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World Squash Federation

The World Squash Federation (WSF) is the international federation for squash, an indoor racket sport which was formerly called "squash rackets". The WSF is recognised by the International Olympic Committee (IOC) as the International Federation (IF) for squash, and is also a member of the Global Association of International Sports Federations and the Association of the IOC Recognised International Sports Federations (ARISF).

It is based in Hastings in England. As of 2021 it has 122 member federations.

The first squash court was built in England in 1865; there are now around 50,000 courts in more than 185 nations worldwide. To harness this growth and to promote and co-ordinate the sport, the International Squash Rackets Federation (ISRF) was formed in 1967, its name being changed in 1992 to the World Squash Federation (WSF).

Presidents
Below is the list of presidents since 1967 :

Membership
The WSF has 122 Members, all of whom are National Associations of squash, recognised by their National Olympic Committee (NOC) or Ministry of Sport as the sole and undisputed governing body for the sport in the country. Members are required to join one of the five Regional Federations which are an integral part of the WSF structure. Members receive a number of votes to be used at General Meetings depending on the number of squash courts in their country.

Management
The WSF is managed by an executive board (the board), responsible for day-to-day control of the Federation and an executive committee (ExCo) which assists the board in the strategy and policy making process. Members of the board are elected at general meetings and consist of a president and three vice-presidents, who each serve four year terms of office. One additional vice-president may be co-opted on an annual basis if required.

ExCo comprises all members of the board plus one regional vice-president appointed by each of the five Regional Federations. The chairman of the Athletes Commission and a representative of PSA are members of ExCo.

The board is supported by a number of committees, commissions and panels whose members are volunteers with specialist knowledge coming from the Regional Federations and Player Association. The WSF employs professional staff who are responsible for implementing the decisions of these bodies whose main activities are described below.

World calendar of events
The WSF works closely with the Player Association – the Professional Squash Association (PSA) – to control and co-ordinate the world calendar for squash. Championships are held in all major squash playing nations and are integrated with the World Championships and Major Games calendar to ensure that there are no clashes of dates.

World Championships and major games
The Championships Committee is responsible for running and promoting World Championships for men, women, juniors and masters at individual and team levels in both singles and doubles via National Federations. World Championships are run by WSF Members, who tender for the events at least four years in advance. Team Championships are held every two years; and Open/Individual Championships are held annually. The committee is also responsible for ensuring that squash is represented in all major regional multi-sport games – squash is now included in the Pan-American Games, Asian Games, Commonwealth Games, World Games Pacific Games and All Africa Games. Starting with the 2028 Summer Olympic Games, Squash will be part of the Games.

Olympic Games
The WSF has established an Olympic Games Committee which is responsible for conducting a high-profile campaign for squash to be accepted as a full medal sport in the Olympic Games. (Bid)

Athletes Commission
The Athletes Commission comprises representatives from PSA. The chairman, an athlete, reports to ExCo and represents the interests of the current players in areas such as Championship Regulations and implementation of the new WADA Code.

Coaching and development
The WSF encourages the development of squash, not only in countries where it is a new sport but also where it is already well-established. Advice on all development matters is given to members and is implemented through the group of WSF specialists in the Coaching & Development Committee and via "best practice" on the WSF website. Committee Members identify needs for development projects in their regions and recommend activity plans to the WSF for resources and funding. The committee organises a Coaching Conference on an annual basis and runs coaching courses in new and developing squash nations to help develop local coaches. The committee also organises a management conference for senior executives in national associations so they can network, share resources and establish best practice on the WSF website.

Referees and rules
The Referees Committee has responsibility for implementing and running a Referees’ Programme which trains, accredits and assesses the top grade WSF Referees. A referees conference is organised on a biennial basis. The Rules Commission continually monitors the rules of the sport and makes recommendations for change. It also provides a very popular on-line rules answers service to the public at large on interpretation of the rules.

Court and equipment specifications
The Technical Committee sets standards for all technical aspects of squash, including court construction, rackets, balls, eye protection and clothing. It inspects and accredits court components which meet the specifications and works with its partner companies to promote good practice in court construction worldwide.

Anti-doping
The Anti-Doping Commission ensures that squash is fully compliant with the new WADA Code. The commission is responsible for establishing a Registered Testing Pool and an Athletes Whereabouts System for out-of-competition testing. It has established a panel of physicians which reviews Therapeutic Use Exemptions (TUE) and calls on specialist Doping Hearing and Review Panels when required.

Medical
The Medical Commission generates positive guidelines for all medical aspects of playing and training for squash. It identifies and gives medical advice on topics such as eye protection, heart health, injury prevention and injury management.

Ethics and disciplinary matters
The WSF has established an independent Ethics Panel at the suggestion of the IOC. It also has a well-established Disciplinary Committee supported by an independent Appeals Panel when necessary – this is called upon very rarely.

Promotion and publicity
The WSF delivers an information and publicity service to squash players and the sports media worldwide. Press information is circulated regularly through the WSF's media services, who are also responsible for ensuring that up-to-date information on World Championships and other major squash events appears on the WSF website.

Squash 57
The WSF renamed Racketball as Squash 57 in September 2015 to distinguish it from the sport of Racquetball, and in January 2017 updated the Standard Rules for it.

Events
Seniors' events
 * World Games
 * World Open Squash Championships
 * World Team Squash Championships
 * World Doubles Squash Championships

Junior events
 * World Junior Squash Circuit
 * World Junior Squash Championships

University events
 * World University Squash Championships

Masters' events
 * World Masters Squash Championships

Professional association

 * Professional Squash Association (PSA)

title: World Squash Federation


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File:Sbot mobile robot passing step.jpeg

Image of the Sbot mobile robot climbing a step in the Swarmbot configuration.

This picture has been taken by Francesco Mondada and Michael Bonani.

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


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Flammarion engraving

The Flammarion engraving is a wood engraving by an unknown artist. Its first documented appearance is in the book L'atmosphère : météorologie populaire ("The Atmosphere: Popular Meteorology"), published in 1888 by the French astronomer and writer Camille Flammarion. Several authors during the 20th century considered it to be either a Medieval or Renaissance artwork, but the current consensus is that it is a 19th century illustration that imitates older artistic styles and themes.

The illustration depicts a man, dressed as a pilgrim in a long robe and carrying a walking stick, who has reached a point where the flat Earth meets the firmament. The pilgrim kneels down and passes his head, shoulders, right arm, and the top of the walking stick through an opening in the firmament, which is depicted as covered on the inside by the stars, Sun, and Moon. Behind the sky, the pilgrim finds a marvelous realm of circling clouds, fires and suns. One of the elements of the cosmic machinery resembles traditional pictorial representations of the "wheel in the middle of a wheel" described in the visions of the Hebrew prophet Ezekiel.

The wood engraving has often, but erroneously, been referred to as a woodcut. It has been widely used as a metaphorical illustration of either the scientific or the mystical quests for knowledge. More recently, it has also been used as to represent a psychedelic experience.

Attribution

In the early 20th century, the scholar Heinz Strauss dated the image to the period 1520–30, while Heinrich Röttinger suggested that it had been made in 1530–60. In 1957, historian of astronomy Ernst Zinner claimed that the image dated to the German Renaissance, but he was unable to find any version published earlier than 1906. The same image was used by psychoanalyst Carl Jung in his 1959 book Flying Saucers: A Modern Myth of Things Seen in the Skies. Jung speculated that the image was a Rosicrucian engraving from the 17th century. The eminent art historian Erwin Panofsky also thought that illustration was from the 17th century, while his colleague Ernst Gombrich judged it to be modern. In 1970, Jung's associate Marie-Louise von Franz reproduced and discussed the image in her book Number and Time, where it was captioned "The hole open to eternity, the spiritual pilgrim discovering another world". Von Franz suggested that the image might be a 19th-century woodcut.

The image was traced to Flammarion's book by Arthur Beer, an astrophysicist and historian of German science at Cambridge and, independently, by Bruno Weber, the curator of rare books at the Zürich central library. Weber argued that the work was a composite of images characteristic of different historical periods, and that it had been made with a burin, a tool used for wood engraving only since the late 18th century.

Flammarion had been apprenticed at the age of twelve to an engraver in Paris and it is believed that many of the illustrations for his books were engraved from his own drawings, probably under his supervision. Therefore, it is plausible that Flammarion himself created the image, though the evidence for this remains inconclusive. Like most other illustrations in Flammarion's books, the engraving carries no attribution. Although sometimes referred to as a forgery or a hoax, Flammarion does not characterize the engraving as a medieval or renaissance woodcut, and the mistaken interpretation of the engraving as an older work did not occur until after Flammarion's death. The decorative border surrounding the engraving is distinctly non-medieval and it was only by cropping it that the confusion about the historical origins of the image became possible.

According to Bruno Weber and to astronomer Joseph Ashbrook, the depiction of a spherical heavenly vault separating the Earth from an outer realm is similar to an illustration that begins the first chapter of Sebastian Münster's Cosmographia, first published in 1544, a book which Flammarion, an ardent bibliophile and book collector, might have owned. However, in 2002 Hans Gerhard Senger, an expert on the works of Nicholas of Cusa, argued against the image having been first created by Flammarion.

Context in Flammarion's book
In Flammarion's L'atmosphère: météorologie populaire, the image is accompanied by a caption in French, which translates as: "A missionary of the Middle Ages tells that he had found the point where the sky and the Earth touch..." The illustration refers to the text on the facing page (p. 162), which also clarifies the author's intent in using it as an illustration:

"Whether the sky be clear or cloudy, it always seems to us to have the shape of an elliptic arch; far from having the form of a circular arch, it always seems flattened and depressed above our heads, and gradually to become farther removed toward the horizon. Our ancestors imagined that this blue vault was really what the eye would lead them to believe it to be; but, as Voltaire remarks, this is about as reasonable as if a silk-worm took his web for the limits of the universe. The Greek astronomers represented it as formed of a solid crystal substance; and so recently as Copernicus, a large number of astronomers thought it was as solid as plate-glass. The Latin poets placed the divinities of Olympus and the stately mythological court upon this vault, above the planets and the fixed stars. Previous to the knowledge that the earth was moving in space, and that space is everywhere, theologians had installed the Trinity in the empyrean, the glorified body of Jesus, that of the Virgin Mary, the angelic hierarchy, the saints, and all the heavenly host.... A naïve missionary of the Middle Ages even tells us that, in one of his voyages in search of the terrestrial paradise, he reached the horizon where the earth and the heavens met, and that he discovered a certain point where they were not joined together, and where, by stooping his shoulders, he passed under the roof of the heavens..."

