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Celia Thaxter

Celia Thaxter (née Laighton; June 29, 1835 – August 25, 1894) was an American writer of poetry and stories. For most of her life, she lived with her father on the Isles of Shoals at his Appledore Hotel. How she grew up to become a writer is detailed in her early autobiography (published by St. Nicholas), and her book entitled Among the Isles of Shoals. Thaxter became one of America's favorite authors in the late 19th century. Among her best-known poems are "The Burgomaster Gull", "Landlocked", "Milking", "The Great White Owl", "The Kingfisher", and "The Sandpiper". Many of her romantic poems are addressed to women; as such, she has been identified by some scholars as a lesbian poet.

Early years and education
Celia Laighton was born in Portsmouth, New Hampshire, June 29, 1835, but the family moved soon after to the Isles of Shoals, first on White Island, where her father, Thomas Laighton, was a lighthouse keeper of the Isles of Shoals Light, and then on Smuttynose and Appledore Islands. The gradual addition of summer visitors to the fishing population came slowly, Thaxter's father being the first to establish anything like a modern hotel.

The means of education were comparatively remote, and the permanent society of the islands for the greater part of the year offered very limited resources for a bright child. During the period of 1849–1850, she attended Mount Washington Female Seminary in South Boston.

Mainland
On September 13, 1851, at the age of 16, she married Levi Thaxter and moved to the mainland, residing first in Watertown, Massachusetts, at a property his father owned. In 1854, they accepted an offer to use a house in Newburyport. The couple then acquired their own home, today called the Celia Thaxter House, built in 1856 near the Charles River at Newtonville. By then, they had two sons, Karl and John. Roland was born in 1858, and went on to become a prominent mycologist who taught at Harvard University where he studied insect-associated fungi and Myxobacteria.

Her first published poem was written during this time on the mainland. That poem, "Land-Locked", was first published in the Atlantic Monthly in 1861 and earned her US$10. In 1879, Thaxter suddenly became known upon the literary horizon with a collection of poems entitled Driftwood, and considering that they came from a group of islands, away from the mainland far enough to prevent frequent communication, the debuting work was received with almost as much surprise as pleasure. Although stray poems of the ocean had been published, signed with the name of "Celia Thaxter", still it was difficult for the critical reviewer of Boston to realize that the bearer of this name was actually a long time resident, if not exactly a native of those isles lying off the coast of New Hampshire. Her poetry appeared in the Atlantic, Century, Harper's, Independent, New England Magazine, and Scribner's, while her writing for juvenile audiences appeared in Our Young Folks and St. Nicholas.

Return to Appledore Island
Karl, who had mental illness since childhood, traveled with Thaxter during the periods she returned to the islands, while the two younger sons traveled with the husband to Florida after his serious illness in 1868–69. Her life with Levi was not harmonious, and there were other periods of separation, She missed her islands, and so after ten years away, Thaxter moved back to Appledore Island. She became the hostess of her father's hotel, the Appledore House, and welcomed many New England literary and artistic notables to the island and to her parlor, including writers Ralph Waldo Emerson, Nathaniel Hawthorne, Henry Wadsworth Longfellow, John Whittier, Sarah Orne Jewett, and the artists William Morris Hunt and Childe Hassam, the latter of whom painted several pictures of her. The watercolorist Ellen Robbins also painted the flowers in her garden. Celia was present at the time of the infamous murders on Smuttynose Island, about which she wrote the essay A Memorable Murder.

William Morris Hunt, a close family friend, spent the last months of his life on Appledore Island, trying to recover from a crippling depression. He drowned in late summer 1879, three days after finishing his last sketch. Celia Thaxter discovered the painter's body, an apparent suicide. That same year, the Thaxters bought 186 acres (75 hectares) along Seapoint Beach on Cutts Island, Kittery Point, where they built a grand Shingle Style "cottage" called Champernowne Farm. In 1880, they auctioned the Newtonville house, and removed to Kittery Point, Maine. In 1881, she vacationed in Europe with her brother, Oscar. In the same year, Thaxter and her husband moved to the new home in Kittery Point. In March 1888, her friend Whittier hoped "on that lonesome, windy coast where she can only look upon the desolate, winter-bitten pasture-land and the cold grey sea" she could be comforted by "memories of her Italian travels".

Death and legacy
Thaxter died suddenly while on Appledore Island. She was buried not far from her cottage, which burned in the 1914 fire that destroyed The Appledore House hotel. The Kittery Point home stayed in the family until the 1989 death of her granddaughter and biographer, Rosamond Thaxter. In 2008, The Library of America selected "A Memorable Murder" for inclusion in its two-century retrospective of American True Crime.

Themes
Several of her poems are noted for their lesbian themes. Thaxter's "Two Sonnets," addressed to a woman, parallels the romantic passion present in Wharton's sonnet sequence "The Mortal Lease," addressed to a man. Thaxter frequently brings together natural imagery and romantic desires; in the poem "Alone," she writes "I would have given my soul to be That rose she touched so tenderly!"

Thaxter has done for the sea-shore and the varied aspects of ocean views and the rocky isles of her home, what Whittier has done for the milder aspects of the river on whose banks he dwelt. As he may be said to have exhausted the descriptive beauties of the Merrimac, Thaxter appears to have left nothing unsaid of the varying features of the ocean, whose waves were forever beating at her feet. With the minutest attention to detail; with the keenest observation for shades of difference; with an almost superfine susceptibility to climatic and meteorological changes, so that she might be termed a realist in word-painting, she at the same time possessed the glow and the imagination of the impressionist. Thus we see in her art the happy combination of the two schools. Certainly no one can read her poems without the conviction of certainty that she had seen with her own eyes what she described. There is something beyond the photographic accuracy of experienced observation always to be observed even in her simplest poems. She saw something more than the mere external forms of nature, and however much she may have delighted in these, it was not her sole object to reproduce them for other eyes. Beyond and within the external, she perceived the actuating soul: and it was this quality which gave the greatest value to her pictures of sea and shore.

