text:
Sölvesborg

Sölvesborg is a locality and the seat of Sölvesborg Municipality in Blekinge County, Sweden with 10,024 inhabitants in 2013.

Sölvesborg is, despite its small population, for historical reasons normally still referred to as a city. Statistics Sweden, however, only counts localities with more than 10,000 inhabitants as cities.

History of the city
As the water from the Baltic Ice Lake withdrew, the land around present-day Sölvesborg became accessible to settlers from what today is Denmark. The first people to settle were farmers; remains of their presence have been found in the area dating back to the Stone Age, mostly in the area around Gammalstorp, Siretorp and Istaby. The hill in the east, marking the border towards Karlshamn called Ryssberget, was a direct creation of the glacial movements. On the western side of the hill, the different times of ice withdrawal are clearly noticeable. The old, now drained lake of Vesan was also a product of the ice age.

The port town of Sölvesborg was founded in the 12th century, between the mountain Ryssberget and the bay to the east (Sölvesborgsviken), but the city itself has grown up around the church, the monastery and later on the castle. The oldest part of the church of Saint Nicholas is from the 12th century. In the 14th century, the church formed part of a Carmelite convent. In 1564 Sölvesborg took over the city charter of Elleholm.

At about the same time as the church was built, the castle took shape. The oldest part are slightly younger than the church, and although the earliest days are not well documented, it is supposed that it was originally merely a fortress. The castle came to be extended - both its height as well as the area it covered during the years.

The city was granted its charter in 1445 by the Scandinavian king Christopher of Bavaria.

The history of Sölvesborg is marked by its location on the main road connecting the then Danish districts of Skåne and Blekinge, therefore a fortress was built as Sölvesborg was the main city in the province of Sölvesborg (called Sölvesborgs län).

The origin of the name Sölvesborg is unclear, but is believed to come from the founder of the castle, Sölfwitz or Sölvitz. The name thus means the castle (Borg) of Sölfwitz. Others claim that the mentioned Sölve might be the Norse Viking King Sölve or Salve. Sølv means silver in Danish.

During the Middle Ages and well into the 16th century, Sölvesborg marked a strategic city in the west, together with the easternmost city - Kristianopel. During its heyday, the city came to host many of the ruling Danes when they came to visit the town. One notable character to inherit the Sölvesborg castle, was Sören Norby, which he was granted after his leaving Sweden, as he had fallen out of favour with the Swedish king, Gustav Vasa. With the Danish king Christian IV, change came to be. The old town west to Sölvesborg, Vä, was burnt down during the wars with Sweden and Christian wanted to replace it with a new one – Christianstad (the city of Christian). In order to accomplish this, the trade privileges for Vä and Sölvesborg were withdrawn and given to Kristianstad. The city thus became less important and subsequently fell behind. Some minor production, such as a Faience factory between 1773 and 1798 made no major impressions.

The castle was abandoned after the Danish defeat to the Swedes at the battle of Knäred in 1637. Rather than letting the Swedes seize the castle, the foreman of the castle decided that it should be burnt. Today, nothing but ruins remain, but the old castle in Bäckaskog is of the same age and of similar construction.

The now defunct city privileges were not restored until in 1841, by the Swedish king Carl XIV.

Industries
In the 18th century, a porcelain factory was established in 1773 by Baron Erik Gabriel Sparre. The porcelain produced here is referred to as faience, and the production was spread around Sweden. The factory remained for only a few decades and production was cancelled in 1790. In 1901, a glass factory was established. In order to provide the factory with sand, a train line was built after a private initiative, to Olofström and Älmhult. The glass factory closed in 1982. A shipping dock was opened in 1892 and remained in the city until 1982.

Today, little of the old, traditional industries remain. Instead, the city relies on work commuters and small scale industries, as well as tourism. Outside the city, the fishing industry, especially in the harbour towns of Djupekås, Hällevik and Nogersund are important employers. In Norje a chicken production is in place as an important local industry. Also the neighbouring paper mills of Mörrum (Södra Cell) and Nymölla are notable.

Transport and connections
Sölvesborg got its first railroad connections in the late 19th century, firstly to Karlshamn and Kristianstad and later on extended to Karlskrona in the east. This today is the only remaining railroad connection and is now connecting Karlskrona in the east with Malmö and Copenhagen in the west.

In 1910 the railroad connections were extended to Listerlandet, the countryside surrounding Sölvesborg and connecting the town to the neighbouring municipality of Mjällby and ending in Hörvik. This railroad continued to run up until the 1950s.

Private investments saw to it that a new railroad was built between Sölvesborg and Älmhult (city of IKEA) (the Sölvesborg-Olofström-Elmhult-Järnväg and on this route the first and longest natural tunnel, and also the only railway tunnel in Scania, came to place of its time near Barnakälla. Today, only half of the railroad remains and only industrial traffic between Olofström and Älmhult.

The major road connection is the E22 (E66 up until 1994). Between 1993 and 1999 Sölvesborg and Wolgast in Germany had hover boat traffic during the summer months (May to August).

Sölvesborg still retains its picturesque street structure, unlike many other Swedish cities. Even after a near total fire in 1801, when the entire city except the church burnt down, it was decided to retain it instead of adapting a grid pattern.

Sights
Apart from the aforementioned Ryssberget, the countryside villages outside of Sölvesborg are very scenic. In July, the village of Krokås hosts the day of eel fishing (Ålafiskets dag).

In central Sölvesborg, the twin hills of Kanehall and Vitehall, which up until the 18th century were magnificent lookout points, are still worth a visit as they are located in the beech tree forest, one of Europe's largest coherent beech tree forest. Today, visitors need to go further upp Ryssberget to get the same view, as the trees have grown tall. Before reaching Kanehall and Vitehall, the houses on Norregatan should be passed. These houses reflect the old town and was, when the houses were built, an outskirt of the town referred to as the Fattigstaden or The Poor people's town. The town centre itself is a good example of the Medieval town planning of Swedish and Danish towns.

Other notable visits include the Nicolai Church, whose oldest part stem from the 12th century and the runestones in and outside the church. The best preserved runestone is the stone located inside the church. The Museum and Gallery, located in the harbour in old warehouses are worth a visit. The museum reflects the history of the city, from the early settlements to the early 20th Century. The Gallery shows local artists mainly.

In 1985, SR International - Radio Sweden established a powerful medium-wave radio transmission facility at Sölvesborg. Broadcasting international programming to a large area of Europe, its twin antenna towers, located some 10 km from the town of Sölvesborg itself, are notable local landmarks.

During the summer period, a visit to one of the many beaches is well worth. Notable beaches are Sandviken, Tredenborg and Hällevik.

Sports
The following sports clubs are located in Sölvesborg:

 * Mjällby AIF
 * Hörvikens IF
 * Sölvesborgs GoIF
 * Lörby IF

title: Sölvesborg


text:
Talk:Peace Center

Downtown Greenville
I took out "dynamic downtown consists of many restaurants like Addys Dutch Cafe Ristorante Bergamo, Tratorrio Giorgio's, and Sassafras" and the link to Addy's homepage. If these belong anywhere it would seem to be in the Greenville article? But I'm operating from a position of complete ignorance of Greenville ..... --Cje 09:00, 26 Sep 2004 (UTC)

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

title: Talk:Peace Center


text:
Hiroki Aikawa

Aikawa Hiroki (愛川 ヒロキ) is a male Japanese popular music artist and composer. He was born in Iwaki City, Fukushima Prefecture on June 24, 1963. He made his debut with the band remote on 1988. After "remote" broke up, he wrote songs for other artists as well as playing for various artists. Currently, he is also working as a member of the band The Bean'S he created himself.

By Artists

 * Don't Worry! 4L
 * a abel
 * Feinto Gachine Chiba Mika
 * CANDY DOLL Emina Mako
 * Muga HOLY NOIZ
 * MiYOU Ikeda Kizoku
 * I WISH Kirino Kanna
 * innocence Kuno Sayaka
 * NO Kamiyama Minori
 * MIDNIGHT BLUE Mita Airi
 * SECRET HEART MODE
 * Kizu, Shinjitsu Natsuko
 * EL AMOR Noah
 * Yojo Robotomi
 * Kurutta Tokei Shudo Kaori
 * HOTMILK Takeda Aika

title: Hiroki Aikawa


text:
Hot metal typesetting

In printing and typography, hot metal typesetting (also called mechanical typesetting, hot lead typesetting, hot metal, and hot type) is a technology for typesetting text in letterpress printing. This method injects molten type metal into a mold that has the shape of one or more glyphs. The resulting sorts or slugs are later used to press ink onto paper. Normally the typecasting machine would be controlled by a keyboard or by a paper tape.

It was the standard technology used for mass-market printing from the late nineteenth century until the arrival of phototypesetting and then electronic processes in the 1950s to 1980s.

History
Hot metal typesetting was developed in the late nineteenth century as a development of conventional cast metal type. The technology had several advantages: it reduced labour since type sorts did not need to be slotted into position manually, and each casting created crisp new type for each printing job. In the case of Linotype machines, each line was cast as a robust continuous block (hence "line o'type") which was useful for rapid newspaper printing.

Types of typesetting
Two different approaches to mechanising typesetting were independently developed in the late 19th century. One, known as the Monotype composition caster system, produced texts with the aid of perforated paper-ribbons. Each character was cast separately. These machines could produce texts also in "large-composition" up to 24 point.

The Super-caster, another machine produced by Monotype, was similar in function to the Thompson, Barth, pivotal and others casters but designed to produce single type (including even larger sizes) for hand setting.

The other approach was to cast complete lines as one slug, usually comprising a whole line of text.

Of this system there were at least five manufacturers:

 * Linotype
 * Intertype Corporation
 * the Typograph, produced in Germany
 * Ludlow Typograph
 * The Monoline, a very basic machine

The Linotype and similar Intertype machines came out with paper tape and electronic automation near the end of their lifecycles, which allowed for the news wire services to send breaking news to remote newspaper offices for prompt setting into late editions.

While the other machines were operated by (non-QWERTY) keyboards, in the Ludlow Typograph the matrices for each line were assembled in a stick by hand. This machine was able to cast display body sizes that other mechanical composition systems were unable to produce. In this way headings could be produced to complement text produced on other machines. It also used the same alloy as Linotype machines, so was a useful adjunct to page makeup for newspapers as, when a print run was completed, all the metal could be remelted at once, without having to be separated or the type from the headings redistributed back into case.