The same paragraph had already appeared, without the accompanying engraving, in an earlier edition of the text published under the title of L'atmosphère: description des grands phénomènes de la Nature ("The Atmosphere: Description of the Great Phenomena of Nature," 1872). The correspondence between the text and the illustration is so close that one would appear to be based on the other. Had Flammarion known of the engraving in 1872, it seems unlikely that he would have left it out of that year's edition, which was already heavily illustrated. The more probable conclusion therefore is that Flammarion commissioned the engraving specifically to illustrate this particular text, though this has not been ascertained conclusively.

Possible literary sources
The idea of the contact of the Earth with a solid sky is one that repeatedly appears in Flammarion's earlier works. Commentators have suggested various literary passages that might have directly motivated the composition of the image in the Flammarion engraving. These included the Medieval legend of Saint Macarius the Roman, the Letters of François de La Mothe Le Vayer from the 17th century, and the classical argument for the infinitude of space attributed to Archytas of Tarentum (a friend of the philosopher Plato).

Legend of Saint Macarius
In his Les mondes imaginaires et les mondes réels ("Imaginary Worlds and Real Worlds", 1864), Flammarion cites a legend of a Christian saint, Macarius the Roman, which he dates to the 6th century. This legend includes the story of three monks (Theophilus, Sergius, and Hyginus) who "wished to discover the point where the sky and the earth touch" (in Latin: ubi cœlum terræ se conjungit). After recounting the legend he remarks that "the preceding monks hoped to go to heaven without leaving the earth, to find 'the place where the sky and the earth touch,' and open the mysterious gateway which separates this world from the other. Such is the cosmographical notion of the universe; it is always the terrestrial valley crowned by the canopy of the heavens."

In the legend of St. Macarius, the monks do not in fact find the place where Earth and sky touch.

Letters of Le Vayer
In Les mondes imaginaires Flammarion recounts another story:

"This fact reminds us of the tale which Le Vayer recounts in his Letters. It appears that an anchorite, probably a relative of the Desert Fathers of the East, boasted of having been as far as the end of the world, and of having been obliged to stoop his shoulders, on account of the joining of the sky and the earth in that distant place."

Flammarion also mentioned the same story, in nearly the same words, in his Histoire du Ciel ("History of the Sky"):

"'I have in my library,' interrupted the deputy, 'a very curious work: Levayer's letters. I recall having read there of a good anchorite who bragged of having been 'to the ends of the earth,' and of having been obliged to stoop his shoulders, because of the union of the sky and of the earth at this extremity.'"

The Letters referred to are a series of short essays by François de La Mothe Le Vayer. In letter 89, Le Vayer, after mentioning Strabo's scornful opinion of Pytheas's account of a region in the far north where land, sea, and air seemed to mingle in a single gelatinous substance, adds:

"That good anchorite, who boasted of having been as far as the end of the world, said likewise, that he had been obliged to stoop low, on account of the joining of the sky and earth in that distant region."

Le Vayer does not specify who this "anchorite" was, nor does he provide further details about the story or its sources. Le Vayer's comment was expanded upon by Pierre Estève in his Histoire generale et particuliere de l'astronomie ("General and Particular History of Astronomy," 1755), where he interprets Le Vayer's statement (without attribution) as a claim that Pytheas "had arrived at a corner of the sky, and was obliged to stoop down in order not to touch it."

The combination of the story of St. Macarius with Le Vayer's remarks seems to be due to Flammarion himself. It also appears in his Les terres du ciel ("The Lands of the Sky"):

"With respect to the bounds (of the Earth)... some monks of the tenth century of our era, bolder than the rest, say that, in making a voyage in search of the terrestrial paradise, they had found the point where the heaven and earth touch, and had even been obliged to lower their shoulders!"

Argument of Archytas
This historian of science Stefano Gattei has argued that the image in the engraving is directly inspired by an argument for the infinitude of space, due to the ancient Greek mathematician Archytas of Tarentum. Gattei quotes the version of this argument given in the commentary on Aristotle's Physics by Simplicius of Cilicia, written in the 6th century CE:

"But Archytas, according to Eudemus, put the question in this way: 'If I came to be at the edge, for example at the heaven of the fixed stars, could I stretch out my hand or walking stick, or not? It would be absurd that I could not stretch it out; but, if I do stretch it out, what is outside will be either body or place (it makes no difference, as we shall discover). Thus he will always go on in the same way to the newly chosen limit on each occasion, and ask the same question again. And if there is always something else into which the stick is stretched, it will clearly be also unlimited."

1970s
The first color version to be published was made by Roberta Weir and distributed by Berkeley's Print Mint in 1970. That color image spawned most of the modern variations that have followed since. Donovan's 1973 LP, Cosmic Wheels, used an extended black and white version on its inner sleeve (an artist added elements extending the image to fit the proportions of the record jacket). The image also appeared in "The Compleat Astrologer" (pg. 25) by Derek and Julia Parker in 1971. In 1994, 'The Secret Language of Birthdays' by Gary Goldschneider and Joost Elffers was published featuring this image.

The image was reproduced on the title page of the score of Brian Ferneyhough's "Transit: Six Solo Voices and Chamber Orchestra", published by Edition Peters in 1975.

British artist David Oxtoby made a drawing inspired by the Flammarion engraving (Spiritual Pilgrim), showing the face of David Bowie near the drawing's right margin where the Sun should be. David Oxtoby's drawing doesn't show the crawling man at left.

1980s–2000s
The Flammarion engraving appeared on the cover of Daniel J. Boorstin's bestselling history of science The Discoverers, published in 1983. Other books devoted to science that used it as an illustration include The Mathematical Experience (1981) by Philip J. Davis and Reuben Hersh, Matter, Space, and Motion: Theories in Antiquity and Their Sequel (1988) by Richard Sorabji, Paradoxes of Free Will (2002) by Gunther Stent, and Uncentering the Earth: Copernicus and On the Revolutions of the Heavenly Spheres (2006) by William T. Vollmann. Some books devoted to mysticism which have also used the engraving include Love and Law (2001) by Ernest Holmes and Gnosticism: New Light on the Ancient Tradition of Inner Knowing (2002) by Stephan A. Hoeller.

The 1989 Dungeons & Dragons setting Spelljammer was loosely inspired by the Flammarion engraving at the suggestion of David "Zeb" Cook.

The Brazilian writer Olavo de Carvalho reproduced the engraving in his 1995 book O Jardim das Aflições ("The Garden of Afflictions"), offering it as an example of Renaissance views concerning the spiritual world, which he criticized: "the pilgrim evades the mundane 'sphere', abandoning trees and flowers, Sun and Moon, birds and stars, to penetrate the marvelous kingdom of the spirit, which consists of some miserable gear wheels hidden among cloud wisps. Beautiful exchange!"

2010s
An interpretation of the image was used for the animated sequence about the cosmological vision of Giordano Bruno in the March 9, 2014 premiere of the TV series Cosmos: A Spacetime Odyssey, hosted by the astrophysicist Neil deGrasse Tyson.

In the German-language video series "Von Aristoteles zur Stringtheorie", ("From Aristotle to String Theory"), which is hosted on YouTube and produced by Urknall, Weltall, und das Leben, and features Professor Joseph Gaßner as lecturer, a colored Flammarion engraving was selected as a logo, but the man is peering at a background filled with the important equations of physics.

2020s
More recently in May 2021, an interpretation of the image has featured on a limited edition book release by Yusuf/Cat Stevens.

Niklas Åkerblad also known as El Huervo, in October 2021 released an album titled "Flammarion" in which the cover art for the album depicts an interpretation of the original Flammarion engraving.

title: Flammarion engraving


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4-4-0

4-4-0, in the Whyte notation, denotes a steam locomotive with a wheel arrangement of four leading wheels on two axles (usually in a leading bogie), four powered and coupled driving wheels on two axles, and no trailing wheels.

First built in the 1830s, locomotives with this wheel arrangement were known as "standard" or "Eight-Wheeler" type. In the first half of the 19th century, almost every major railroad in North America owned and operated locomotives of this type, and many rebuilt their and  locomotives as 4-4-0s.

In April 1872, Railroad Gazette used "American" as the name of the type. The type subsequently also became popular in the United Kingdom, where large numbers were produced.

The vast majority of 4-4-0 locomotives used tenders, though some tank locomotives were built.

American development
Five years after new locomotive construction had begun at the West Point Foundry in the United States with the Best Friend of Charleston in 1831, the first 4-4-0 locomotive was designed by Henry R. Campbell, at the time the chief engineer for the Philadelphia, Germantown and Norristown Railway. Campbell received a patent for the design in February 1836 and soon set to work building the first 4-4-0.

At the time, Campbell's 4-4-0 was a giant among locomotives. Its cylinders had a 14 in bore with a 16 in piston stroke, it boasted 54 in driving wheels, could maintain 90 psi of steam pressure and weighed 12 ST. Campbell's locomotive was estimated to be able to pull a train of 450 ST at 15 mph on level track, outperforming the strongest of Baldwin's s in tractive effort by about 63%. However, the frame and driving gear of his locomotive proved to be too rigid for the railroads of the time, which caused Campbell's prototype to be derailment-prone. The most obvious cause was the lack of a weight equalizing system for the drivers.

At about the same time as Campbell was building his 4-4-0, the company of Eastwick and Harrison was building its own version of the 4-4-0. This locomotive, named Hercules, was completed in 1837 for the Beaver Meadow Railroad. It was built with a leading bogie that was separate from the locomotive frame, making it much more suitable for the tight curves and quick grade changes of early railroads. The Hercules initially suffered from poor tracking, which was corrected by giving it an effective springing system when returned to its builder for remodeling.

Even though the Hercules and its successors from Eastwick and Harrison proved the viability of the new wheel arrangement, the company remained the sole builders of this type of locomotive for another two years. Norris Locomotive Works built that company's first 4-4-0 in 1839, followed by Rogers Locomotive & Machine Works, the Locks & Canals Machine Shop and the Newcastle Manufacturing Company in 1840. After Henry Campbell sued other manufacturers and railroads for infringing on his patent, Baldwin settled with him in 1845 by purchasing a license to build.

As the 1840s progressed, the design of the 4-4-0 changed little, but the dimensions of a typical example of this type increased. The boiler was lengthened, drivers grew in diameter and the firegrate was increased in area. Early were short enough that it was most practical to connect the pistons to the rear drivers, but as the boiler was lengthened, the connecting rods were more frequently connected to the front drivers.

