant (November 24, 1911 – October 30, 1985), born Kirby Grant Hoon Jr., was a long-time B movie and television actor, mostly remembered for having played the title role in the Western-themed adventure television series Sky King. Between 1949 and 1954, Grant starred in 10 Mounted-Police adventures, usually in the role of Corporal Rod Webb.

Early life and career
Grant was born in Butte in Silver Bow County in southwestern Montana. He was a child prodigy violinist. He continued to study music and became a professional singer and bandleader.

Movie career
In 1939 the Gateway to Hollywood talent-search contest awarded him a movie contract. These "Gateway" contracts were already prepared with fictitious screen names (thus Josephine Cottle became "Gale Storm" and Ralph Bowman became "John Archer"; Grant won with Dorothy Howe, who became "Virginia Vale"). Grant's contract was made out to "Robert Stanton," and Grant used the pseudonym in his earliest films before adopting his first and middle names professionally. "Robert Stanton" and "Virginia Vale" were introduced in the RKO Radio Pictures feature Three Sons, with Edward Ellis and William Gargan. For the next few years Grant freelanced among various studios; his most familiar picture from this period (as Kirby Grant) is probably Blondie Goes Latin, a 1941 film with Penny Singleton and Arthur Lake. Grant also appeared briefly in the 1943 submarine picture Destination Tokyo, playing the role of Lieutenant Colonel James H. Doolittle, organizer of the famous Doolittle Raid on Japan.

In 1943, Grant signed with Universal Pictures, where he played romantic leads in B musicals, and in Abbott and Costello and Olsen and Johnson comedies. His smooth baritone voice got him teamed with Universal's singing star Gloria Jean for two features in 1944, and then Universal selected him to replace Rod Cameron (who had just been promoted to more important roles) as the studio's B-Western series star in 1945. These seven westerns established Kirby Grant as an action star. In 1949 Monogram Pictures hired him for a series of Mountie adventures, featuring "Chinook the Wonder Dog." Grant was working in this capacity when television beckoned in 1952 with the contemporary series Sky King.

Sky King
Grant starred in the series Sky King during its entire run (1952, and 1956–59), filming 72 episodes in all. He played Arizona rancher-pilot Schuyler "Sky" King, who fought bad guys and rescued people with his airplane. Early villains were bank robbers and kidnappers; some later foils were Russian spies and saboteurs. Sky's first airplane was a Cessna T-50 (known among pilots as the "Bamboo Bomber" because of its wooden wings), and later a much more modern Cessna 310B. Sky's airplanes were named "Songbird". Sky and his niece Penny, played by Gloria Winters, lived on the "Flying Crown Ranch".

Later appearances and retirement
Grant did little acting after Sky King ended, although he and Gloria Winters were in demand for personal appearances at fairs and aviation events. He traveled with the Carson and Barnes Circus from 1965 to 1967. Grant retired in 1970. Sky King continued to play in reruns from 1959 to 1966, but Grant received no residuals.

Grant and his wife, Carolyn, had three children. In the early 1970s, the Grants moved from California to Florida.

The couple founded the nonprofit Sky King Youth Ranches of America, which provided homes for abandoned or orphaned children. He had plans to resurrect the Sky King series with the Flying Crown Ranch becoming a home for such kids, and publicizing their stories, but it never materialized.

Death
At about 8 a.m. on October 30, 1985, Grant was killed in an automobile accident west of Titusville in Brevard County, Florida. Three vehicles were traveling east bound in single file, Grant was in the third vehicle. He pulled out of line (to the left) to pass both vehicles in front of him, when the middle vehicle also pulled out to pass at the same time. To avoid a collision, Grant suddenly swerved farther left, and went onto the shoulder of the oncoming lane, he then over-corrected back all the way to the right, when his vehicle left the roadway and spun into a ditch, which contained three feet of standing water. Grant was thrown out of his car and into the water. A passerby pulled him out, and he was taken to Jess Parrish Hospital in Titusville, but was dead on arrival. That morning, Grant was en route from his condominium in Winter Springs to the Kennedy Space Center to watch the (last successful) launch of the Space Shuttle Challenger at Cape Canaveral. He was to have been honored by the astronauts for encouraging aviation and space flight. He was 73 years old. Kirby is interred in Missoula, Montana.