The success of these machines lay in different fields. The Monotype caster was more popular for bookwork that required the ability to make manual corrections and edits while the slug casting systems found success in newspaper production, where speed of production and 'make ready' for print was essential.

Another essential difference between Monotype and the "slug"-producing machines is that a Monotype machine functions with a minimal set of matrices. Each character needs one matrix. Linecasters cannot function this way, and these systems need quite large magazines of matrices to be able to set a complete line of text with the usual character repetitions. Indeed, the nominal 90-channel magazine of a linecaster really has 91 total channels, with the first two channels allocated to the lower case 'e', and with these matrices being alternately selected from channel 0 or channel 1, for alternate lines of cast type.

Additionally, Monotype must use a punched paper tape, and the "reading frame" is always backwards (right-to-left) in order to achieve justification, as justification is not an inherent capability of the machine (however, "flush left" is an inherent capability). Whereas Linotype may use a punched paper tape, although this option is seldom-used outside of daily newspapers, and whether a tape is used, or not, the "reading frame" is always forwards (left-to-right), with justification being an inherent capability of the machine (and, "flush right", "centered" and "flush left" may be very easily accommodated manually, or automatically using a "quadder" attachment).

Linotype
The key feature of the Linotype is the use of molds which circulate through the machine in its various stages of operation. One type is a space band (a special two-part sliding wedge) and the other is a letter matrix made of brass. The matrices are stored in one or more magazines on top of the machine (providing the operator with a choice of fonts; these can also be exchanged with other extra magazines as desired) while the space bands are stored in a box closer to the keyboard.

Once a key is pressed, the matrix passes through what is known as the ‘assembler front’, down past a rotating fiber reinforced wheel (known as the star wheel) and into the ‘assembling elevator’ which serves the same purpose as the hand compositor's stick. When the space band key near the keyboard is pressed, one of the space bands drops out of the box and almost directly into the assembling elevator. The assembling elevator (or more commonly just the ‘assembler’) is adjustable for different lengths of line (in picas).

Once the line approaches its correct length, the operator is made aware of this by a bell or other indicator. If the line is ‘loose’ or too short, there is too much ‘white space’ for the space band wedges to fill out the line, and the matrices could possibly turn sidewise or fail to seal against each other as the machine prepares for the casting operation. If the line is ‘tight’ or too long, the elevator carrying the matrices and space bands will not seat properly in front of the mold slot. Both the Linotype and Intertype machines have two important safeties that act during the casting operation – the ‘pump stop’, which comes into play on loose lines, and the ‘vise automatic', which comes into play on tight lines. Both scenarios, if not stopped by these safety features, usually result in a “squirt” of molten type metal, encasing the matrices and the elevator in metal in the process. Not only is it time-consuming to clean up after a squirt, a tight line usually has not come down far enough to mate with the slots on the mold face, resulting in damage to the matrices. Therefore, it is considered very poor form for an operator (or the machinist who cared for the machine) to permit this to happen.

When the line is assembled to the correct length, the operator presses down on a lever which raises the assembling elevator up into the delivery channel and starts the automatic casting cycle. The delivery channel transfers the matrices out of the assembler and into the first elevator. The first elevator then descends to a position in front of the mold, and if the elevator has not descended fully by the time the machine starts the process of aligning the matrices (most often caused by a ‘tight’ line), the first of the two safeties, the vise automatic, brings the machine to a full stop before the supporting lugs on the matrices are crushed by the mold. Once the matrices are in proper position, two actions take place in sequence: the matrices are aligned vertically and face-wise while a bar rises from below to force the movable sleeves on the space bands upwards to cause them to fill out the line to the exact width of the mold. If the justification bar has made a full cycle and the line is still not fully justified, the second safety, the pump stop, prevents the plunger in the metal pot from going down. The space bands were an important feature of this machine, providing automatic justification of each line by equally adjusting the white space between each word. Since the type used was proportional and not fixed in width, solving this justification problem mechanically was very important. Some later models had a feature that permitted the lines to be cast with the alignment to either left, right or centered. Operators running earlier models would use special ‘blank’ matrices (in four sizes) to manually create the proper amount of whitespace beyond the space bands’ range.

With the matrices aligned and the space bands set to the correct measure, the machine then ‘locks up’ the line with great force and the plunger injects the molten type metal into the space created by the mold cavity and the assembled line. The machine then separates the mold disk (carrying the freshly cast slug), the metal pot, and the first elevator. The mold disk then turns to present the line at the ejecting position, in the process passing by a knife that trims the base of the slug to type height (0.918″ on US machines). The slug is then forced through an adjustable pair of knives to trim the slug to the proper body height before sliding down into a ‘galley’ of finished lines next to the operator. Depending on the model of machine, the mold disk could have four (standard), six, or two molds, giving the operator his choice of line lengths and body sizes.

As the mold disk is turning, the first elevator simultaneously rises to its upper position and the space bands and matrices are vertically aligned in preparation for the second transfer. The matrices have a series of teeth in a V-shaped notch on top, and as the transfer is completed, the matrices slide onto the second elevator bar which carries the matrices by these V-shaped notches. The space bands, having no such notches, remain in the second transfer channel and are soon gathered by two levers and pushed back into the space band box. While the space bands are being pushed into their box, the second elevator continues rising towards the distributing mechanism at the top of the machine, which returns the molds to their proper places in the magazine. At the top of the machine, a lever (the distributor shifter) moves left to get in position to push the incoming line of matrices off the second elevator and into the distributor box. This mechanism feeds the matrices at precise intervals such that they travel between three rotating screws. Each matrix is carried along a notched bar between the three screws until the notches on the bar and matrix match, whereupon the matrix drops down into its proper channel in the magazine.

It was a source of pride for trained operators to boast of being able to ‘hang’ a line – to keep a line waiting in the delivery channel while the machine was casting the previous line and the operator was composing the next one.

The metal pot was kept filled by the operator tossing in small ingots of type metal every few lines, or later, by mechanical feeders that carry large ingots of type metal (and which often carried two ‘pigs’ at a time to be consumed in turn, the operator hanging a fresh one when one was consumed). These feeders are actuated by various methods (by cam, either elevator, or distributor shifter), but the result is the same – the ingots are fed little by little into the pot, keeping it filled to the correct level.

From time to time, the slug galley is transferred to the composing table to be set in the form, and once the press run is completed and the slugs removed from the form, they are tossed into the ‘hell box’ for remelting into new ingots. At intervals the lead is remelted and the oxidized metal (dross) skimmed off. As part of this process, ‘plus metal’ is added in the form of small ingots to replenish that portion of the alloyed metals that was lost by the formation of dross (by oxidization of the metal in the machine's pot or during the remelting stage). The type metal is poured into ingot molds – small molds for manually feeding the metal pots or larger molds for the metal feeders. (In the latter case, special attention must be given the ‘eye’ end as it has to support the weight of the entire ingot. Failure often results in it dropping into the pot and splashing molten metal everywhere.)

Funded largely by the Ridder newspaper interests, the Intertype Corporation developed (c. 1914) a compatible version of the Linotype machine when the patents ran out and it became quite popular as well. This led to a long-lasting legal fight by the Mergenthaler Linotype Company (who eventually lost).

Various methods were used to power the Linotype / Intertype machines, the most common being a fractional horsepower motor, one wired for single-phase 60 Hz alternating current eventually becoming the default offering. To accommodate the customers' requirements, motors were also built to be powered from direct current, 25 Hz AC, or 50 Hz AC circuits. Also, motors wound for various polyphase circuits (two-phase, 3-phase, wye, delta, etc.) were made available for the customers as well. In a few cases, where electricity was not available, it was possible to drive the machine by a belt connected to a line shaft.

Initially, the metal pot was heated by gas (whether natural or 'manufactured'), but an electric pot was later developed and which became a standard option. As with the motors, the control machinery for the metal pot heaters was produced in a variety of voltages and in direct or alternating current versions. For locations with access to neither gas or electricity, the gas-fired pot could be fitted with a burner kit to allow the use of kerosene or other 'white gas' fuels.

Thus, regardless of the power sources available (within reason), it was possible to install a Linotype (or Intertype) machine in almost any newspaper office, whether in a remote mountain community or a downtown office in an urban metropolis.

Typograph and Monoline
These machines were bought out by Linotype, to minimize competition.

Ludlow
A manual linecasting solution known as the Ludlow Typograph also met with success because it was able to cast display type sizes that other mechanical composition systems were unable to produce.

The Ludlow consisted of a very heavy metal table with a flat top about waist high and a depressed slot into which a "stick" was inserted. Underneath was a pot of molten type metal and a plunger. The stick was used to hand compose the lines of type, typically headlines in 18 point or larger with 72 point commonly being available, but the machine could cast type from 4pt to 600pt without a mould change. This was from brass matrix stored in cases on either side of the Ludlow. The cases were not the traditional "California Job Cases" used to set body type, but simpler alphabetically arranged wooden or metal cases, each one containing a given font in a specific size and style such as bold face, italic or condensed. The metal type cabinets were built with inclined drawers for easy access to the matrices.

After a line of type was assembled into the stick a special blocking slug was inserted to seal the end. Then the stick was placed mold side down into the slot on the table, a clamp locked down to securely hold the stick and the Ludlow activated. The plunger would snap down into the pot with considerable force, injecting molten type metal into the mold at a high speed to ensure the mold was filled before the metal solidified. If the stick was not properly filled out or mounted firmly, or the special terminating block was forgotten, a dreaded "splash" would result, often encasing the operator's toes in molten lead and leaving a mess that needed to be peeled off the Ludlow surfaces. Operators were encouraged to wear heavy boots with steel toes and be quick at removing one. It was also not uncommon for some of the type metal to be projected up onto the ceiling, no matter the height. As with the Linotype / Intertype machines, the Ludlow machines were often fitted with metal feeders to keep the pot filled to optimum level.