In the 1850s, locomotive manufacturers began extending the wheelbase of the leading bogie and the drivers as well as the tender bogies. By placing the axles farther apart, manufacturers were able to mount a wider boiler completely above the wheels that extended beyond the sides of the wheels. This gave newer locomotives increased heating and steaming capacity, which translated to higher tractive effort. Similarly, by placing the leading bogie axles further apart enabled the cylinders to be placed between them in a more horizontal orientation, thereby distributing the engine's weight more evenly when going around curves and uneven track. These advancements, combined with the increasingly widespread adaptation of cowcatchers, bells, and headlights, gave the 4-4-0 locomotives the appearance for which they are most recognized.

The design and subsequent improvements of the 4-4-0 configuration proved so successful that, by 1872, 60% of Baldwin's locomotive construction was of this type and it is estimated that 85% of all locomotives in operation in the United States were 4-4-0s. However, the 4-4-0 was soon supplanted by bigger designs, like the and, even though the 4-4-0 wheel arrangement was still favored for express services. The widespread adoption of the and larger locomotives eventually helped seal its fate as a product of the past.

Although largely superseded in North American service by the early 20th century, Baldwin Locomotive Works produced two examples for the narrow gauge Ferrocarriles Unidos de Yucatán in early 1946, probably the last engines of this wheel arrangement intended for general use. A number of individual engines have been custom-built for theme parks in recent years, resembling early designs in appearance.

British development
The first British locomotives to use this wheel arrangement were the broad gauge 4-4-0 tank engine designs which appeared from 1849. The first British tender locomotive class, although of limited success, was the broad gauge Waverley class of the Great Western Railway, designed by Daniel Gooch and built by Robert Stephenson & Company in 1855.

The first American-style British 4-4-0 tender locomotive on, designed by William Bouch for the Stockton & Darlington Railway in 1860, followed American practice with two outside cylinders.

Britain's major contribution to the development of the 4-4-0 wheel arrangement was the inside cylinder version, which resulted in a steadier locomotive, less prone to oscillation at speed. This type was introduced in Scotland in 1871 by Thomas Wheatley of the North British Railway.

Australia
The first appeared in South Australia in 1859. From that initial order for two locomotives, the numbers of this wheel arrangement multiplied and eventually appeared in most of the Australian colonies. Tender, tank and saddle tank versions, varying in size from small engines to express passenger racers with 6 ft driving wheels, worked in Victoria, New South Wales, Western Australia and Tasmania on gauge,  and gauge.

The locomotives originally from British builders such as Dübs & Company and Beyer, Peacock & Company, however, from late 1870's into the 1880s, railways also bought locomotives from American builders, mostly from Baldwin, as well as a few examples bought from the Rogers Locomotive & Machine Works in New Jersey. From the 1880s onward, local firms such as James Martin & Co. in Gawler, South Australia, and the Phoenix Foundry in Ballarat, Victoria would also build examples. In New South Wales and Victoria, the 4-4-0 ruled the rails for mainline passenger services until the early 1900s. In Western Australia, some were later converted to s.

Finland
In Finland, the 4-4-0 was represented by the Classes A1, A2, A3, A4, A5, A6 and A7.
 * The Class A4 was a class of nine locomotives, built in 1872 and 1873 by the Baldwin Locomotive Works for use on the Hanko–Hyvinkää railway.
 * The Finnish Steam Locomotive Class A5 was a class of only two locomotives, built in 1874 and 1875 by the Finnish State Railroad's workshops in Helsinki. One of them is preserved at the Finnish Railway Museum.

Indonesia
The 4-4-0 two cylinder compound tender locomotives began to set its step on Java in 1900s. The Staatsspoorwegen (SS) ordered 44 of these from 3 different manufacturers, they were from Hanomag, Sächsische Maschinenfabrik (Hartmann) and Werkspoor and they were imported in 1900–1910. After they had already arrived in Java, they were classified as SS Class 600 with 1,503 mm driving wheels which way much bigger than any operational SS locomotives at the time and used as the main workhorse for express trains. The SS 600s could be found hauling local trains in Tanah Abang–Rangkasbitung–Merak/Labuan, Madiun–Kertosono–Blitar and Babat–Jombang lines. Some of them were also found in Maos–Kroya–Kutoarjo and Surabaya–Pasuruan lines. Then, the SS sent their five SS 600s to South Sumatra due to the increasing needs of railway transport in there. These locomotives were withdrawn from active service momentarily in 1929-1934 during great depression because of their cylinder compound technology which has a complicated mechanism system so the SS had to save its budget by preserving these locomotives, but they received extensive maintenance so they still could be used normally.

During Japanese occupation in 1942, all of private/state railway companies of the Dutch East Indies (now Indonesia) were renumbered based on Japanese numberings, without exception to SS Class 600s were renumbered to B51 and it still used after Indonesian Independence with their Djawatan Kereta Api (DKA) or Department of Railways of the Republic of Indonesia up to now. One unit of B51 was sent out again to West Sumatra to serve coal train transport in Muaro–Pekanbaru line till it closed in September, 1945. From 44 locomotives, only B51 12 (ex-SS 612) of Hanomag is preserved. Previously, B51 12 was a yard shunter of Bojonegoro railway station. The B51 12 was once a static display for more than 30 years at Ambarawa Railway Museum, before finally fully restored in 2012 to haul the Ambarawa excursion train for Ambarawa–Tuntang line beside the Esslingen B25 02 and 03 which were used on rack line between Jambu–Bedono.

Mozambique
Between 1895 and 1898, Pauling & Company placed 42 Falcon F2 and F4 4-4-0 tender locomotives in service on the narrow gauge railway which was being constructed for the Beira Railway in Mozambique. They were supplied in six batches by Falcon Engine & Car Works in England and the Glasgow Railway Engineering Company in Scotland.

In service, these locomotives were nicknamed Lawleys after the Beira Railway construction subcontractor. The construction of the last batch of ten F4 locomotives was subcontracted by Falcon to the Glasgow Railway Engineering Company in Scotland and these were consequently often referred to as the Drummond F4.

The Falcon F4 was larger and heavier than the earlier F2, with a tractive effort that was increased from the 3000 lbf of the F2 to 3987 lbf at 75% boiler pressure. It could haul 180 LT up the ruling gradients, compared to the 160 LT that the F2 could manage.

New Zealand
The NZR LA class tank locomotives of 1887 were built in Britain by Nasmyth, Wilson & Company in 1887 for the New Zealand Midland Railway Company. They were taken over by the New Zealand Railways Department in 1900, when the government acquired the incomplete Midland line.

Rhodesia
When the Beira Railway in Mozambique was regauged to by 1900 and the whole 4-4-0 Lawley locomotive fleet was staged, six of the Mozambican F4 locomotives were acquired by the Ayrshire Railway, which was then under construction in Southern Rhodesia. They remained in service there until 1914, when this line was also converted to Cape gauge and became the Sinoia branch of the Beira, Mashonaland and Rhodesia Railway.

Narrow gauge
In 1907 and 1910, the Tongaat Sugar Estates in Natal acquired two 4-4-0 tank locomotives from WG Bagnall for their gauge line. These locomotives had 9 x cylinders. A further eleven similar locomotives, but with 10 x cylinders, were delivered from the same manufacturer between 1926 and 1946.

In 1915, thirteen of the Beira Railway's retired narrow gauge Falcon F2 and F4 locomotives were acquired from Mozambique by the Union Defence Forces for use in South Africa, where they replaced locomotives that had been commandeered for the war effort in German South West Africa during World War I. At the end of the war, these locomotives were staged until they were placed back in service by the South African Railways (SAR) in 1921. When a system of grouping narrow gauge locomotives into classes was eventually introduced by the SAR between 1928 and 1930, they were classified as Class NG6.

In 1936, Bagnall built a single 4-4-0 tank locomotive, named Burnside and with 11+1/2 by cylinders, for the 2 ft gauge line of the Natal Estates sugar plantation at Mount Edgecombe in Natal.

Standard gauge
The third locomotive of the Natal Railway Company was delivered in January 1876, sixteen years after the opening of the railway. It was a 4-4-0 side tank engine, built by Kitson & Company and named Perseverance. This was the last standard gauge locomotive to be obtained by the Natal Railway Company before the establishment of the Natal Government Railways in 1877 and the conversion from Standard gauge to.

Cape gauge
Seven side-tank locomotives were built for the Cape Government Railways (CGR) by Robert Stephenson & Company in 1875. Since they were found to be fast and reliable engines, four more were delivered in 1880, built by Neilson & Company and practically identical to the previous seven, but equipped with small optional four-wheeled water tenders. They were all designated 1st Class when a locomotive classification system was introduced by the CGR.

In 1879, the Cape Government Railways placed four 1st Class tender locomotives in service, built by the Avonside Engine Company. They were intended for fast passenger service on the Cape Western and Eastern systems and were followed by eleven more from Neilson & Company in 1880.

In 1881, the CGR placed six more 1st Class tank-and-tender locomotives in service on its Cape Midland system. These were built by Neilson & Company as tender locomotives without on-board coal bunkers and with permanently attached coal and water tenders. Two of them became SAR Class 01 in 1912.

Between 1882 and 1891, eleven 4-4-0T tank locomotives for the Wynberg suburban line in Cape Town were delivered to the CGR from Neilson and Dübs & Company. Designated 2nd Class and known as Wynberg Tanks, ten of them became SAR Class 02 in 1912.

In 1882, two tank locomotives named Grahamstown and Bathurst entered passenger service on the private Kowie Railway between Grahamstown and Port Alfred, which was still under construction at the time.

Eighteen tender passenger locomotives were delivered to the CGR from Neilson & Company in 1883, designated 3rd Class. They were ordered for passenger service out of Cape Town, East London and Port Elizabeth respectively and were equipped with six-wheeled tenders.

In 1884, the CGR placed two experimental 3rd Class tender locomotives in service, designed by the Cape Eastern System to be able to use the low-grade local coal with its high incombustible matter content.

In 1889, the CGR placed 24 3rd Class tender locomotives in service. They were the first stock locomotives to be built in quantity to detailed designs prepared in the Cape of Good Hope.

In 1898, the CGR placed six 3rd Class Wynberg Tender locomotives in passenger service on the suburban lines in Cape Town.