Recording career
Kirby Grant is listed as the recording artist on two Wizard Records singles, #245-A "Loving Time" and 245-B "Letter from Tina," circa 1970.

Selected filmography

 * Sweet Adeline (1934) – Singing Beer Garden Patron (uncredited)
 * I Dream Too Much (1935) – Violinist (uncredited)
 * In Old Chicago (1938) – Moustached Quartette Member – 'Old Virginny' Number (uncredited)
 * Radio City Revels (1938) – Group Singer (uncredited)
 * My Lucky Star (1938) – Singing Student on Sleighride (uncredited)
 * There Goes My Heart (1938) – Customer (uncredited)
 * Lawless Valley (1938) – Ranch Hand (uncredited)
 * Red River Range (1938) – Tex Reilly
 * Three Sons (1939) – Bert Pardway
 * Mexican Spitfire (1940) – Airline Clerk (uncredited)
 * The Marines Fly High (1940) – Lt. Bob Hobbes
 * Millionaire Playboy (1940) – Bill (uncredited)
 * Bullet Code (1940) – Bud Mathews
 * Blondie Goes Latin (1941) – Hal Trent, Orchestra Leader
 * Always Tomorrow: The Portrait of an American Business (1941) – 1st Picknicker (uncredited)
 * The Power of God (1942) – Kenneth Hale
 * Dr. Kildare's Victory (1942) – Sgt. Brown (uncredited)
 * My Favorite Blonde (1942) – Pilot (uncredited)
 * Hello, Frisco, Hello (1943) – Specialty Singer
 * Bombardier (1943) – Pilot (uncredited)
 * The Stranger from Pecos (1943) – Tom Barstow
 * Destination Tokyo (1943) – Army Briefing Officer (uncredited)
 * Chip Off the Old Block (1944) – Member – The Jivin' Jacks and Jills (uncredited)
 * Hi, Good Lookin'! (1944) – King Castle
 * Rosie the Riveter (1944) – Singer at Award Presentation (uncredited)
 * Law Men (1944) – Clyde Miller
 * Ghost Catchers (1944) – Clay Edwards
 * In Society (1944) – Peter Evans
 * Babes on Swing Street (1944) – Dick Lorimer
 * I'll Remember April (1945) – Dave Ball
 * Trail to Vengeance (1945) – Jeff Gordon
 * Penthouse Rhythm (1945) – Dick Ryan
 * Bad Men of the Border (1945) – Ted Cameron
 * Easy to Look At (1945) – Tyler
 * Code of the Lawless (1945) – Grant Carter posing as Chad Hilton
 * Gun Town (1946) – Hal Wentley
 * The Spider Woman Strikes Back (1946) – Hal Wentley
 * Blonde Alibi (1946) – Henry Rothmore (uncredited)
 * She Wrote the Book (1946) – Eddie Caldwell
 * Lawless Breed (1946) – Ted Everett
 * Rustlers Round-Up (1946) – Bob Ryan
 * Gunman's Code (1946) – Jack Douglas
 * Song of Idaho (1948) – King Russell
 * Singin' Spurs (1948) – Jeff Carter
 * Trail of the Yukon (1949) – Mountie Bob McDonald
 * Black Midnight (1949) – Sheriff Gilbert
 * The Wolf Hunters (1949) – Mountie Corporal Rod Webb
 * Feudin' Rhythm (1949) – Ace Lucky
 * Snow Dog (1950) – Mountie Corporal Rod McDonald
 * Indian Territory (1950) – Lieutenant Randy Mason
 * Dial 1119 (1950) – Reporter (uncredited)
 * Call of the Klondike (1950) – Corporal Rod Webb
 * Rhythm Inn (1951) – Dusty Rhodes
 * Yukon Manhunt (1951) – Corporal Rod Webb
 * Comin' Round the Mountain (1951) – Clark Winfield
 * Yukon Manhunt (1951) – Cpl. Rod Webb
 * Northwest Territory (1951) – Cpl. Rod Webb
 * Yukon Gold (1952) – Mountie Cpl. Rod Webb
 * Fangs of the Arctic (1953) – Mountie Corporal Rod Webb
 * Northern Patrol (1953) – Cpl. Rod Webb – RCMP
 * Yukon Vengeance (1954) – Corporal Rod Webb, RCMP

title: Kirby Grant