Towards the end of its life as a common backshop type setter, the Ludlow was often joined by the "Super Surfacer" a specially designed surface plane that would smooth the surface of the freshly cast type and ensure it was exactly type high. A Ludlow slug was just the letters overhanging a central spine about 12 points wide (T-shaped viewed from the end). It needed to be bolstered by Elrod slugs on either side for support. The number of slugs above and below the central spine could adjust the white space above and below the type making it a very flexible system for large type.

The Elrod was a machine used to cast rules and spacing material (leading) of a specific width: 1, $1 1/2$, 2, 3, 4, 6, 12, 18, 24, 30, or 36 point. This was used extensively in page layout and line spacing, that is, adjusting the white space between paragraphs and any other area when small bits of white space were needed. Large areas of white space were created by wooden or later metal blocks called 'furniture'. Smaller odd areas were filled with square or rectangular blocks in various point sizes called quads.

All these line-casting machines used various alloys near the eutectic point and which typically consisted of approximately 4% tin and 12% antimony and the balance being lead. These alloys were proportioned such that the type metal would solidify as rapidly as possible at the lowest possible freezing point.

Monotype
The Monotype System took a different direction in hot metal typesetting, with the ability of the Composition Caster to cast loose type using a paper tape-operated automatic casting machine. The paper tape would be first generated on a keyboard and then used to cast the type; the tape could be stored for future casting for subsequent editions. This was a popular system for book work. Text was produced completely aligned, with all spaces in each line exactly the same width. Corrections and complex work could be done on the text by hand after the bulk of the text had been set by machine. The Super Caster and Orphan Annie were used to cast fonts of loose type for hand setting as well as spacing material and patterned rules.

This type was most times made of an alloy (8-10% tin, 15-20% antimony) slightly harder than the line casting alloys but was not as hard as the foundry type used for hand setting of loose letters. This allowed reasonable print runs or conversion to stereotypes for longer print runs. But these machines could produce type with all possible alloys, when needed.

The used type, like the slugs from line casters, was re-melted when no longer needed. Each time remelting caused some loss of tin and antimony, through oxidation. This loss needed to be monitored and compensated.

The Monotype Corporation survived the demise of the hot metal typesetting era by selling digital type.

Transition
Towards the end of its life, hot metal composition in newspapers was kept alive by the proof press. As each page was set and locked up, it was moved on a turtle (a rolling table with an accurately flat steel surface) to the manual proof press, where it was hand inked and a single very high quality proof was pulled. This proof could then be photographed and converted to a negative.

Black paper was inserted before the proof was photographed for each of the photos on the final page to create clear windows in the negative. The separately made halftones would be taped into these clear windows on the negative. This negative could then be used to expose the photosensitized printing plate for an offset press. In this way the heavy investment in hot metal typesetting could be adapted to the newer offset technology during a transition period.

Another synergy and transition mechanism was using paper tapes made for TTS systems (linotype) and monotype tapes directly by the photo typesetter system.

These tapes could be read and processed by many, maybe most optical setting systems. This allows avoiding actual use of metal, while preserving some of the value and investment in the "typesetting" and communication side of hot metal. Such systems were widely used in the later years of hot metal, and optical typesetting systems kept supporting and further developing TTS standard, alongside similar systems for most of the optical typesetting era.

Comparison to successors
The nature of text printed via the hot-metal method is notably different from that produced by the phototypesetting processes that followed it. As the lead type used to print (letterpress) a page had been directly formed from the type matrix, a good fidelity to the original was achieved. Phototypesetting suffered (at least in its early days) from many problems relating to optical distortion and misalignment. These disappointing results were a thorn in the sides of many authors and readers (especially of complex or mathematical texts that had many small sub- and superscripts). A desire to re-create the aesthetic qualities of hot lead spurred Donald Knuth to create one of the first general-purpose digital typesetting programs, TeX.

Although not technically typesetting, stereotyping (electrotype or nickeltype) could be used to cast a reproduction of an entire typeset page (or pages imposed in a forme) using a mold made with an impression using flong (similar to papier-mâché). The ensuing casting could be made curved for use on a rotary press or flat for the slower flat-bed presses. This technique was often used in newspaper production.

title: Hot metal typesetting


text:
User:Aggelophoros/gallery

Aggelophoros' Gallery

These are photographs that I have taken myself, and I have uploaded onto Wikipedia.

title: User:Aggelophoros/gallery


text:
Talk:Space race (disambiguation)

Article name
Should this not be called Space race (disambiguation)? violet/riga (t) 09:14, 26 Sep 2004 (UTC)

Space Race
BooGaNooGa —Preceding unsigned comment added by 76.20.240.93 (talk) 21:00, 16 September 2009 (UTC)

title: Talk:Space race (disambiguation)


text:
Jarosław County

Jarosław County (powiat jarosławski) is a unit of territorial administration and local government (powiat) in Subcarpathian Voivodeship, south-eastern Poland, on the border with Ukraine. It came into being on January 1, 1999, as a result of the Polish local government reforms passed in 1998. Its administrative seat and largest town is Jarosław, which lies 49 km east of the regional capital Rzeszów. The only other towns in the county are Radymno, lying 13 km south-east of Jarosław, and Pruchnik (a town since 2011).

The county covers an area of 1029.15 km2. As of 2019 its total population was 120,462, out of which the population of Jarosław was 37,585, that of Radymno was 5,279, that of Próchnik was 3,764, and the rural population was 73,834.

Neighbouring counties
Jarosław County is bordered by Przemyśl County to the south, Przeworsk County to the west and Lubaczów County to the east. It also borders Ukraine to the east.

Administrative division
The county is subdivided into 11 gminas (two urban, one urban-rural and eight rural). These are listed in the following table, in descending order of population.

title: Jarosław County


text:
User talk:Oden carroll

log#092204 Followup#4 0926  0247  Reading Burma, okay Mymar. 1) In the 1950's were were taught in school when in rangoon ever six months, that Burma was the world's greatest producer of rice. At Boarding School ENcyclopedia this was confirmed in the early 1960's. 2) Joe McClugan, a texan for Uncle Ben's Rice was the leading Rice Specialist in Burma of my childhood, lived at the same compound at #48 Golden Valley Road. Was often up at Plecu Base Camp with the #2 man at the Embassy Residence. (Ambassador McCongine, who Drew me out with his daughter Drew.) 3) Burma is shrinking I see demographically due to aids, low birth rate and migration. Even then it had a very very small population pool under U Nu who I knew as his lap kid up the street personally, with a very very large land, largest per capita of population much much less than gigantic land space; so such only country in Asia with enormus very very rich land in resources and tiny tiny population pool. It continues to shrink in a standing defense Army capacity. So I see it coming sir. Must be treaty over our heads. I mind my own business. 4) My step dad Walter contracted to CIA through NY Tams McCarthy and Stratton was finishing the last civil engineering plumb bob meansurements of the Burma Road area, Burmese Rail road. India flourished railroad wise (+) Burma floundered and shrank: (-). But the engineering is complete to blue print. When I asked Global Files about the "Burmese Railroad", they answered with Ballistic Missle plans of the USAF SEATO Command. So I read their message sir. Mandalay: Beef/Pork Eating Buddhists (+) Rangoon: Vegetarian with neurotic IQ about cheating eating chicken or fish: If you catch a fish put it on the bank (+) If you don't catch a fish, eat rice and Starve! (-)    If the fish flips flippant (+-) See if it dies on food bank. If the fish flips heads and heads water, let it and Starve Faithful Buddhist! (-+)   It does all the time, all the mind, it's always published. What do ya want? (++) Win/Win. DENIED! (- -)  Yeah, I'm laid back in sixes sir. What da ya want from me, huh? Say your grandmother is a greenie? Your baby brother does not control his weenie? Say your sister does not know how to see her's? And your wife just cut off yours in Freudian envy? Is that your problem buddy? Eh? Vote Bush, huh? Seriously serious of course, absolutely! Certainly! Indeed! Naturally! Serious about being serious seriously serious as they came serious come serious, feel seriously. Nothern Burma is not NOrth Vietnam, is not North Korea sir. Norther Burma yet slaughters beef and Rangoon hates Hindu's who eat Pork/sheep/lamb/fish and poltry. So In 1959: Eyewitness, not 1962 Revisionism sir, U Nu was taken over by the Ne Win Socialist Revolution with tanks all over Golden Valley Road, and one local dead Hindu. I showed him to Walter. Walter picked up his head by the hair, and I recognized the old man. Walter told me I did not sir. (-). Next week we were at Hong Cong all kicked out, taking a six month tour from Orient to Europe, high times sir. Hindu's invented Mohamadtin Bread, the forerunner of the Pizza Hut Pizza if you ever had both sir, talanted secret cooks in Rangoon sir, back then. They fed US like North Vietnamese Chefs. So I was disallowed Vietnam service, and got mad as hell at Senator Goldwater for not allowing me, but obeyed sir. So? You need IQ ID's for Iraq? Suggestion: First read "US Scrabble Gaming from Scrambled Chaos." 2nd Edition of about 10 more editions at my age. As relevant as you train the original seed sir, still seeding way way advanced of you guys. You don't even understand Ciber Angles in Ciber Space on the six sided Cartesian or DICE Laws of Mendel over Malthus. Sir. Copyrights? You want copyrights? You brought up the subject sir. It does not matter if you bring up yes or no, yea or nay, pro or con sir. You brought up the subject sir. I did not. Who are you to me sir? Good Question for this page does not even answer itself as usual, and secondly does not submit. I don't even know wherest it goest sir.   High Latin (+) Low Latin (-) Pig Latin (+-) Speak Easy (-+) North Korean (++) Old Saigon turning St. Petersberg? (--)

Respectfully sir/ma'am. Oden out. Not out of mind sir.

title: User talk:Oden carroll


text:
Rhamnus

Rhamnus may refer to:
 * Rhamnus (city), or Rhamnous, an ancient Greek city in Attica
 * Rhamnus (Crete), or Rhamnous, an ancient Greek town in Crete
 * Rhamnus, an augur killed by Nisus and Euryalus in book IX of The Aeneid
 * Rhamnus (plant) or buckthorns, a plant genus
 * 9316 Rhamnus, a main-belt asteroid discovered in 1988
 * Mount Rhamnus, a mountain in Antarctica

title: Rhamnus


text: File:The Manchurian Candidate poster.jpg


text:
Jasło County

Jasło County (powiat jasielski) is a unit of territorial administration and local government (powiat) in Subcarpathian Voivodeship, south-eastern Poland, on the Slovak border. It came into being on January 1, 1999, as a result of the Polish local government reforms passed in 1998. Its administrative seat is Jasło, which lies 50 km south-west of the regional capital Rzeszów. The only other town in the county is Kołaczyce, which is 8 km north of Jasło.