In 1901, the CGR placed another six 3rd Class Wynberg Tender locomotives in suburban service in Cape Town. They were a heavier and more powerful version of the locomotives of 1898 and were built for speed, with the largest coupled wheels of any locomotive on the CGR to date at 60 in diameter.

In 1903, the CGR placed the last eight 3rd Class Wynberg Tenders in suburban service in Cape Town. While they appeared to be virtually identical to the locomotives of 1901 at first glance, they were heavier and more powerful.

Tank locomotives
4-4-0T classes began to appear on broad-gauge lines in the United Kingdom from 1849. The Great Western Railway built its Bogie class saddle tanks for the South Devon Railway in 1849, and others for its own use during 1854 and 1855. Between 1851 and 1876, the South Devon Railway acquired a further six saddle tank classes, and the Vale of Neath Railway a further nine. The Bristol and Exeter Railway introduced several 4-4-0ST classes after 1855.

William Adams built a series of standard gauge 4-4-0T classes for the North London Railway between 1863 and 1876. He went on to build the LSWR 46 Class for the London & South Western Railway in 1879. Other British 4-4-0T types included the A Class of the Metropolitan Railway, built by Beyer, Peacock & Company from 1864, and the Highland Railway O Class of 1878 and P class of 1893–94. Also in 1864, John Lambie of the Caledonian Railway built twelve Class 1 4-4-0T locomotives.

Inside cylinder tender locomotives
Between 1876 and 1903, Samuel Johnson of the Midland Railway built 350 inside cylinder tender locomotives to various designs, notably the Midland Railway 483 Class. The type was particularly refined by John F. McIntosh of the Caledonian Railway with his Dunalastair and Breadalbane classes of 1896 to 1898. In addition, Wilson Worsdell of the North Eastern Railway designed six classes between 1896 and 1909. Other notable classes included the London & South Western Railway’s T9 class of 1899 and the London & North Western Railway’s Precursor Class of 1904.

From the mid-1890s until after World War I, the inside cylinder 4-4-0 was the standard type for British Express passenger trains, although several classes were also used in mixed-traffic service in later years.

The Great Western Railway (GWR) preferred to retain outside frames on their inside cylinder 4-4-0s. One member of its City class, the City of Truro, designed by George Jackson Churchward and built at the GWR's Swindon Works in 1903, was reputedly the first steam locomotive in Europe to travel in excess of 100 mph, reaching a speed of 102.3 mph on 9 May 1904 while hauling the Ocean Mails special from Plymouth to London Paddington.

Although the inside cylinder 4-4-0 had largely been superseded by larger locomotives for mainline express trains by 1920, the type remained in use in Scotland and East Anglia, where lines that could not support heavier or larger locomotives were common. Thus both the Great Eastern Railway’s Claud Hamilton classes of 1900 to 1911 and the Great Central Railway’s Director classes of 1920 were perpetuated by the London & North Eastern Railway in 1923. Until 1932, the London, Midland & Scottish Railway also continued to build its Class 2P of traditional inside cylinder 4-4-0s for secondary passenger working.

Three-cylinder tender locomotives
Experiments were conducted with three-cylinder compound locomotives by Wilson Worsdell of the North Eastern Railway in 1898, Samuel Johnson of the Midland Railway in 1901 and Francis Webb of the London and North Western Railway. Of these, the development of Johnson's design by Richard Deeley of the Midland Railway into the 1000 Class was the most successful. This class continued to be built by the London, Midland and Scottish Railway (LMS) after 1905, until 1932 with the almost identical LMS Compound 4-4-0.

British three-cylinder simple expansion (simplex) locomotives included Nigel Gresley's LNER Class D49 Hunt and Shire 4-4-0s of 1927–28. However, the most powerful and one of the most successful 4-4-0 designs ever constructed was the Schools class of the Southern Railway, designed by Richard Maunsell and built between 1930 and 1935. These were used on secondary express trains between London and South Coast towns, until their withdrawal in 1962.

United States
Since the first locomotives in the United States were imported from the United Kingdom, the British was also adopted by the first United States railroads. When new locomotive construction began in the United States in 1831, some new railroads opted for a different gauge, resulting in breaks-of-gauge as railroads began to be joined. Apart from freight reloading issues, another result was that new locomotives for some of these railroads had to be delivered on flatcars.

The 4-4-0 played a major role in the development of rail transport in the United States. Some of the notable 4-4-0 locomotives that saw service on United States railroads are: 3]], built in 1842 by Eastwick & Harrison in Philadelphia, Pennsylvania, is one of the oldest surviving locomotives of the 4-4-0-wheel arrangement, and the sole surviving 4-4-0 of the Reading Company.
 * [[Reading Company#Preserved locomotives|Philadelphia and Reading Railway Company No.
 * The General, built in 1855 by Rogers, Ketchum & Grosvenor in Paterson, New Jersey, was the fleeing locomotive during the Great Locomotive Chase of the American Civil War.
 * The Texas, built in 1856 by Danforth, Cooke & Company in Paterson, New Jersey, was the pursuing locomotive during much of the Great Locomotive Chase.
 * The Jupiter, Central Pacific Railroad’s No. 60, built by Schenectady Locomotive Works of New York in September 1868, was one of the two locomotives to meet at Promontory Summit during the Golden Spike ceremony upon the completion of the First American Transcontinental Railroad on May 10, 1869.
 * Union Pacific No. 119, built by Rogers Locomotive & Machine Works of Paterson, New Jersey in 1868, was the other locomotive at Promontory Summit on May 10, 1869.
 * The Virginia & Truckee Railroad’s Dayton, built in 1873 by the Central Pacific Railroad, had the honor of opening the branch line between Carson City and Minden in Nevada in 1906.
 * The New York Central and Hudson River Railroad no. 999, built in 1893 to haul the railroad's Empire State Express, is believed to have been the first in the United States to travel at a speed of more than 100 mph.
 * Walt Disney World Railroad No. 4 Roy O. Disney, which was built in February 1916 by the Baldwin Locomotive Works as No. 66 (later No. 251 in the 1960s) for the United Railways of Yucatán in Mexico. It now operates on the railroad circling the Magic Kingdom in Orlando, Florida. Since January 2024, this locomotive has been shipped to the Strasburg Rail Road for an extensive overhaul.

By 1910, the 4-4-0 was considered obsolete being replaced by Mikados, Pacifics and other larger engines, although they continued to serve to an extent into the 1950s. The last 4-4-0 to be built was a diminutive Baldwin product for the Ferrocarriles Unidos de Yucatán in 1945. Fewer than forty 4-4-0s survive in preservation in the United States, reproductions excluded.

Between 1959 and 1989, the Crown Metal Products Company of Wyano, Pennsylvania built live steam reproductions of classic 4-4-0 designs for use by amusement parks. The largest of these, of which 18 were produced, ran on narrow gauge track. Most are patterned after 19th-century American designs, but those produced for Busch Gardens have European styling. Although Crown Metal Products ceased operations in 1989, many of their locomotives continue to see daily operation at parks such as Kings Island, Worlds of Fun, and the Omaha Zoo Railroad at Omaha's Henry Doorly Zoo & Aquarium.

North America
There are a handful of full-size 4-4-0 steam locomotives built prior to 1945 that are still operating in the US and Canada. The following is a list of locations with at least one working example and tracks on which to run it.

title: 4-4-0


text:
File talk:Wikipedia-onthe-web.png

The code

 * 1) !/bin/sh

TITLE="Mentions of Wikipedia on websites outside Wikipedia" FILE="Wikipedia-onthe-web.png"

TMP="_gpdata_$$" trap "/bin/rm -f ${TMP} ; exit" 0

sed    's/^[   ]*// s/,/ /g s/Jan /January / s/Feb /February / s/Mar /March / s/Apr /April / s/Jun /June / s/Jul /July / s/Aug /August / s/Sep /September / s/Oct /October / s/Nov /November / s/Dec /December / s/[    ][       ]*/ /g /^[    ]*$/d' ${1:-wikiweb.dat}  > ${TMP}

gnuplot <<_EOF_ || exit 1

set timefmt '%d %B %Y' set xdata time set format x "%b\n%y"

set size .67,.5

set title "${TITLE}" set xlabel " " set ylabel "Millions" set grid ytics noxtics
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set terminal png color small set output '${FILE}'

set pointsize .5

plot '${TMP}' using 1:(\$4/1000) title '' with lines \ ,  using 1:(\$4/1000) title  with points 3 \

_EOF_

exit 0

title: File talk:Wikipedia-onthe-web.png


text:
Jahangir Khan

Jahangir Khan (Pashto, جهانګير خان born 10 December 1963) is a former professional Pakistani squash player. He won the World Open title six times, and the British Open title ten times (1982–1991). Jahangir Khan is widely regarded as the greatest squash player of all time, and one of the greatest sportsmen in Pakistan history. From 1981 to 1986, Khan was unbeaten and during that time won 555 consecutive matches – the longest winning streak by any athlete in top-level professional sport as recorded by Guinness World Records.

He retired as a player in 1993, and served as President of the World Squash Federation from 2002 to 2008. Later in 2008, he became Emeritus President of the World Squash Federation.

Early and personal life
Khan was born on 10 December 1963 into a Pashtun family in Karachi. His family originally hailed from Nawan Kalli, a small village near Peshawar in Pakistan.

A member of the Khan family, he was born into a family of squash players; his father Roshan Khan won the British Open title in 1957, and his older brother was Torsam Khan.

His two nieces Natasha Khan (better known as Bat for Lashes) is a British singer, and Maria Khan is a professional footballer who has played for the Pakistan women national football team.

Career
Jahangir Khan was coached initially by his father Roshan, the 1957 British Open champion, then by his brother Torsam. After his brother's sudden death he was coached by his cousin Rehmat, who guided Khan through most of his career.

In 1979, the Pakistan selectors decided not to select Khan to play in the world championships in Australia but he entered the World Amateur Individual Championship, at the age of 15, and became the youngest-ever winner of that event. In November 1979, Torsam Khan, who had been one of the leading international squash players in the 1970s, died suddenly of a heart attack during Australian Open match in Adelaide Australia. Torsam's death profoundly affected Khan. He considered quitting the game, but decided to pursue a career in the sport as a tribute to his brother.

He retired as a player in 1993, and has served as President of the World Squash Federation from 2002 to 2008, later became Emeritus President.