The county covers an area of 830.41 km2. As of 2019 its total population was 113,730, out of which the population of Jasło was 35,063, that of Jasło was 1,409, and the rural population was 77,258.

Neighbouring counties
Jasło County is bordered by Gorlice County to the west, Tarnów County to the north-west, Dębica County to the north, Strzyżów County to the north-east and Krosno County to the east. It also borders Slovakia to the south.

Administrative division
The county is subdivided into 10 gminas (one urban, one urban-rural and eight rural). These are listed in the following table, in descending order of population.

title: Jasło County


text:
Northern Pacific

Northern Pacific may refer to:

 * Northern Pacific Airways, an upcoming airline
 * Northern Pacific Field Hockey Conference, an NCAA Division I conference
 * Northern Pacific Hockey League, an American Tier III junior ice hockey league
 * Northern Pacific Railway, a defunct railroad

title: Northern Pacific


text:
Castle Stalker

Castle Stalker (Caisteal an Stalcaire) is a four-storey tower house or keep in the Scottish county of Argyll. It is set on a tidal islet on Loch Laich, an inlet off Loch Linnhe. It is about 1+1/2 mi north-east of Port Appin and is visible from the A828 road about midway between Oban and Glen Coe. The islet is accessible with difficulty from the shore at low tide. The name "Stalker" comes from the Gaelic Stalcaire, meaning "hunter" or "falconer". The island castle is one of the best preserved medieval tower houses to survive in western Scotland and is a Category A listed building. It stands in the Lynn of Lorn National Scenic Area.

History
The original castle was a small fort built around 1320 by Clan MacDougall, who were then Lords of Lorn. Around 1388 the Stewarts took over the Lordship of Lorn, and it is believed that they built the castle in its present form around the 1440s. The Stewarts' relative King James IV of Scotland visited the castle, and a drunken bet around 1620 resulted in the castle passing to Clan Campbell. After the castle changed hands between these clans a couple of times, the Campbells finally abandoned it about 1840 when it lost its roof. In 1908 the castle was bought by Charles Stewart of Achara, who carried out basic conservation work. In 1965 Lt. Col. D. R. Stewart Allward acquired the castle and over about ten years fully restored it. Castle Stalker remains in private ownership and is open to the public at selected times during the summer.

For the 2011 census the island on which the castle stands was classified by the National Records of Scotland as an inhabited island that "had no usual residents at the time of either the 2001 or 2011 censuses."

In popular culture
Castle Stalker has been used as a location for the filming of multiple works including:
 * Monty Python and the Holy Grail (as "The Castle Aaaaarrrrrrggghhh")
 * Highlander: Endgame
 * Sense8 (as the estate of the "Old Man of Hoy")
 * Black Mirror, "Loch Henry"

Castle Stalker is the inspiration for Castle Keep in the children's book The Boggart.

title: Castle Stalker


text:
Johnston (typeface)

Johnston (or Johnston Sans) is a sans-serif typeface designed by and named after Edward Johnston. The typeface was commissioned in 1913 by Frank Pick, commercial manager of the Underground Electric Railways Company of London (also known as 'The Underground Group'), as part of his plan to strengthen the company's corporate identity. Johnston was originally created for printing (with a planned height of 1 inch or 2.5 cm), but it rapidly became used for the enamel station signs of the Underground system as well.

It has been the corporate font of public transport in London since the foundation of the London Passenger Transport Board in 1933, and of predecessor companies since its introduction in 1916, making its use one of the world's longest-lasting examples of corporate branding. It was a copyrighted property of the LPTB's successor, Transport for London, until Public Domain Day 2015 (Johnston died in 1944).

Johnston's work originated the genre of the humanist sans-serif typeface, typefaces that are sans-serif but take inspiration from traditional serif fonts and Roman inscriptions. His student Eric Gill, who worked on the development of the typeface, later used it as a model for his own Gill Sans, released from 1928. As a corporate font, Johnston was not available for public licensing until recently, and as such Gill Sans has become more widely used.

Features
The capitals of the typeface are based on Roman square capitals such as those on the Column of Trajan, and the lower-case on traditional serif fonts. Johnston greatly admired Roman capitals, writing that they "held the supreme place among letters for readableness and beauty. They are the best forms for the grandest and most important inscriptions." Justin Howes, author of the leading work on the Johnston Sans design, Johnston's Underground Type, has highlighted the similarity of the design to the eighteenth-century Caslon type designed by William Caslon in particular, noting that Johnston had worked on a book printed using this typeface shortly before starting work on his design and reproduced their structure in a textbook.

Johnston's alphabet marked a break with the kinds of sans serif then popular, now normally known as grotesques, which tended to have squarer shapes inspired by signwriting and Didone type of the period. Some aspects of the alphabet are geometric: the letter O is a nearly perfect circle and the 'M', unlike Roman capitals (but like Caslon) straight-sided. As with most serif fonts, the 'g' is a 'two-storey' design. The 'l' copies the curl of the 't' and produces a rather wide letter compared to most sans-serif fonts. The lower case i and j have diagonally-placed square dots or tittles, a motif that in some digitisations is repeated in the full stop, commas, apostrophes and other punctuation marks.

Johnston's design process considered a variety of eccentricities, such as a capital-form 'q' in the lower-case and a single-storey 'a' like that later seen on Futura, before ultimately discarding them in favour of a clean, simplified design. However, many early versions of Johnston's "alphabet" included a Garamond-style W formed of two crossed 'V's, and some early renderings as hand-lettering showed variation.

Unlike many sans-serifs of the period, Johnston's design (while not slender) is not particularly bold. Gill would later write of his admiration for how Johnston had "redeemed" the sans-serif from its "nineteenth-century corruption" of extreme boldness.

As an alphabet intended for signage, Johnston was designed without any italics. Any italic design seen is therefore an invention of a later designer, intended to match Johnston's design. Different designers have chosen different approaches to achieve this: some offering a 'true' italic, others an oblique in which the letters are simply slanted, and some declining to offer one, perhaps concluding that an italic is inappropriate to the purpose of the original design. An official version of the typeface in italics was commissioned by London Transport from Berthold Wolpe in 1973.

History
Johnston had become interested in sans-serif letters some years before the commission: although best known as a calligrapher, he had written and worked also on custom lettering, and in his 1906 textbook Writing and Illuminating and Lettering had noted "It is quite possible to make a beautiful and characteristic alphabet of equal-stroke letters, on the lines of the so-called 'block letter' [the sans-serif letters of contemporary trade] but properly proportioned and finished." He had also written in spring 1913 that new books should "bear some living mark of the time in which we live." Johnston had previously unsuccessfully attempted to enter type design, a trade which at the time normally made designs in-house. Howes wrote that Johnston's font was "the first typeface to have been designed for day-to-day use by a leading artist-craftsman."

Pick specified to Johnston that he wanted a typeface that would ensure that the Underground Group's posters would not be mistaken for advertisements; it should have "the bold simplicity of the authentic lettering of the finest periods" and belong "unmistakably to the twentieth century". Pick considered a sans-serif best suited to transport use, concluding that the Column of Trajan capitals were not suited to reproduction on flat surfaces.

In 1933, The Underground Group was absorbed by the London Passenger Transport Board and the typeface was adopted as part of the London Transport brand. As early as 1937, the LPTB mentioned it as a package promoting the system's billboards to advertisers as an example of its commitment to stylish design, along with its commission of art from Feliks Topolski. Johnston's drawings survive in the Victoria and Albert Museum.

Johnston's original design came with two weights, ordinary and bold, while condensed letters soon followed for use on buses to show routes and destinations. Heavy does not contain lower-case letters. Johnston also worked on other lettering and branding for the Underground system, most famously the 'bar and circle' roundel that the Underground continues to use (refined from earlier designs where the roundel was solid red).

The font family was called a variety of names in its early years, such as Underground or Johnston's Railway Type, before later being generally called simply Johnston. (A similar problem exists with Gill Sans, which was at first often referred to by other names such as its order number, Series 238, Gill Sans-serif, or Monotype Sans-serif.)

New Johnston

Johnston was originally printed using wood type for large signs and metal type for print. London Transport often did not use Johnston for general small printing, with many documents such as bus timetables using other typefaces such as Gill Sans and Granby. By the 1970s, as cold type was becoming the norm for printing, Johnston had become difficult for printers to use. Signs and posters of the period started to use other, more easily sourced typefaces such as Helvetica, Univers and News Gothic. To maintain London Transport's old corporate identity, Johnston was rendered into cold type.

Rather than simply producing a phototype of the original design, Johnston was redesigned in 1979 by Eiichi Kono at Banks & Miles to produce New Johnston. The new family comes in eight members: Light, Medium, Bold weights with corresponding Italics, Medium Condensed and Bold Condensed (the old family had only two weights: Regular and Bold, and the latter had no lowercase letters). After all precisely hand-drawn letters (nearly 1,000) were completed and sent to AlphaType for digitisation in the US in 1981–82, New Johnston finally became ready for Linotron photo-typesetting machine, and first appeared in London's Underground stations in 1983. It is the official typeface exclusively used by Transport for London and The Mayor of London ever since. The New Johnston Medium as the new standard is slightly heavier or bolder than the original Johnston Regular (or sometimes confusingly called Medium) and lighter than the original Bold, and has a larger x-height, made suitable for main text setting as well as large display sizes. The average x-height of the New Johnston is roughly 7% larger than the original as the limit for keeping the original Johnston flavour, which was fundamental. The larger x-height allowed larger counters, and type size (size of x-height in particular) and weight are reciprocal factors for legibility, but enlarging x-height can affect style and appearance. Since the original Johnston weights, Regular and Bold, were maintained as closely as possible, inevitably New Johnston Medium appears very close to Light and Bold. This is the whole point of this particular solution because New Johnston Medium works as the one-fits-all standard font for virtually every application from large type sizes for posters and signs to minute type sizes for pocket map maintaining much improved legibility. Punctuation marks are matched the diamond tittle, differing from Johnston's original design, enhancing the identity of London Transport.

In 1990–1992 Banks and Miles, in partnership with Signus Limited digitised the first PostScript Type 1 fonts for the then London Transport under the auspices of the corporate design manager, Roger Hughes. Hughes and Jeremy Rewse-Davies, LT's design director, also commissioned New Johnston Book, a special weight with distinctive modifications to allow better representation on low-resolution laser printers. The New Johnston Book weight was designed specifically for high volume publications and its usage was intended to be restricted to sizes below 12pt. In 2002 the typeface was digitised on behalf of Transport for London by Agfa Monotype Corporation, with the addition of two further weights, Book and Book Bold, as well as corresponding italic variants. The revised font family – not commercially available – is known as 'New Johnston TfL'. In the early stages of digitisation, there was the chronic problem in letter-spacing, which seems to be solved more or less by now.

A further change occurred in 2008 when Transport for London removed the serif from the numeral '1' and also altered the '4', in both cases reverting them to their original appearance. New Johnston's numerals are originally designed to fit for setting tabular matters, which was requested by TfL.

As a proprietary typeface (one of the first ever), Johnston did not become commercially available in metal type. However, capitalising on the popularity of the design style after Gill Sans had become popular, the typefounders Stephenson Blake, who cast the Johnston metal type, created a similar but not identical design, Granby for sale. According to Mike Ashworth of Transport for London, London Transport itself made some use of Granby by the 1960s due to the limited availability of Johnston metal type. It also used Gill Sans for printed ephemera, such as timetables.

Johnston Delf Smith
This variant was commissioned by Frank Pick as a wedge-serif variation of the organisation's standard sans-serif Johnston face and was designed by Percy Delf Smith, a former pupil of Edward Johnston; Johnston had considered a wedge-serif design during the early stages of the commission. The typeface was originally used for the headquarters building at 55 Broadway, SW1, It can only be seen on some signs at Sudbury Town on the Piccadilly line.

In early 2007, a digitisation of the typeface was developed by Transport for London under the name Johnston Delf Smith for its own use on historic signs. It is the property of TfL. Designer Matthieu Cortat has released an unrelated implementation of the design commercially, under the name Petit Serif.

Johnston 100
A new version, known as Johnston 100, was commissioned by Transport for London from Monotype in 2016 to commemorate the 100th anniversary of the introduction of the typeface. It includes two new weights, 'Hairline' and 'Thin', for digital use, as well as symbols such as the hash character. Several characters have been changed, such as the restoration of the diagonal bowl on the lowercase 'g' which was lost in New Johnston. The font is designed to reflect Johnston's original intentions, and to be closer to the original version of the Johnston typeface.

Non-TfL digitisations
Several digitisations of the Johnston type exist.

ITC Johnston
International Typeface Corporation released a variant in 1999 called ITC Johnston. It originally included three font weights like New Johnston, however it does not include the hooked 1 and uses side-pointed 4.

In November 2002, the typeface was rereleased in OpenType format, which also expanded the font family to include italic fonts (resembling those of Gill Sans) in all weights. OpenType features include alternates, case forms, small caps (romans only), old style figure. Separate small caps (romans only) and old style figure faces were also released for each weight in TrueType and PostScript formats, for a total of fifteen typefaces.

P22 Underground
In 1997, London Transport Museum licensed the original Johnston typeface exclusively to P22 Type Foundry, available commercially, first under the name of Johnston Underground and then in an expanded version called Underground Pro. P22's design is not based on New Johnston, having principally the goal of digitising and expanding on the original Johnston designs.

The full Underground Pro Set contains nineteen Pro OpenType fonts and 58 Basic OpenType fonts, covering extended Latin, Greek, Cyrillic character sets. Weights are expanded to six: Thin, Light, Book, Medium, Demi, Heavy. Underground, Underground CY, Underground GR support extended Latin, Cyrillic, Greek characters respectively. The Latin sub-family contains medium weight Titling fonts, which feature underscored and/or overscored Latin small letters. Pro fonts include extensive OpenType features, including eleven stylistic sets with stylistic alternates inspired by early signs, Johnston's calligraphy and draft designs for Johnston and geometric sans designs such as Futura. Following the lead of Johnston's original, P22 decided not to offer an italic.

The original Johnston Underground digitisation included Regular, Bold, and Extras weights, with the Extra containing only ornamental symbols.

Railway Sans
Railway Sans is an open-source interpretation of Johnston's original (regular weight) by Justin Howes and Greg Fleming. It includes a number of alternate glyphs such as a Garamond-inspired W (used on old signs at West Brompton station), ligatures and a characteristic arrow design.

Paddington
Paddington is a basic public domain digitisation by Stephen Moye, including italic, bold, and small caps designs.

Usages
Its use has included the Tube map (sometimes hand-lettered), nameplates and general station signing, as well as much of the printed material issued by the Underground Group and its successors; also by the nationalised British Road Services in the immediate post-war era.

It was used for wayfinding signs at the London 2012 Summer Olympics and Summer Paralympics, including venues outside London. It was also used for the signs that accompanied the parade of nations during the opening ceremony.

It is also used in the overlays of the BBC TV show Sherlock. New Johnston is used for signage in the fictional Princeton–Plainsboro Teaching Hospital in the Fox TV show House, although in later seasons the similar font Gill Sans was used, most noticeably on Wilson's door during season 8.

The font is used in the wayfinding signage at Westfield London.

Hong Kong's Citybus and NWFB buses use the font on the front route number display and timetables.

Similar fonts

 * Hammersmith One and Cabin, open-source typefaces derived from Johnston
 * Gill Sans
 * Granby
 * Toronto Subway
 * Drogowskaz

Johnston Delf Smith

 * TfL Fonts

New Johnston

 * Eiichi Kono, New Johnston from Pen to Printer, Edward Johnston Foundation, 2003

ITC Johnston

 * ITC Johnston Font Family – by Richard Dawson, Dave Farey
 * What's Hot From ITC: November 2002
 * What's New From ITC: March 2009

P22

 * P22 Releases Underground Pro

title: Johnston (typeface)


text:
User:Eequor/Sandbox/Sand

''Believe nothing, O monks, merely because you have been told it, or because it is traditional, or because you yourselves have imagined it. Do not believe what your teacher tells you merely out of respect for the teacher. But whatsoever, after due examination and analysis, you find to be conductive to the good, the benefit, the welfare of all beings -- that doctrine believe and cling to, and take it as your guide.'' --Gautama Buddha

title: User:Eequor/Sandbox/Sand


text:
Category:Military life

This category is the root category for topics related to life in the military.

title: Category:Military life


text:
Virgilia (disambiguation)

Virgilia may refer to:
 * Virgilia, the wife of Coriolanus in Shakespeare's play Coriolanus
 * Virgilia, California, an unincorporated community
 * Virgilia, the wife of the Roman general Gaius Marcius Coriolanus
 * Virgilia (plant), a genus of South African trees in the family Fabaceae
 * Virgilia (bug), a genus of true bugs in the family Lophopidae
 * Virgilia (ship, 1918), a ship of the Cunard line that smashed into the Thames barge Kathleen of Greenwich in 1923
 * A common name for Cladrastis kentukea, a tree of eastern North America
 * Virgilia, character of 07th Expansion Sound Novel Umineko no Naku Koro ni
 * Virgilia Hazard, a fictitious abolitionist character in the popular TV mini-series North and South

title: Virgilia (disambiguation)


text:
Www.tism.wanker.com

www.tism.wanker.com is the fourth studio album by Australian alternative rock group TISM (This Is Serious Mum), released in June 1998. The album peaked at number 26 on the ARIA charts.

At the ARIA Music Awards of 1998, the album was nominated for the ARIA Award for Best Independent Release.

The title references an internet URL which, at the time of release, was a subdomain (of wanker.com) provided by a friendly person overseas who had registered wanker.com, as TISM were not able to obtain their preferred domain, wanker.com.au, due to Australian domain regulations. However, the web hosting fees were not paid, subsequently it was taken down by the hosting ISP several months after launch and has not been available since.

Early editions of the CD featured a CD-ROM component. The program asks the user whether they want to continue – repeatedly. Eventually, it responds "OK then. Downloading virus." No virus is actually downloaded.

In October 2009, the album was released to iTunes for digital download, with nine bonus tracks from the band's 1996 gospel demo session No Penis, No God as bonus tracks. On 16 April 2024, No Penis, No God was released on limited-edition bootleg-style LP, with five unreleased bonus tracks from the sessions.

On 12 October 2022, the album was announced for a November reissue on CD and blue vinyl, with the CD containing five of the six actual songs from the original 1998 bonus CD, Att: Shock Records Faulty Pressing Do Not Manufacture (the rest of the tracks were poems and recordings of the band talking amongst each other), plus "Drop the Tude", a B-side to the "I Might Be a Cunt, but I'm Not a Fucking Cunt" single.

In May 2023, the band released a seven-disc box set called the Wanker Box, celebrating the album's 25th anniversary. This features the original 12-track album, the six bonus songs included on the 2022 CD reissue, plus 12 songs from the rare Att: Shock Records Faulty Pressing Do Not Manufacture compilation (originally included as a bonus disc with the 1998 CD release), mixes and B-sides and more than a dozen previously unreleased tracks. The riff to "Choose Lose", one of the unreleased tracks from the boxset, would later be used for the band's 2024 single "Death to Art", while the lyrics were later rewritten and used as the basis for the unreleased song "Sickie", which was only performed live in 1998 and 1999.