Honors and awards

 * 1981 – At age 17 became the youngest winner of the World Open, beating Australia's Geoff Hunt in final.
 * 1984 – Featured on a Government of Pakistan issued postage stamp.
 * 1999 – Sport and Youth Award by French Government
 * 2005 – Times Award – Time Magazine named Khan as one of Asia's Heroes in the last 60 years.
 * 2007 – Awarded an honorary degree of Doctorate of Philosophy by London Metropolitan University.
 * 2017 – Featured on a Government of Japan issued commemorative stamp
 * 2018 – Winner of the 8th Asian Award for Outstanding Achievement in Sport
 * 2023 – Nishan-i-Imtiaz by the President of Pakistan.

Philanthropy
In 2018, Khan became global President of Shahid Afridi Foundation (SAF) in a ceremony held at Japan. SAF was founded by former cricketer Shahid Afridi which aims to provide healthcare and education facilities in Pakistan.

title: Jahangir Khan


text:
Andøya Air Station

Andøya Air Station (Andøya Flystasjon) is a military air station in Andøy Municipality in Nordland county, Norway. The station is located near the village of Andenes at the northern end of the island of Andøya in the Vesterålen archipelago. 333 Squadron of the Royal Norwegian Air Force was based here with Lockheed P-3C Orions. As of Q2 2024, the government has made a proposal in regard to reverting an earlier decision to close the airbase.

The civil airport Andøya Airport, Andenes and the civilian sounding rocket launch facility Andøya Rocket Range are also located on the island.

History
The first idea of building a military airport was launched at a NATO meeting in Lisbon in 1951. In March 1952 the Norwegian Minister of Defence, Nils Langhelle announced that the airport was going to be built. There were multiple suggested locations, and the decision fell on the village Haugnes. The entire village with 310 residents was expropriated to give enough area for the airport. The community at Andøy only had 2000 residents at the time, and a large growth was expected.

A Douglas Dakota was the first aircraft landing on September 17, 1954. The air station was operational from the fall of 1957. The headquarters were located about 13 km away at Skarsteindalen, as part of NATOs spread tactic. In 1961 the first squadron, the 333, was moved to the air station, from Sola Air Station, with HU-16B Albatross aircraft.

After a period of solely military use, civilian services commenced on April 2, 1964. The first scheduled commercial flight was flown by Scandinavian Airlines with a Metropolitan. In 1968 the second runway was completed. In the 1970s the airport became part of the new network of regional airports in Lofoten and Vesterålen with government subsidised operations using de Havilland DHC-6 Twin Otter aircraft seating 20 and operated by Widerøe.

In 1969 the Albatrosses were replaced by P-3B Orion aircraft. The P-3B lacked the ability to work with the Norwegian Coast Guard, and in 1989 they were sold to the Spanish Air Force. They were replaced with new P-3C aircraft. Following the end of the Cold War in the 1990s the air station has been reduced.

The Norwegian parliament decided in November 2016 to close the air station. The station was until 30 June 2023 the base for 333 squadron, which from then on operates from Evenes Air Station. According to a white paper from the Defense Ministry in 2022, Andøya will be a “permanent military reception base for allied forces.”

Accidents and incidents

 * On February 1, 1982, a Lockheed SR-71, tail number 980, diverted to the airport. It stayed there four days before being flown out.
 * On July 31, 1988, four people died when a private Cessna 172 aircraft crashed west of the airport just after takeoff.

title: Andøya Air Station


text: Category:Philanthropists by nationality

title: Category:Philanthropists by nationality


text:
File talk:Google Answers using Wikipedia.png

The code

 * 1) !/bin/sh

TITLE="Google Answers using Wikipedia" FILE=`echo "$TITLE" | sed 's/\ /_/g'`.png

TMP="_gpdata_$$" trap "/bin/rm -f ${TMP} ; exit" 0

sed    's/^[   ]*// s/,/ /g s/Jan /January / s/Feb /February / s/Mar /March / s/Apr /April / s/Jun /June / s/Jul /July / s/Aug /August / s/Sep /September / s/Oct /October / s/Nov /November / s/Dec /December / s/[    ][       ]*/ /g /^[    ]*$/d' "${1:-googleanswers.dat}"  > ${TMP}

gnuplot <<_EOF_ || exit 1

set timefmt '%B %Y' set xdata time set format x "%b\n%y"
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set size .67,.5 set pointsize .5

set title "${TITLE}" set xlabel " " set ylabel "Answers" set grid ytics noxtics
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set terminal png color small set output '${FILE}'

plot '${TMP}' using 1:3 title '' with lines \ ,  using 1:3 title  with points 3 \

_EOF_


text:
Dale E. Wolf

Dale Edward Wolf (September 6, 1924 – March 20, 2021) was an American businessman and politician from Wilmington, in New Castle County, Delaware. He was a veteran of World War II and a member of the Republican Party, who served for three weeks as the 70th governor of Delaware. , he remains the most recent Republican governor of Delaware.

Early life and family
Wolf was born at Kearney, Nebraska, the son of Harry and Irene Wolf. He graduated from the University of Nebraska in Lincoln, Nebraska, with a degree in agriculture. During World War II, he served as a first lieutenant in the United States Army, earning a Bronze Star Medal and Purple Heart at the Battle of Okinawa. He married Clarice Elaine Marshall in 1945 and they have four children, Janet, Glenda, Thomas, and James.

Professional and political career
After the war, Wolf received his Ph.D. in agriculture from Rutgers University and soon took a position with the agriculture research division of E.I. du Pont de Nemours and Company. He became the chairman of the board of DuPont's Pharmaceutical Business and group vice president of the agriculture business. Meanwhile, he was at various times chairman of the National Agriculture Chemical Association (NACA), chairman of the International Agriculture Chemical Association (GIFAP), and a member of the board of the Pharmaceutical Manufacturing Association (PMA). He retired from DuPont in 1987 to accept an appointment from Governor Michael N. Castle as state director of development, responsible for the capital budget, housing for the poor, tourism and economic development.

Lieutenant Governor and Governor of Delaware
Wolf was incumbent governor Michael N. Castle's choice for lieutenant governor in 1988 and won election, defeating Democrat Gary E. Hindes, a Wall Street investment executive from New Castle County. He served one term from January 20, 1989, until December 31, 1992. Wolf chose not to run for governor in 1992 against the candidacy of Democrat Thomas R. Carper. When Governor Michael N. Castle resigned to take his new position in the United States House of Representatives, however, Wolf served as governor the remaining 20 days of Castle's second term. He was, to date, the last Republican governor of Delaware.

Later career
Wolf later served as chairman of Daynel International, a consultant group that assists companies interested in doing business in China. He lived in Guangzhou, China in 1995, setting up an office for the law firm of Mezzullo-McCandlish, of which he was the senior international consultant. He was vice chairman of the board of directors of the Emerald BioAgriculture Corporation, an agriculture biotechnology company in Lansing, Michigan, and from 1998 on vice chairman of the WSFS Financial Corporation. He chaired the first Drug and Alcohol Abuse Coordinating Council for Delaware, and was the chairman of SURJ (Stand Up for what's Right and Just), an organization dedicated to improve the criminal justice system in Delaware.

title: Dale E. Wolf


text:
Louis Fleury

Louis Fleury (24 May 1878 – 10 June 1926) was a French flautist, a student and colleague of Paul Taffanel, a writer who advocated for the revival of Baroque music, and a musician who promoted contemporary composers by commissioning and performing their work.

Less well-known today than some of his fellow flute players, such as Philippe Gaubert and Marcel Moyse, perhaps because he died at a relatively young age, did not establish a teaching studio and left no known recordings, Fleury may be best remembered for his association with one of the most important works in the repertoire for solo flute, Syrinx by Claude Debussy. The piece, originally titled La Flûte de Pan, was dedicated to Fleury, who performed its premiere in 1913.

Early life and education
Louis François Fleury was born on 24 May 1878 in Lyon to Alphonse François Fleury and Antoinette Donadille Fleury. The family often visited Paris, taking Louis to the theater and the opera.

Writing about his early exposure to music, Fleury recalled, "My first lesson in music was given me by a schoolmaster in the little country village where I passed my youth. The poor fellow knew nothing of music [...] but he thought it best not to refuse the chance of making a little extra money, so he taught me to sing the Marseillaise, the only tune he knew." When he was twelve, Fleury was given a piccolo; displaying an aptitude for the instrument, he was later given a Boehm flute. His instructor on the piccolo was a barber, and on the flute, a pharmacist who was also an amateur flutist.

In 1893 the family moved to Paris to allow Louis to continue his musical training. Fleury made his professional debut in September 1894, playing a duet for two flutes with Georges Barrère. He was accepted into the studio of Paul Taffanel, the professor of flute at the Paris Conservatory, in 1895, after his second audition. He studied with Taffanel for five years, receiving a premier prix in 1900, performing that year's morceau de concours, Sixième solo de concours, op. 85, by Jules Demersseman.

Taffanel kept notes on the progress of his students. In 1897 he wrote "Very impressionable by nature. Good feeling for music." In 1900 he observed that Fleury had made "Very marked progress. Refined and musical by nature. Has virtually conquered his nervousness. Excellent student."

Performance career
While still studying at the conservatory, Fleury played in the orchestras of the Folies-Bergere and the Folies Dramatique. Later he played with the Association des Grands Concerts, led by Reynaldo Hahn, Concerts Berlioz, conducted by Pierre Monteaux, and the Concerts Cortot. But his interest shifted from orchestra participation to solo and small ensemble performances.

In 1902 Fleury joined Barrère's chamber ensemble, Société moderne d'instruments à vent (SMIV), as second flute. By 1903 Fleury was touring as a soloist throughout Europe. He was particularly popular in England, where he appeared in over forty concerts between 1905 and 1925, the first on 16 October 1905 with Dame Nellie Melba. He made his first visit to the United States with soprano Emma Calvé on her 45-city tour in 1905–06. He provided obbligato accompaniment for Calvé's solos (as he had for Melba) and performed works by Handel and Mozart with other members of the touring company. In 1905 Fleury assumed leadership of the SMIV when Barrère left to take a position with the New York Symphony Orchestra. The following year he founded the Société de Concerts d'autrefois, an ensemble dedicated to performing music of the 17th and 18th centuries on period instruments. (Although Fleury continued to play his Boehm instrument rather than a baroque flute.)