Singles

 * "Yob" was released in November 1997 as the album's lead single. This song details the "ingredients" which go into making up a "yobbo".
 * "I Might Be a Cunt, but I'm Not a Fucking Cunt" was released in April 1998 as the album's second single. The song peaked at number 90 on the ARIA charts. The song and its accompanying music video of a couple having sex was banned by the SBS, ABC's rage, and Triple J due to its content; however, it was played quite frequently by Melbourne independent broadcaster 3RRR on the Breakfasters show. Bruce Ruxton, the head of the Victorian Branch of the Australian RSL, wrote a letter of complaint to Shock Records asking for TISM to be fired from the label, and describing the song as "...Dropping [Australia's standards] through the floor into the proverbial sewer". Ron Hitler Barassi of TISM responded to criticism in an interview saying "I actually like the song, the thing that disappoints me about some of the reaction to the song is people's reaction was confined to 'oh how naughty, oh those naughty boys TISM have said a naughty word, fuck, and another naughty word, cunt, and oh that's so naughty' and I must admit, I was sort of, and I shouldn't have, I was disappointed with that reaction ... We were attempting to use the common dialect of people in the street, to sum up a term, have a good pisstake. It's more than just naughtiness. That's very profound isn't it?"
 * "Whatareya?" was released in July 1998 as the album's third single. The song peaked at number 66 on the ARIA charts.
 * "Thunderbirds Are Coming Out" was released in October 1998 as the fourth and final single from the album.

Reception
Jonathan Lewis from AllMusic said "www.tism.wanker.com was a misbegotten attempt to recreate the success of its predecessor, but it fails on most counts. Machiavelli was a funny album: tasteless, yet tongue-in-cheek enough to charm listeners. www.tism.wanker.com, however, was simply offensive. The humour was forced, the lyrics less clever than on previous outings and the music was becoming stale." Lewis said "Highlights were few and far between, although 'Thunderbirds Are Coming Out' was a standout." In July 1998 issue of Beat Magazine, Bronius Zumerius in is 7/10 review of the album, said the dance element explored in their previous album Machiavelli and the Four Seasons continues as the band "grasp at current dance trends with some precision", along with the social commentary of tracks like Whatareya?, Denial Works for Me and There's Gonna Be Sex Tonite, mingling with the tongue in cheek tracks like Been Caught Wankin', Yob and I Might Be A Cunt, But I'm Not A Fucking Cunt, "with fist in the air, lunatic dancing, screaming, lung bursting effect." He concludes the review of the album saying it's "not their most exemplary material, but enough chortles are to be had to validate its existence."

Att: Shock Records Faulty Pressing Do Not Manufacture
Initial pressings of the album were shipped with a bonus disc. The CD in question looks like a blank CDR, with texta writing that reads "Att: SHOCK RECORDS FAULTY PRESSING DO NOT MANUFACTURE"; thinking it was serious, some retail chains actually returned boxes of the "fake" CDs unopened. In reality, it featured six outtakes from the wanker.com sessions and several poems, bookended by low-quality audio recordings of Hitler-Barassi and Flaubert discussing various topics whilst watching a pornographic film.

The "conversation" tracks have never been given an official title. For the iTunes re-release, these tracks were appended to the start/end of the titled tracks. The titles were available on TISM's website at the time.

"The Last Australian Guitar Hero", "Kate - Fischer of Men" and "I'd Be Happier if I Wasn't More Depressed" were released as B-sides to singles.

On 29 April 2023, the conversation tracks were released for free on the group's Bandcamp page.


text:
Talk:GMTV

YouTube Videos
Do YouTube videos count as citations? If so, there's a number of news reports from the 16th October 1991 which lead with the ITV franchises - either from ITN painting a national picture, or regional news bulletins from stations which lost their franchise that day. There's also a video of the first GMTV show which clearly identifies the anchors.82.35.190.189 (talk) 02:59, 4 September 2011 (UTC)

Copyright infringement
This suspected copyright infringement refers to the Schedule section within the article, not the article itself. Under the Broadcasting Act 1990, to use BBC, ITV and Channel 4 schedules requires a royality to be paid to the broadcaster (collected by Broadcasting Dataservices). Failure to do so is a criminal offence. I have started a discussion here: Potential legal issue with UK Radio station schedules within articles. If it is a copyvio, the section will be removed immediately. --tgheretford (talk) 23:26, 21 October 2006 (UTC)

Note: The suspected copyvio is in all edits made after 01:16 March 14, 2006 (UTC)

 * I whipped the offending section out. As Tghe says, this is potentially a copyvio. However, even without the copyvio worries, it is clearly original research and unencyclopedic in tone. So we can lose it without the article losing anything of note. ➨  ЯEDVERS  16:16, 22 October 2006 (UTC)
 * Again, I had to remove another schedule (diff). --tgheretford (talk) 19:09, 9 January 2007 (UTC)
 * And again (diff). See the updated discussion link on UK TV and radio schedules here. --tgheretford (talk) 20:54, 26 January 2009 (UTC)

The logo shown is copied directly off the website and isn't generally considered to be the proper thing. Bilky asko 14:13, 23 August 2006 (UTC)

GMTV is not widely considered to be a "National Institution" MRSC 09:53, 26 Sep 2004 (UTC)

How come-err there is-err no mention-err of John-err Stapleton ? 160.84.253.241

How do you site a reference?

Lucy Steele 09:54, 13 November 2007 (UTC)
 * You cite a reference like this . Gustav von Humpelschmumpel 11:22, 13 November 2007 (UTC)

ITV Breakfast Limited
GMTV Limited has now been renamed as ITV Breakfast Limted. Should we rename this article as ITV Breakfast or create a new one? GMc talk  00:03, 18 July 2010 (UTC)
 * I would opt for the latter, and make it clear in the article about the rename. --  [[ axg  ◉  talk   ]] 12:43, 20 July 2010 (UTC)
 * Well it's just a name change really, so shouldn't the page just be renamed, the same information on the GMTV page as a company away from the show, would be the same information for ITV Breakfast as a company. Tom Southwell (talk) 00:22, 5 August 2010 (UTC)

 * Oppose, GMTV is totally different to ITV breakfast.

 * GMTV Ltd. was a separate breakfast station complete to ITV breakfast, and was not a simple name change. Therefore the page should remain separate. — Preceding unsigned comment added by 86.183.81.115 (talk • contribs) 14:51, 8 January 2015
 * Please note that the above discussions, are before the Merge tag was added in December 2014. --  axg //  ✉  ]] ''' 15:59, 8 January 2015 (UTC)

Live stream
Live stream for the last show ? --93.82.10.27 (talk) 08:35, 3 September 2010 (UTC)

GMTV
In 6 January 2013, GMTV Might come back — Preceding unsigned comment added by 94.196.84.166 (talk) 16:09, 3 January 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on GMTV. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110717191426/http://www.iii.co.uk/news/?type=afxnews&articleid=7645134&action=article to http://www.iii.co.uk/news/?type=afxnews&articleid=7645134&action=article

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 21:41, 6 January 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on GMTV. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120128192251/http://www.transdiffusion.org/emc/ident/album/gmtv.php to http://www.transdiffusion.org/emc/ident/album/gmtv.php
 * Added archive https://web.archive.org/web/20111128055813/http://www.transdiffusion.org/emc/ident/nevermind/gmtv.php to http://www.transdiffusion.org/emc/ident/nevermind/gmtv.php
 * Added tag to http://cms.gm.tv/presenters/51622-daybreaking-news.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 13:54, 15 December 2017 (UTC)

Film awards
Watching this morning I must say Sidney Poitier. Was a fantastic actor that’s why he won awards ,the same as many other black actors Eddie Murphy dentil Washington the guy who played shaft Oprah Winfrey in the colour purple these people won because they deserved to Surely awards should be won on merit not colour ,I would want to win because of a fantastic performance not my race ,it’s the same with jobs now shouldn’t the job go to the person most able and would fit in because of their ability not to make up the numbers and that works both ways black white asian amongst others Carol beasley Carolb2008@live.co.uk 2A02:C7F:F68D:4700:DC0A:B520:D47E:2EDB (talk) 07:29, 10 January 2022 (UTC)

title: Talk:GMTV


text:
Mayor of St. Louis

The mayor of St. Louis is the chief executive officer of St. Louis's city government. The mayor has a duty to enforce city ordinances and the power to either approve or veto city ordinances passed by the Board of Aldermen. The current mayor is Tishaura Jones, who took office on April 20, 2021.

Forty-seven people have held the office, four of whom — William Carr Lane, John Fletcher Darby, John Wimer, and John How — served non-consecutive terms. Lane, the city's first mayor, served the most terms: eight one-year terms plus the unexpired term of Darby. Francis Slay is the longest-serving mayor, having served four 4-year terms. The second-longest-serving mayor was Henry Kiel, who served 12 years and nine days over three terms in office. Two others — Raymond Tucker and Vincent C. Schoemehl — also served three terms, but seven fewer days. The shortest-serving mayor was Arthur Barret, who died 11 days after taking office. The first female mayor was Lyda Krewson, who served from 2017 to 2021.

Duties and powers
St. Louis was incorporated as a city on December 9, 1822, four months after Missouri was admitted as a state to the Union. In accordance with its new charter, the city changed its governance to a mayor-council format and elected its first mayor, William Carr Lane, on April 7, 1823.

Elections
The mayor is elected for four years during the general municipal election, which is held every two years on the first Tuesday after the first Monday in April. The candidates are selected through a combined approval voting primary, with the top two advancing to the general. The mayor is usually sworn during the first session of the Board of Aldermen two weeks after the election.

Under the original city charter, the mayor was elected to a one-year term. Terms became two years under the 1859 city charter. The mayor's office was extended to its present four-year term after passage of the Charter and Scheme in 1876 which separated the City of St. Louis from St. Louis County.

The mayor is not term limited.

Succession
If the office of mayor becomes vacant through death, resignation, recall, or removal by the board of aldermen, the president of the board of aldermen becomes mayor until a special mayoral election can be held; if the office is only temporarily vacant due to disability of the mayor, the president only acts out the duties of mayor. Should both offices be vacant, the vice-president of the board of aldermen becomes mayor.

Five people have acted as mayor: Wilson Primm following the resignation of John Darby; Ferdinand W. Cronenbold following the resignation of Chauncey Filley; Herman Rechtien following the death of Arthur Barret; George W. Allen following the resignation of David Francis; and Aloys P. Kaufmann following the death of William Becker.

title: Mayor of St. Louis


text:
Talk:German revolution of 1918–1919

Better title needed
Just wrote first article for wikipedia about a German politician. Needed a link to the German Revolution of 1918 and found this article.

I feel it would be better titled "German Revolution of 1918" rather than "German Revolution", because there has been more than one revolution in the history of Germany, for example, the German Revolution of 1848. The only way to distinguish between these revolutions is to use their full names.