Fleury's most well-known performance occurred on 1 December 1913. Claude Debussy had composed a piece for unaccompanied flute as incidental music for the third act of Gabriel Mourey's play, Psyché. At the premiere of the play, held in the music salon of arts patron Louis Mors, Fleury played, from offstage, La Flûte de Pan. Reviews of the music were positive. Critic Georges Casella wrote in Comœdia: "Au troisième acte, l'air adorable de la flûte de Pan, que signa Claude Debussy fut écouté avec ravissement. (In the third act, the charming melody of the flute of Pan, by Claude Debussy, was listened to with delight.)" Another critic wrote: "Au troisième acte, pour évoquer la puissance rustique du dieu Pan, nous avons entendu un joli morceau de flûte qui est dû à Debussy. Il fut interprété avec maîtrise par M. Louis Fleury. (In the third act, to evoke the rustic power of the god Pan, we heard a pretty piece for flute by Debussy. It was performed with mastery by M. Louis Fleury.)" Fleury kept the manuscript to himself; no one else performed the piece during his lifetime. Re-titled Syrinx, it was published in 1927, after Fleury's death, and became recognized as the seminal flute solo of the twentieth century.

Fleury's concert career was interrupted by World War I. After entering the army, he became part of Fernand Halphen's first military orchestra (August 1914 – December 1915), which performed for the troops and for the local populace. Halphen, who had also studied at the Paris Conservatory, added selections of classical music to the standard repertoire of marches, dances and patriotic songs, which gave Fleury opportunities for solos. The orchestra disbanded when the soldier-musicians were reassigned to other units. After the war, Fleury returned to touring and writing, promoting Baroque music along with contemporary French music. By 1924, the SMIV had premiered "no less than one hundred and twenty-five works [...] and revived all the classical or modern works of any importance." Danielle Gaudry, writing about the history of early chamber wind ensembles, notes: "At this point, it seemed that virtually every major French composer in succeeding generations would be interested in contributing something to the growing repertoire of chamber wind music."

Writing and editing
Fleury credited Taffanel with rekindling interest in early music, which was then seldom programmed in France. Fleury contributed to this revival by editing new editions of Baroque works for flute by Michel Blavet, Händel, Loeillet, Vinci, Naudot and others. He did not always strive for historic accuracy. Graham Sadler, in his preface to the 1992 Boosey & Hawkes edition of the Blavet sonatas, states:"The editor took a number of liberties with Blavet's notation; he omitted the composer's breathing marks and continuo fingering, altered some of the articulation (and even certain notes and rhythms) and added dynamics. He also changed Blavet's principal ornament sign from '+' to the modern 'tr', though without essentially changing the meaning. In some respects this edition, with its “more pianistic” accompaniment, may be better suited to the “modern” flutist than a facsimile or Urtext edition."

Fleury contributed articles to a number of journals, primarily on the flute and French music. Edward Blakeman writes:"[T]wo particularly stand out: 'The Flute and Flutists in the French Art of the 17th and 18th Centuries,' which elegantly explores the Baroque antecedents of Taffanel's style, and 'The Flute and Its Powers of Expression,' which is a closely argued statement of the new French flute aesthetic."

Taffanel had spent many years gathering material for a comprehensive survey of the flute, its history, performers and repertoire, but he died before he could finish writing it. His widow, Geneviève Taffanel, and editor, Albert Lavignac, entrusted Fleury, who had been collaborating with Taffanel, to complete the article, which was published in the Encyclopédie de la musique et dictionnaire du Conservatoire.

Select bibliography

 * Encyclopedia entries

 * Journal articles
 * Music (as editor)
 * Written in 1732, Fleury's editions were published between 1908 and 1913.
 * . Piano realizations by Mme. Fleury-Monchablon.
 * Leonardo Vinci: Sonata [in D major]
 * Anon: Greensleeves (environ 1600)
 * Anon: John! Come and Kiss me now?
 * General Reid: Sonata [in C major]
 * Loeillet: Sonate en ut [in C major]
 * Naudot: Fifth Sonata [in A major]
 * Music (as editor)
 * Written in 1732, Fleury's editions were published between 1908 and 1913.
 * . Piano realizations by Mme. Fleury-Monchablon.
 * Leonardo Vinci: Sonata [in D major]
 * Anon: Greensleeves (environ 1600)
 * Anon: John! Come and Kiss me now?
 * General Reid: Sonata [in C major]
 * Loeillet: Sonate en ut [in C major]
 * Naudot: Fifth Sonata [in A major]
 * Naudot: Fifth Sonata [in A major]

Personal life
On 24 December 1907 Fleury married Jeanne Marie Gabrielle Monchablon, the daughter of painter Alphonse Monchablon. Gabrielle was already a well-known pianist and harpsichordist. She and her husband often performed together; she was usually billed as Mme. Fleury-Monchablon. They had one daughter, Antoinette, whose godmother was Gabrielle's good friend, the composer Mel Bonis.

Fleury died suddenly in Paris on 10 June 1926, of blood poisoning. A memorial concert was held on 6 November 1926 at Kent House, the London home of Mr. and Mrs. Saxton Noble, to benefit the education of Fleury's sixteen-year-old daughter, who was studying piano in Paris.

Works dedicated to Louis Fleury

 * 1901 Félix Fourdrain, Ballade for flute and piano, op. 11
 * 1904 Mel Bonis, Sonata for flute and piano, op. 64
 * 1913 Cyril Scott, Scotch Pastoral for flute and piano
 * 1913 Reynaldo Hahn, Deux Pièces pour flûte et piano. The first piece is dedicated to Fleury, the second to Gaston Blanquart.
 * 1913 Claude Debussy, La Flûte de Pan for solo flute. Published in 1927 as Syrinx.
 * 1913 Ralph Vaughan Williams, Suite de Ballet for flute and piano. According to Michael Kennedy, although it was "first performed at a London soirée in March 1920 by the great French flautist Louis Fleury, I believe it was composed in 1913, the year in which Vaughan Williams met Fleury at Stratford-upon-Avon and in Paris."
 * 1914 Fernand Halpern, Noël for flute and harmonium. Written in Brény and probably played at a local church on Christmas.
 * 1920 Pierre de Breville, Une flûte dans les vergers for flute and piano Fleury performed the premiere on 15 January 1921.
 * 1921 Cyril Bradley Rootham, Suite in Three Movements for flute and piano, op. 64
 * 1921 George Henschel, Theme and Variations, op. 73
 * 1921 Philippe Gaubert, Suite for flute and piano. The second movement, "Berceuse orientale", is dedicated to Fleury.
 * 1922 Darius Milhaud, Sonatina for flute and piano, op. 76. Dedicated to Fleury and pianist Jean Wiéner, who performed its debut at the Jean Wiéner Concerts in Paris in 1923.
 * 1922 Charles Koechlin, Sonata for 2 Flutes, op. 75. Written 1918–1920, premiered in 1922 by Fleury and Albert Manouvrier, with the Société Moderne des Instruments à Vent.
 * 1922 Cyril Scott, The Extatic Shepherd for solo flute
 * 1923 Jacques Ibert, Jeux: Sonatine pour flûte et piano
 * 1924 Rhené-Baton, Passacaille for flute and piano, op. 35
 * 1924 Albert Roussel, Joueurs de flûte, four pieces for flute and piano, op. 27. The third piece, "Krishna", is dedicated to Fleury.
 * 1925 Alexandre Tansman, Sonatine for Flute or Violin and Piano

title: Louis Fleury


text:
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 * 1) !/bin/sh

TMP="_gpdata_$$" trap "/bin/rm -f ${TMP} ; exit" 0

sed    's/^[   ]*// s/,/ /g s/Jan /January / s/Feb /February / s/Mar /March / s/Apr /April / s/Jun /June / s/Jul /July / s/Aug /August / s/Sep /September / s/Oct /October / s/Nov /November / s/Dec /December / s/[    ][       ]*/ /g /^[    ]*$/d' ${1:-alexaware.dat}  > ${TMP}

gnuplot <<_EOF_ || exit 1

set timefmt '%d %B %Y' set xdata time set format x "%b\n%y"
 * 1) 22 October 2002   9653

set size .67,.5

set title "Alexa Traffic Ranking for Wikipedia" set xlabel " " set ylabel "Rank" set grid ytics noxtics set logscale y set yrange [*:] reverse

set terminal png color small set output 'Alexa_traffic_ranking_for_wikipedia.png'

plot '${TMP}' using 1:4 title '' with lines \
 * 1)      ,  using 1:4 title  with impulses 3

_EOF_


text:
Wikipedia:Requests for bureaucratship/UninvitedCompany

UninvitedCompany

 * (24/2/1) ends 16:37, 18 Oct 2004 (UTC)

I actually believe that we have plenty of bureaucrats, and that the ones we have are doing an excellent job. Others disagree, and since the community would appear to wish to enlarge the pool, and since nominations of others (I can think of several good candidates) are discouraged, I offer my self-nomination. I've been with the project about a year and a half, and an admin since last April. I edit occasionally at meta, read the mailing list (though I rarely post), have submitted a PHP patch or two, and follow IRC at times. uc 16:37, 11 Oct 2004 (UTC)

Support
 * 1) Good user. Support. --Lst27 20:21, 11 Oct 2004 (UTC)
 * 2) I note that unlike admin status, bureaucrat status has nothing to do with articles; it relates purely to community issues. Accordingly, I fail to see how the shortage of recent article-editing activity is relevant to the qualifications for the position. Also, I am disturbed to see people oppose various candidates on this page simply for having specialized in a particular area of Wikipedia. The encyclopedia is too large for everyone to be everywhere at once or be an expert in everything, and insisting on overly generalist editors will only push people's contributions in the direction of their own incompetence. There is nothing wrong with a degree of self-selected specialization. --Michael Snow 20:34, 11 Oct 2004 (UTC)
 * 3) Definitely. ugen64 20:50, Oct 11, 2004 (UTC)
 * 4) I would post a long argument, but Michael S. has preceded me with a better clarification of my position than I could have done.  If UC isn't a good judge of community consensus and an editor who has demonstrated commitment to fair play, I can't think of any who are. Jwrosenzweig 20:55, 11 Oct 2004 (UTC)
 * 5) ...and Michael S. and Jwrosenzweig have preceded me. UC is indeed a good judge of community consensus and an editor who has demonstrated commitment to fair play. BCorr | Брайен 21:46, 11 Oct 2004 (UTC)
 * 6) SweetLittleFluffyThing 22:33, 11 Oct 2004 (UTC), no argument. This is just so.
 * 7) Excellent user. [[User:Neutrality|Neutrality (talk)]] 23:03, Oct 11, 2004 (UTC)
 * 8) —No-One Jones (m) 02:40, 12 Oct 2004 (UTC)
 * 9) In addition to echoing the comments made by Michael Snow and Jwrosenzweig, I would like to add that I believe UC is particularly well-suited for this position.  His understanding of policy, commitment to fairness and the obvious degree of careful thought he gives issues elicits nothing but trust.  SWAdair | Talk  04:55, 12 Oct 2004 (UTC)
 * 10) Works well with other users; agrees to disagree with other users rather than try to force them to do something. -JCarriker 05:32, Oct 12, 2004 (UTC)
 * 11) {Ανάριον} 09:46, 12 Oct 2004 (UTC)
 * 12)  ℛ yan! |  Talk  11:24, Oct 12, 2004 (UTC)
 * 13)  – Andre ( talk )  14:09, Oct 12, 2004 (UTC)
 * 14) UC is the perfect bureaucrat. JFW |  T@lk  17:08, 13 Oct 2004 (UTC)
 * 15) I am impressed with Uninvited Company, and I feel that we do need more bureucrats (many have not made on promotion, if I'm correct). So, definitely promote.   •  →  Iñgólemo  ←•  04:15, 2004 Oct 14 (UTC)
 * 16) Support. Being active on Wikipedia: namespace suggests ample capability for the role. Warofdreams
 * 17) Support. -Fennec (はさばくのきつね) 23:55, 14 Oct 2004 (UTC)
 * 18) 172 09:52, 15 Oct 2004 (UTC)
 * 19) Theresa Knott (The torn steak) 10:29, 15 Oct 2004 (UTC)
 * 20) David Cannon 23:25, 15 Oct 2004 (UTC). A worthy candidate.
 * 21) I am sufficiently impressed to support (previously neutral). -- Grunt 🇪🇺 02:25, 2004 Oct 16 (UTC)
 * 22) Ambi 04:57, 16 Oct 2004 (UTC)
 * 23) +sj +  08:41, 16 Oct 2004 (UTC)
 * 24) AndyL 19:49, 16 Oct 2004 (UTC)
 * 25) I don't know if we have enough bureaucrats or not, but UC looks good for the job. (Actually, I think I would prefer Cecropia to always perform the bureaucratic duties, but I suppose that would be impractical). func(talk) 16:14, 17 Oct 2004 (UTC)

Oppose
 * 1) Netoholic @ 17:55, 2004 Oct 11 (UTC) -- Well spoken and toughtful, but at 1723 edits, doesn't meet my minimum standards for even adminship.  Seems to be a "meta-editor" – almost exclusively works on Wikipedia: namespace lately. Before voting, I reviewed their history, and am confused by their first few non-article edits, which seem to indicate this was not their original (only) identity. I hope I am misinterpreting, and would welcome any correction on that, but still the contributions since then don't really show readiness to me.
 * 2) This is what I would call a non-editor. You have to go through pages and pages of his contributions to a find a few actual article edits between all the activity in the Wikipedia namespace. As I said in opposition to Snowspinner before, I prefer real editors to do the administrative work on the side, not professional administrators who may edit the occasional article on the side. Gzornenplatz 19:00, Oct 11, 2004 (UTC)

Neutral

 * 1) Acegikmo1 18:23, 14 Oct 2004 (UTC). On one hand, editing almost exclusively in the Wikipedia: namespace for the last six months means that UninvitedCompany is very familiar with Wikipedia policy.  On the other hand, lack of activity in the main article namespace means that the user is a bit out of touch with the majority of Wikipedia users.  I see this as a problem for a bureaucrat, but as my experience with UninvitedCompany has been nothing but positive, it's not enough to make me oppose.
 * Have only heard of you in the past two weeks or so, and then not in depth. Will be looking into your past edit history before making a true vote. -- Grunt 🇪🇺 21:33, 2004 Oct 14 (UTC)

Comments
 * For Netoholic's information: UninvitedCompany has acknowledged previously using the accounts Kat and Louis Kyu Won Ryu. Although there is nothing inherently wrong with maintaining multiple accounts, it's my understanding that since returning with this account, he has decided to use only one identity exclusively. In any case, I have never observed any of these accounts used in a way that would be prohibited by our sockpuppet policy. Also, I would caution you against other misinterpretations - UninvitedCompany is an intelligent writer who has considerable familiarity with Wikipedia history and actively participated in some of those historical discussions. If you read this and other statements of his without awareness of their context, you may well find them cryptic and miss the allusions to events that were happening at the time. I would recommend that you ask him for an explanation first if you find things you don't understand - he is generally willing to respond to polite questions. --Michael Snow 20:34, 11 Oct 2004 (UTC)
 * Michael, thank you for the information. I hope you know I didn't imply any "wrong-doing" with the multiple accounts and I'm glad you acknowledged in might seem strange to someone who didn't know.  After reviewing this UC's contributions, and those of the other accounts, I'm going to keep my vote as is.  I think this user has been tool "embroiled" in the non-article space, such that I think any decisions made in the course of the bureaucrat role might be reasonably challenged, and would impact their effectiveness. -- Netoholic @ 01:09, 2004 Oct 12 (UTC)

 * Several users have asked questions or made comments about the extent of my article contributions as compared to the stuff I've contributed in the Wikipedia namespace. I thought I'd reply.  In general, I'm not a copy editor.  I'm not good at it and don't enjoy it.  I've gone to a library and actually done research for Cult and Surrealism, and made contributions to these articles based on that.  I operate a farm, and have contributed to and fact-checked a number of agriculture-oriented articles, like silo and cattle.  And I've contributed some history about localities I know well, such as the articles on Rice County, Minnesota and the communities within it.  I have also contributed a number of photographs, though these are officially anonymous since the copyright bears my real name.  My professional expertise is in physics and computer science, both areas of the project that are already well developed.  I feel at this point that I have contributed most of what I already know, and so my choices are to a) defend my watchlist, b) reasearch stuff and contributed based on that, c) copyedit, or d) contribute to the community aspects of the project.

 * I believe that (a) is unhelpful, (c) is not something I'm especially good at, and while I do carry out (b) it is labor intensive for the few edits that result. That leaves (d), and since I have an ongoing interest in group dynamics, as well as a good deal of experience with online collaboration, that is where I am most active.

 * Finally, as the project has grown, I find myself outclassed on subjects that I care deeply about but lack expertise in, such as music. I find that it is best to leave such articles to others, though I do contribute a few tidbits when I'm sure of myself.

 * As others have said, I believe that this sort of specialization is a product of the project's maturity. As the project continues to mature, the number of articles where any one person can contribute effectively is bound to shrink as the baseline general-interest knowledge becomes complete.  I do believe, though, that at least for the time being, there is a shortage of interest in communtiy issues, and I hope others see value in the contributions I make in this area.  uc 02:20, 15 Oct 2004 (UTC)

 * Thanks for replying. To be honest, though, this seems more like you're simply bored with work here, and doesn't put forth any reason why you are a better candidate than anyone else.  Can you explain why you deserve this promotion in light of the efforts that other people put in on the article space?   Your answers to the "Bureaucratic Questions" below are notably short.  What qualities, ideas, or philosophies do you bring to the position? -- Netoholic @ 03:36, 2004 Oct 16 (UTC)

Bureaucratic Questions

Q1. Have you read the discussions on when to promote and not promote? What do you understand the criteria for promotion to be?

A1. Yup, I've read them, edited them, and reread them, and observed their action in practice. In theory, it's consensus. In practice, of the supporting and opposing votes, 80% must be supporting. Sometimes the threshold is lowered to 75%, particularly when the opposition appears to be ill-considered rather than well-reasoned. In doubtful cases, one tries to discount sock puppets.

Q2. How would you deal with contentious nominations where a decision to promote or not promote might be criticized?

A2. I do not plan to become involved in contentious nominations until weathering a fair number of blissful ones. In time, I would, and I would try to deal with them fairly and consistently, according to the rules, in accord with the community's sentiment, and in particularly troublesome cases, after consultation with other "bureaucrats."


text:
H&C Communications

H&C Communications was a corporation that owned a number of media outlets throughout the United States. Originally known as Channel 2 Television Company, a reference to the channel number of flagship station KPRC-TV, it was created in 1983 to unite the Hobby family's television & radio interests under one umbrella after the Houston Post, their flagship business, was sold. The family became involved in broadcasting in the mid-1920s.

Beginnings
In 1923, Ross Sterling Jr. took a course on broadcasting at the YMCA in Houston. His father, Ross Sterling Sr., met the instructor, Alfred P. Daniel (of now-discontinued radio station WCAK), and discussed starting a new radio station affiliated with the Houston Post. William P. Hobby, the president and publisher of the Post, asked Sterling to launch the radio station. Before a 500 watt transmitter ordered from the Westinghouse Electric Manufacturing Co. arrived in Houston, Sterling Jr. died. Sterling Sr., mourning the loss of his son, put the still crated transmitter in storage. Over one year later, Daniel approached Sterling Sr. and asked about proceeding with the establishment of the radio station. Sterling Sr. agreed with the idea and moved forward with establishing the station. KPRC's first broadcast occurred on Saturday May 9, 1925, with Daniel as the station's first announcer and program director. The federal license granting permission for radio broadcasts on 920 kHz was issued on the 13th of May. (In 1941, KPRC moved to its current frequency of 950 kHz under terms of the North American Regional Broadcasting Agreement.)

Houston Cluster
On December 24, 1946, KPRC-FM (now 99.1 KODA) signed on the air. On June 1, 1950, the Hobbys purchased KLEE-TV Channel 2 and changed the television station's call letters on July 3, 1950, to KPRC-TV to create an AM-FM-TV combination. The television station had signed on the air on January 1, 1949, as KLEE-TV. It was Houston's first television station and the second one to sign on in Texas, three months behind Fort Worth station WBAP-TV (now KXAS-TV) and over eight months ahead of Dallas station KBTV (now WFAA). It was originally owned by hotelier W. Albert Lee and carried programming from all four networks of the day – NBC, CBS, ABC, and DuMont. After a year of difficulty, Lee sold the station to the Hobby family.

After the Hobbys took over, Channel 2 became a primary NBC affiliate due to KPRC-AM radio's longstanding affiliation with the NBC Red Network, a link that remains today. Due to the Federal Communications Commission-imposed freeze on new station licenses, Channel 2 remained the only television station in Houston for four more years. CBS moved to KGUL-TV (channel 11, now KHOU) in 1953 and KTRK-TV (channel 13) took over the ABC affiliation when it signed on one year later. DuMont ceased operations in 1956, though it was briefly affiliated with now-defunct KNUZ-TV (channel 39, frequency now occupied by KIAH).