Death Toll and Casualties
So the casualties are listed to be a total of 300,000 killed and wounded? Yet I fail to see any source for these numbers. Someone needs to fact check this, as the same article in the German Wikipedia doesnt mention any casualties at all (also suspicious)

Citations / corrections #2 (26 Feb 2024)
Besides adding sources: changed short description; changed infobox date for the second stage of the revolution to remove overlap with first stage; broke the Revolution main section into 2 parts to reflect the infobox and make it clear what the two stages of the revolution were.

Significantly shortened the section on the Kiel Mutiny, most of which was word-for-word what's in the main article on it. That's where the detailed information belongs rather than here.

Most of the rest of the changes were rephrasing and reordering where the narrative wasn't all that well structured.

To be continued. Any feedback on what I've done? GHStPaulMN (talk) 13:22, 26 February 2024 (UTC)

Request to rename "Soviet Republic of Saxony"
A request has been made to rename "Soviet Republic of Saxony" to "Saxony in the German Revolution (1918–1919)". With the renaming, "Soviet Republic of Saxony" would be removed from this page's infobox.

Please join the discussion here. GHStPaulMN (talk) 15:32, 28 February 2024 (UTC)

Additional work needed
Now that I've finished adding sources and making changes associated with that exercise, I still have some additional work I think should be done. For one, the background sections are too long and contain material that has little or nothing to do with the lead-up to the revolution (most notably the 'Russian Revolution' section, which could be reduced to two or three sentences). The page as a whole also reads at times a bit like a series of mini-articles and could be smoothed out and tightened up.

Given the relative importance of this page, I plan to take those up next. Feedback, suggestions, etc. welcomed. GHStPaulMN (talk) 18:21, 16 April 2024 (UTC)

title: Talk:German revolution of 1918–1919


text:
Nicotine replacement therapy

Nicotine replacement therapy (NRT) is a medically approved way to treat people with tobacco use disorder by taking nicotine through means other than tobacco. It is used to help with quitting smoking or stopping chewing tobacco. It increases the chance of quitting tobacco smoking by about 55%. Often it is used along with other behavioral techniques. NRT has also been used to treat ulcerative colitis. Types of NRT include the adhesive patch, chewing gum, lozenges, nose spray, and inhaler. The use of multiple types of NRT at a time may increase effectiveness.

Common side effects depend on the formulation of nicotine. Common side effects with the gum include nausea, hiccups, and irritation of the mouth. Common side effects with the patch include skin irritation and a dry mouth while the inhaler commonly results in a cough, runny nose, or headaches. Serious risks include nicotine poisoning and continued addiction. They do not appear to increase the risk of heart attacks. There are possible harms to the baby if used during pregnancy. Nicotine replacement therapy works by reducing cravings caused by nicotine addiction.

They were first approved for use in 1984, in the United States. Nicotine replacement products are on the World Health Organization's List of Essential Medicines. They are available as generic medications.

Medical uses

Nicotine replacement therapy, in the form of gum, patches, nasal spray, inhaler and lozenges all improve the ability of people trying to quit tobacco products. Nicotine replacement therapy is as effective as medications, such as bupropion, in helping people quit smoking for at least six months. All forms of nicotine replacement therapy, including nicotine gum, patches, nasal spray, inhalers, and lozenges, have similar success rates in terms of helping people stop smoking. However, the likelihood that someone will stick to a certain treatment varies, with compliance being the highest with nicotine patches, followed by nicotine gum, inhalers, and nasal sprays. Using a few different nicotine replacement methods in combination may improve success rates in stopping tobacco use. Additionally, using nicotine replacement with counseling has been proven to improve tobacco abstinence rates. These other strategies include: creating a plan to quit and utilizing quit programs, a quit phone line, or app that provides tips and inspiration to help quit.

Using nicotine replacement therapy to quit smoking should be considered for people who are severely dependent on nicotine. People who are severely dependent include those who smoke: more than one pack per day, within five minutes of awakening, while ill, when they wake up in the middle of the night, to ease withdrawal signs and symptoms.

Nicotine replacement products are most beneficial for heavy smokers who smoke more than 15 cigarettes per day. There are not enough studies to show whether NRT helps those who smoke fewer than 10 cigarettes per day.

Effectiveness
Evaluation of NRT in real-world studies produces more modest outcomes than efficacy studies conducted by industry-funded trials. The National Health Service (NHS) in England has a smoking cessation service based on pharmacotherapy in combination with counseling support. An Action on Smoking and Health (UK) (ASH) report claims that the average cost per life-year gained for every smoker successfully treated by these services is less than £1,000 (below the NICE guidelines of £20,000 per QALY (quality-adjusted life year). However, the investment in NHS stop smoking services is relatively low. A comparison with treatment costs for illicit drug users shows that £585 million is committed for 350,000 problem drug users compared to £56 million for 9 million users of tobacco. This is £6.20 for each smoker, compared to £1,670 per illegal drug user.

The claims for high efficacy and cost-effectiveness of NRT have not been substantiated in real-world effectiveness studies. Pierce and Gilpin (2002) stated their conclusion as follows: "Since becoming available over the counter, NRT appears no longer effective in increasing long-term successful cessation" (p. 1260). Efficacy studies, which are conducted using randomized controlled trials, do not transfer very well to real-world effectiveness. Bauld, Bell, McCullough, Richardson and Greaves (2009) reviewed 20 studies on the effectiveness of intensive NHS treatments for smoking cessation published between 1990 and 2007. Quit rates showed a dramatic decrease between 4-weeks and one year. A quit rate of 53% at four weeks fell to only 15% at one year. Younger smokers, females, pregnant smokers and more deprived smokers had lower quit rates than other groups.

The efficacy for each of the formulations alone (lozenges, nasal spray, gum, and transdermal patch) to aid in smoking cessation is equal. Efficacy increases 15% to 36% with combining treatments such as gum and lozenges. Higher doses increase the chance of stopping smoking for a period of six months and more. For patches, the most efficient doses were 25 mg worn over 16 hours or 21 mg worn over 24 hours. The evidence suggests that 4 mg nicotine gum leads to higher quit rates compared with 2 mg in heavy smokers.

Toxicity
N-Nitrosonornicotine, a strong carcinogen present in unburned tobacco and cigarette smoke, has been found in the urine of some users of oral NRT products. Nicotine patches is an alternative.

Side effects
Some side effects are caused by the nicotine, and are common to NRT products. Other common side effects depend on the formulation of nicotine. Common side effects with the gum include nausea, hiccups, and irritation of the mouth. Common side effects with the patch include skin irritation and a dry mouth while the inhaler commonly results in a cough, runny nose, or headaches. To minimize local skin reactions from the patch, the application site should be moved daily. The nicotine patch can also cause strange dreams if worn while asleep. Nasal sprays commonly cause nasal irritation, watering eyes, and coughing.

Serious risks include nicotine poisoning, which includes symptoms like visual disturbances, hyper-salivation, nausea, and vomiting; and continued addiction to nicotine products. Avoiding smoking and other products with nicotine are recommended since it may lead to nicotine overdose. Although overdose is rare, it can be problematic, especially in children and pets. The symptoms of nicotine overdose include headache, pale skin and mouth, belly pain, weakness, diarrhea, tremors or seizures, agitation, confusion, restlessness, high or low blood pressure, fast or irregular heartbeat, fast breathing, and cold sweats.

Limited evidence exists regarding long-term NRT use.

Pregnancy
Nicotine is not safe to use in any amount during pregnancy. Nicotine crosses the placenta and is found in the breast milk of mothers who smoke as well as mothers who inhale passive smoke. There are possible harms to the baby if NRT is used during pregnancy. Thus, pregnant women and those who are breastfeeding should also consult a physician before initiating NRT. The gum, lozenge, and nasal spray are pregnancy category C. The transdermal patch is pregnancy category D. The transdermal patch is considered less safe for the fetus because it delivers continuous nicotine exposure, as opposed to the gum or lozenge, which delivers intermittent and thus lower nicotine exposure.

Strong evidence suggests that nicotine cannot be regarded as a safe substance of cigarette use. Nicotine itself could be at least partly responsible for many of the adverse after birth health results related to cigarette use while the mother was pregnant. There is evidence that nicotine negatively affects fetal brain development and pregnancy outcomes. There is also risk of stillbirth and pre-term birth. Nicotine use will probably harm fetal neurological development. Risks to the child later in life from nicotine exposure during pregnancy include type 2 diabetes, obesity, hypertension, neurobehavioral defects, respiratory dysfunction, and infertility. Nicotine exposure during pregnancy can result in attention deficit hyperactivity disorder (ADHD) and learning disabilities in the child. It also puts the child at increased risk for nicotine addiction in the future.

Pregnant women should consider behavioral therapy before NRT is considered.

Youth
In people under the age of eighteen, a physician is often consulted before starting NRT. The evidence suggests that exposure to nicotine between the ages of 10 and 25 years causes lasting harm to the brain and cognitive ability. Evidence is unclear whether adolescents gain benefit from cognitive-behavioral therapy or smoking cessation over the long-term as of 2017. Most tobacco users are under-eighteens when they start, and almost no-one over the age of 25 starts using.

Cardiovascular conditions
While there is no evidence that NRT can increase the risk of heart attacks, individuals with pre-existing cardiovascular conditions or recent heart attacks should consult a physician before initiating NRT.

Smoking is known to cause cardiovascular diseases such as coronary heart disease, hypertension, heart attack, stroke, and peripheral artery disease. Cigarette smoking is the cause of 20% of all cardiovascular deaths in the United States, which is the leading cause of mortality.

Other conditions
Nicotine replacement therapies should be used cautiously in individuals with the following conditions: severe reactive airway diseases (for nasal spray), chronic nasal disorders such as sinusitis, polyps, rhinitis, or allergy (for nasal spray), diabetes (insulin-dependent), gastrointestinal diseases such as esophagitis, active gastric or peptic ulcer disease, liver problems, hyperthyroidism,pheochromocytoma, phenylketonuria (for lozenges), renal problems, and skin conditions such as psoriasis or dermatitis (for the transdermal patch).

Mechanism of action
Nicotine replacement therapy works by reducing cravings due to nicotine addiction. Smoking cigarettes releases high doses of nicotine to the brain in a matter of seconds as opposed to low doses released over a period of minutes to hours by the various forms of nicotine replacement therapy. Nicotine from NRT does not reach as high a concentration in the blood as does nicotine from smoke inhalation due to different absorption methods. NRT relies on systemic venous absorption, whereas nicotine from cigarettes reaches the arterial system. Nicotine replacement products vary in the time it takes for the nicotine to enter the body and the total time nicotine stays in the body. The more quickly a dose of nicotine is delivered and absorbed, the higher the addiction risk. It is possible to become dependent on some NRTs.

Nicotine patches are applied to the skin and continuously administer a stable dose of nicotine slowly over 16–24 hours. Nicotine gum, nicotine sprays, nicotine toothpicks, nicotine sublingual tablets, and nicotine lozenges administer nicotine orally with quicker nicotine uptake into the body but lasting a shorter amount of time. Nicotine inhalers are metered-dose inhalers that administer nicotine through the lungs and mucous membranes of the throat quickly, lasting for a short amount of time. For example, blood nicotine levels are the highest 5–10 minutes after using the nicotine nasal spray, 20 minutes after using a nicotine inhaler or chewing nicotine gum, and 2–4 hours after using a nicotine patch.

Society and culture
NRT products were first approved for use in the United States in 1984. Nicotine replacement products are on the World Health Organization's List of Essential Medicines.. They are available as generic medication.

Formulations

The nicotine patch is a once-daily, longer-acting form of NRT. An advantage of the nicotine patch is its simple compliance; it does not require active use throughout the day. The gum, lozenge, sublingual tablet, oral inhaler, oral spray, and nasal spray are acutely dosed products, providing the user with the benefit and ability of self-titrating based on cravings.

Brand names include Commit Lozenge, Nicoderm, Nicogum, Nicorette, Nicotex, Nicotinell, and Thrive. NRT products contain similar pharmaceutical grade nicotine as is used in e-cigarettes.

Medicines
In 2015, the United States Public Health Service listed seven agents for the stopping of tobacco, which included five nicotine replacement treatments (nicotine patches, gum, lozenges, inhalers, and nasal sprays) and two oral medications (bupropion and varenicline). Other NRT options are available, including nicotine mouth sprays and sublingual tablets.

Dosing
The dose of nicotine replacement therapy products is generally based on if the user is considered a heavy, average, or light smoker. A cigarette delivers an average of 1 mg to 3 mg of the nicotine contained in it. NRT products typically aim to parallel this, but the amount of nicotine absorbed by the user is less than the original dose.

Nicotine nasal sprays are formulated in doses of lowest strength, available in 0.5 mg and 1 mg strengths.

Nicotine lozenges deliver doses as low as 1 mg up to 4 mg. It is not chewed as the gum would be, and dissolves in approximately 30 minutes. This formulation may be preferred by those individuals who do not find gum chewing to be acceptable.

Nicotine gum is available in doses of 2 mg and 4 mg. Using 4 mg nicotine gum versus 2 mg gum increases the likelihood of successful smoking cessation. When using the gum, acidic beverages like soda, coffee, or beer should be avoided fifteen minutes prior and during use because they can impede proper absorption of nicotine.

Nicotine inhalers come in 10 mg and 15 mg cartridge strengths and typically deliver around 4 mg in one dose. The inhaler may be preferred in individuals who want to satisfy the hand-to-mouth ritual that smoking provides.

Transdermal patches deliver between 5 mg and 52.5 mg of nicotine, which results in plasma levels similar to that of heavy smokers. Combining nicotine patch treatment with a faster nicotine-delivery means, like nicotine gum or spray, improves the likelihood of successful treatment.

Not approved as NRTs
Some smokeless consumer products available can function as alternative nicotine delivery systems (ANDS) but they have not received FDA approval as smoking-cessation therapy aids that are safe and effective.

Snus and nasal snuff also allow for nicotine administration outside of tobacco smoking. Nicotine pouches are described as similar to or a tobacco-free variant of snus. They are pre-portioned and are held in the user's lip or cheek allowing for sublingual or buccal delivery of flavors and high doses of nicotine. The small pouches are not like chewing tobacco, as the user does not need to spit since the contents of the pouches stay inside during use. Swedish pouches have been available on the American consumer market since at least 2016 but their popularity and controversy surged in 2019 and 2020. In the US and UK concerns have been raised that nicotine pouches are seemingly too similar to banned snus products, is aimed at teenagers, further complicating the youth vaping trend, falling into the hands of adolescents easily, and are discrete enough to easily pass for regular gums or lozenges.

Nicotine infused toothpicks are another product that has been available in the United States since at least 2013. They can have a total nicotine delivery that is comparable to that of nicotine gum. Nicotine toothpicks generally are infused with food-grade flavorings and 1–3 mg of nicotine, which is similar to that of other oral-delivery nicotine products and some cigarettes. In spite of these similarities, as of 2018 they have been a subject of controversy. Online retailers have been under scrutiny for allowing their products to be too easily purchased by youth. Various news outlets and school districts have expressed the concern that these products have a high appeal to minors wanting to experiment with nicotine due to; the multitude of sweet flavors offered, ease & speed of use, seeming innocuous, and having a discreet nature. In 2015, NRT sales fell for the first time since 2008 while sales for e-cigarettes or electronic nicotine delivery systems (ENDS) continued to increase at a substantial rate. The evidence is that UK smokers are trying to quit with e-cigarettes rather than NRT methods.

E-cigarettes are often, although not always, designed to look and feel like cigarettes. They have been marketed as less harmful alternatives to cigarettes, but very few are as yet approved as NRTs in any jurisdiction. Some electronic cigarettes have coarsely adjustable nicotine levels. Some healthcare groups have hesitated to recommend e-cigarettes for quitting smoking, because of limited evidence of effectiveness and safety. However, more recent review show the opposite, possibly because of newer types of e‐cigarettes have better nicotine delivery than older one.

The U.S. Food and Drug Administration (FDA) has a list of additional tobacco products they are seeking to regulate, including electronic cigarettes. Most approved NRT products have been approved for over 20 years, however the FDA has also approved nicotine inhalers as a form of NRT.

Future approaches of NRT could include nicotine preloading, a true pulmonary inhaler, and nicotine vaccines. Nicotine preloading, otherwise known as pre-cessation or pre-quitting NRT, has found that using the patch for a few weeks before the quit date produces significantly higher quit rates than if it was started on the quit day. The true pulmonary inhaler would deliver nicotine to the lungs in a manner that more resembles cigarette smoking, which would provide better relief of background cravings as well as acute cravings. Nicotine vaccines are under investigation as a method to treat tobacco dependence through priming the body to mount an immune response against nicotine.

title: Nicotine replacement therapy


text:
Dow Jones Transportation Average

The Dow Jones Transportation Average (DJTA, also called the "Dow Jones Transports") is a U.S. stock market index from S&P Dow Jones Indices of the transportation sector, and is the most widely recognized gauge of the American transportation sector. It is the oldest stock index still in use, even older than its better-known relative, the Dow Jones Industrial Average (DJIA).

Components

The index is a running average of the stock prices of twenty transportation corporations, with each stock's price weighted to adjust for stock splits and other factors. As a result, it can change at any time the markets are open. The figure mentioned in news reports is usually the figure derived from the prices at the close of the market for the day.

Changes in the index's composition are rare, and generally occur only after corporate acquisitions or other dramatic shifts in a component's core business. Should such an event require that one component be replaced, the entire index is reviewed.

, the index consists of the following 20 companies:

Alaska Air Group replaced AMR Corporation on December 2, 2011, after AMR corp. filed for bankruptcy protection.

Effective October 30, 2012, Kirby Corp. replaced Overseas Shipholding Group, Inc.

Effective October 1, 2014, Avis Budget Group Inc. replaced GATX Corporation.

On October 15, 2015, American Airlines Group replaced Con-way.

Effective December 14, 2021, Old Dominion Freight Line replaced Kansas City Southern.

Effective February 26, 2024, Uber replaced JetBlue Airways. The index change was prompted by JetBlue’s low weight in the index of less than one-half of one percentage point caused by its low share price.

History
The average was created on July 3, 1884, by Charles Dow, co-founder of Dow Jones & Company, as part of the "Customer's Afternoon Letter". At its inception, it consisted of eleven transportation companies—nine railroads and two non-rail companies:
 * Chicago, Milwaukee and St. Paul Railway
 * Chicago and North Western Railway
 * Delaware, Lackawanna and Western Railroad
 * Lake Shore and Michigan Southern Railway
 * Louisville and Nashville Railroad
 * Missouri Pacific Railway
 * New York Central Railroad
 * Northern Pacific Railroad preferred stock
 * Pacific Mail Steamship Company (not a railroad)
 * Union Pacific Railway
 * Western Union (not a railroad)

As a result of the dominating presence of railroads, the Transportation Average was often referred to as "rails" in financial discussions in the early and middle part of the 20th century.

Use in Dow theory
The Transportation Average is an important factor in Dow theory.

Price history
In 1964, the index first broke 200, slightly over where it was in 1929.

In 1983, the index first broke 500. In 1987, the index broke 1000. It closed at 2146.89 on March 9, 2009, having a low coincident with some other indices; this was a bit above its low of 1942.19 on March 11, 2003.

The index broke above the mid-5000s to begin a run of record highs on January 15, 2013, at a time when the better-known Industrials stood about 5% below all-time highs achieved more than five years earlier. By May, the Industrials and all other major indexes except the NASDAQ group were making all-time highs, including the Transports, which reached new closing and intraday records above the 6,500 level. On October 24, 2013, the Transports closed at 7,022.79, for its first close above 7,000 points. It closed the year at a record high of 7,400.57. On May 27, 2014, it first closed above 8,000 points. The index closed above 9000 on November 10, 2014. At the close of 2014, the index hit 9139.92. At the close of 2015, the index hit 7508.71, a loss of 17.85% on the year.

Annual returns
The following table shows the price return of the Dow Jones Transportation Average, which was calculated back to 1924.

Investing
There is no fund that tracks this index. There are funds that have a similar behavior, such as iShares Transportation Average ETF (nyse arca: IYT).

title: Dow Jones Transportation Average