Expansion to Liquidation
In 1958, the FM station was sold. In 1975, the Channel 2 Television Company acquired their second TV station, WLAC-TV, the CBS affiliate in Nashville, TN from Houston-based insurer American General Corporation. American General bought Life and Casualty Insurance Company of Tennessee in the 1960s and the acquisition included the WLAC-AM-FM-TV station assets. On December 1, 1975, the TV station adopted the current WTVF call sign due to an FCC rule in place at the time forbidding TV and radio stations in the same city, but with different owners, from sharing the same call letters.

More TV stations across the United States were acquired by the company within the next few years. In 1983, after the Post was sold, the Hobby family's broadcast holdings were reorganized into H&C Communications. The Hobbys began to liquidate their broadcasting assets in 1992. An attempt to sell stations in Houston, San Antonio, Orlando, Tucson and Des Moines to Young Broadcasting that year was unsuccessful. On April 22, 1994 the Texas stations, flagship KPRC-TV in Houston and KSAT-TV in San Antonio were sold to Post-Newsweek Stations (now Graham Media Group), a division of the Washington Post Company (now Graham Holdings Company).

In 1994, the Hobby family fully relinquished control and by the end of 1995, the H&C stations were liquidated to various owners and the company was eventually dissolved.

Former stations
Stations are arranged in order of acquisition.
 * (**) - Indicates stations built and signed on by the Hobby family.

The Eyes of Texas
Produced by flagship station KPRC-TV, H&C maintained the rights to The Eyes of Texas and was the syndicator of the program to stations across the state of Texas.

title: H&C Communications


text: Category:Leukotriene antagonists

title: Category:Leukotriene antagonists


text:
Frog (Chrono Trigger)

Frog (カエル), also known as Glenn, is a fictional character in the 1995 video game Chrono Trigger. He was designed by the game's artist, Akira Toriyama. He is an anthropomorphic frog knight from the Middle Ages era who was cursed into the form by his nemesis, Magus. He was born as a human by the name Glenn and a friend of the late brave knight Cyrus. After witnessing Cyrus' death at the hands of Magus and being transformed into a frog, Frog vowed to avenge Cyrus by killing Magus. During the game, he obtains the Masamune (Grandleon in the Japanese version), an ancient sword whose offensive capabilities against magic users is Magus' major weakness. Frog wields a broadsword and can also learn "Water" and, like Marle, healing magic.

Frog's design in the final version of the game replaces that of a monster man character from the initial character sketches. Frog has received generally positive reception, with discussion by critics about the relationship between Frog and Magus. His dialogue was also the subject of discussion, particularly how he speaks compared to others in his time period.

Concept and creation
Frog is a half-man, half-frog in the video game Chrono Trigger who was cursed with this form by one of the game's antagonists, Magus, against whom he seeks revenge. Frog originally came from a desire of the staff to use a non-human character due to Square thinking it would make battles more interesting. They considered a pig or monkey concept, but went with a frog because the staff felt they'd be too similar to humans. Frog initially started off as a sketch that lacked detail and finesse created by Yuji Horii, who then gave it to Chrono Trigger artist Akira Toriyama. He was identified as a favorite by multiple Chrono Trigger designers, including field designers Yasuyuki Honne and Akiyoshi Masuda. Chrono Trigger director Takashi Tokita regarded the ending where Frog and Magus do battle to be one of the best endings in Chrono Trigger.

In the Japanese version of Chrono Trigger, Frog's manner of speech is that of a "strong, independent, disciplined man," speaking in a way that tends to be "slightly more complicated" than most people. The English version of the game saw Frog given Elizabethan Olde English dialogue. The Nintendo DS version of Chrono Trigger dropped the Elizabethan dialogue for Frog.

Appearances
In Chrono Trigger, Frog is a knight found in the Medieval era of 600 AD. He has multiple goals; his main goal is to defeat the wizard Magus, who has been at war with his kingdom, for turning him into a frog and for killing his mentor, Cyrus. When the player first meets Frog, he is attempting to rescue Queen Leene, who had been kidnapped by Magus' forces, and he joins with Crono and Lucca. After rescuing Leene (and in turn her descendant, Marle), he departs from the group. Frog, once Crono is able to get the legendary sword Masamune repaired and delivered to him, assists them in their fight against Magus, which ultimately sends them into the past after Magus summons the game's main antagonist, Lavos. When Frog reencounters Magus in 12,000 BC, he is given the option to do battle with Magus. If he does, Magus is defeated. If he does not, Magus joins the party. During an optional quest, Frog can lay his mentor to rest, which causes the Masamune to become the Masamune II. Frog is able to assist the party in defeating Lavos, which prevents the world from being destroyed in 1999 AD.

While Frog does not appear in the sequel, Chrono Cross, another character, Glenn, shares multiple elements, including their name, weapon of choice, and special skill. In Final Fantasy XIV, a character inspired by Frog was included.

Frog is featured as part of a series of Chrono Trigger figures.

Reception
Game Informer writer Jeff Cork felt that Frog, along with Magus, was among the coolest characters in Chrono Trigger, commenting about how intense a dilemma there was between allowing Frog to defeat Magus and allowing Magus to join the party. TechRaptor writer Robert Grosso similarly discussed the significance of the relationship between Frog and Magus, describing them as "mirror foils" while noting how Frog fits the warrior archetype while Magus fits the black mage archetype. He stated that the two are both driven by revenge, Frog for Magus and Magus for Lavos, noting how Frog tends to push people away and take on his revenge as a solitary act of penance so he doesn't lose anyone else. He felt that the option to spare Magus reflected Frog's character growth, preventing him from being consumed by revenge. The moment when Frog first joins Crono's party was regarded as one of the best first encounters in a video game by IGN writer Marty Sliva, who felt that he was "possibly [his] favorite character in what's probably [his] favorite RPG." He attributed this to his theme, as well as the sheer power of Frog when compared to other characters in the game at that point. Author Fredrik Norman discussed various themes they felt were employed with Frog, including how his various traits impact his journey through an "existential maze." He also discussed Frog in the context of Magus, arguing that both are "always doomed to fail" and that there is an "inevitable gloom" at the center of revenge.

Regarding the relocalization of Frog's dialogue in Chrono Trigger on the DS, Siliconera staff felt that the original English translation made Frog's dialogue better, recommending a patch of the DS version to change the localization back. Writer Michael P. Williams found his manner of speech charming but "grammatically suspect," noting how he is the only character in his time period who speaks like that. He further points out that even when he was a human he didn't speak this way, suggesting he does so because of a desire to be more heroic. He stated that everything about Frog "oozes hero," discussing how Frog aspires to be like Cyrus which is "realized heteronormatively as a desire to protect Queen Leene." A writer for RPGFan picked Frog as his favorite character from Chrono Trigger, stating that it was one of the first times he became emotionally invested in a video game character. He felt that his appearance in the intro, where he departs from Cyrus' grave and walking away resolute, while "standard and tropey," was made all the better due to his frog design created by Toriyama.

title: Frog (Chrono Trigger)


text:
Maxime Faget

Maxime Allen "Max" Faget (pronounced fah-ZHAY; August 26, 1921 – October 9, 2004) was a Belizean-born American mechanical engineer. Faget was the designer of the Mercury spacecraft, and contributed to the later Gemini and Apollo spacecraft as well as the Space Shuttle.

Life
Faget was the son of American doctor Guy Henry Faget, and great-grandson of another prominent physician, Jean Charles Faget. Born in Dangriga, Belize (then known as British Honduras), he attended City College of San Francisco in San Francisco, California, and he received a Bachelor of Science degree in mechanical engineering from Louisiana State University in 1943.

After three years as a submariner aboard USS Guavina in the U.S. Navy, Faget joined the Langley Research Center in Hampton, Virginia as a research scientist. While working for NACA at Langley, he worked on the design of the X-15 hypersonic spacecraft.

In 1958, Faget became one of the 35 engineers who formed the Space Task Group, creating the Mercury spacecraft. He based his designs on the aerodynamic work of Harvey Allen from the mid-1950s, and was instrumental in selecting the blunt-body shape that won the Mercury competition over numerous contenders. He led the development of the escape tower system used on Mercury, which was used in various forms on almost all following crewed spacecraft. He also worked on the Gemini and Apollo vehicles, which shared many design points with the Mercury.

Faget filed a patent for a space shuttle vehicle design in 1972. His design, which he named "DC-3" in homage to the famed Douglas DC-3 airliner, was a small two-stage fully reusable shuttle with a payload capacity around 15000 lb. DC-3 was officially studied by North American Aviation and shown in the press as a baseline contender for the Space Transportation System (STS). North American also studied a version of the same basic system with a much larger 50000 lb payload. However, the DC-3's nose-high re-entry profile was controversial, and eventually doomed it when the U.S. Air Force joined the Shuttle program and demanded cross-range performance that the DC-3 could not meet. In the end, its most lasting contribution was to clearly identify the trade-offs inherent in any reusable design.

In 1962 Faget became the Director of Engineering and Development at the Manned Spacecraft Center and continued to work for NASA until his retirement in 1981, shortly after the second Space Shuttle flight (STS-2). After his retirement, he was among the founders of Space Industries Inc., established in 1982. One of the projects of the company was the Wake Shield Facility, a device to create near-perfect vacuum in the thermosphere. The WSF flew three times with a Space Shuttle in 1994–96 (STS-60, STS-69, STS-80).

In 1962, Faget received the Golden Plate Award of the American Academy of Achievement. Faget was inducted into the 1969 National Inventors Hall of Fame, and received the NASA Outstanding Leadership Medal and John J. Montgomery Award. He was inducted into the Houston National Space Hall of Fame in 1969. He was inducted into the International Space Hall of Fame in 1990. Faget was inducted into the National Aviation Hall of Fame in 2020.

Faget died of bladder cancer on October 9, 2004, aged 83.

Patents
Faget was co-inventor on five United States patents issued to Space Industries, Inc. between 1988 and 1992:

Patent No. -Title
 * Spacecraft operable in two alternative flight modes'''
 * Spacecraft with articulated solar array
 * Modular spacecraft system
 * Apparatus and method for docking spacecraft
 * Structural latch for vehicle coupling mechanisms

MAX-1 spacecraft
The private spaceflight organization Copenhagen Suborbitals was developing a piloted spacecraft named after Faget, the MAX-1, but the project was halted due to issues around the effects of rapid acceleration of humans in a standing position.

title: Maxime Faget