Because Thaxter wrote so well of the sea, her graphic imagery impressed some critics with the idea that she wrote of nothing else. This was untrue: her poems were not confined to the sea, as will be remembered with the story of "A Faded Glove," "Remonstrance," "Piccola," and scores of other verses giving land pictures; not to mention her musical sonnets on Beethoven and other great masters of composition.

Thaxter was happy to have attracted, very early in her literary career, the sympathy and admiration of some of the best writers and critics of the day: among the most enthusiastic of her admirers, was Thomas Wentworth Higginson, a scholar, who was also a lover of the sea, and one of the most competent judges of ocean nature painting of literati from that time. He failed to discover any lack of versatility in her work, and those who study her works as a whole, will note that there is hardly a moral idea, a practical point in ethics, or an emotion of the human heart, which has not been the subject of her pen, touched upon at least, with more or less freedom.

Style
In Thaxter's prose writing, the picturesque prevails, though with some marked exceptions; in all is a moral undercurrent which crops out more or less prominently in all of her productions—prose or poetry. She wrote some charming poems for children, with such an exquisite blending of the didactic with the scenic and emotional, that the intended lesson was conveyed without exciting the natural repulsion of children to "morals," too obviously conveyed.

Selected works

 * The lost bell. A legend of the island of Rügen in the Baltic Sea.
 * Good bye, sweet day. (music, with Kate Vannah & Elsie Baker)
 * The sandpiper
 * Land-locked, 1861
 * A poppy seed, 187?
 * A memorable murder, 1875
 * Among the Isles of Shoals, 1878
 * The Nursery for youngest readers, 1878
 * Idyls and pastorals, a home gallery of poetry and art., 1886
 * The cruise of the Mystery and other poems, 1886
 * My lighthouse, and other poems, 1890
 * An island garden, 1894
 * |VYMPQA053219813&v=2.1&it=r&sid=gale_marc The poems of Celia Thaxter, 1896
 * Stories and Poems for Children
 * Woman's heartlessness, 1900

title: Celia Thaxter


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User talk:Havaska

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Fred R. Harris

Fred Roy Harris (born November 13, 1930) is an American retired politician from Oklahoma who served as a member of the United States Senate from 1964 to 1973.

Born in Walters, Oklahoma, Harris was elected to the Oklahoma Senate after graduating from the University of Oklahoma College of Law. He ousted the appointed U.S. Senate incumbent J. Howard Edmondson and won a 1964 special election to succeed Robert S. Kerr, narrowly defeating football coach Bud Wilkinson. Harris strongly supported the Great Society programs but criticized President Lyndon B. Johnson's handling of the Vietnam War. He was reelected in 1966 and declined to seek another term in 1972.

From 1969 to 1970, Harris served as chairman of the Democratic National Committee. In the 1968 presidential election, Democratic nominee Hubert Humphrey strongly considered him as his running mate. Harris unsuccessfully sought the Democratic presidential nomination in 1972 and 1976. After 1976, he was a professor at the University of New Mexico.

Early life
Harris was born on November 13, 1930, in Walters, Cotton County, Oklahoma, the son of Eunice Alene (Pearson) and Fred Byron Harris, a sharecropper. His father, Fred Byron Harris, died in 1973 at age 66 at a hospital in Lawton after suffering from a "lengthy illness". In 1952 he graduated from the University of Oklahoma (OU) with a bachelor's degree in history and political science. He then entered the OU law school, where he was administrative assistant to the dean and successively book editor and managing editor of the Law Review. He received the LL B. degree with distinction and was admitted to the bar in 1954. He was elected to the Oklahoma State Senate in 1956 and served in it until 1964. For most of the time, he was one of its youngest members. He made an unsuccessful bid for governor of Oklahoma in 1962, which made him better known throughout the state.

United States Senate
In 1964, Harris ran to serve out the unexpired term of U.S. Senator Robert S. Kerr, who had died in office. He defeated former governor J. Howard Edmondson, who had been appointed to succeed Kerr, in the Democratic primary. The general election was a high-profile campaign against the Republican nominee, legendary University of Oklahoma football coach Bud Wilkinson. Both parties invited political leaders from out of state to campaign for their candidates. Republicans brought former Vice President Richard Nixon to campaign for Wilkinson, while Harris hosted President Lyndon Johnson. Harris defeated Wilkinson, 51% to 49%, becoming one of the youngest members of the U.S. Senate.

Harris was a firm supporter of President Lyndon Johnson's Great Society programs, which were often unpopular in Oklahoma. He voted for the Voting Rights Act of 1965, and while he missed the votes pertaining to the confirmation of Thurgood Marshall to the U.S. Supreme Court in 1967 (he was away on official Senate business) and the passage of the 1968 Civil Rights Act (he was absent because of illness), he supported both votes; it was announced on the Senate floor that, if he had been present, he would have voted for Marshall's confirmation and the 1968 Act. Harris was present for the important vote on the motion to end the filibuster conducted by those senators who opposed the 1968 Act, and voted to end the filibuster so that the Act could finally be voted on.

In July 1967, Johnson appointed Harris to the National Advisory Commission on Civil Disorders. He quickly became one of its most active members and was deeply concerned about economically deprived inner-city African Americans. He also strongly supported agricultural programs, the Arkansas River Navigation Program, and the Indian health programs, which were all very popular in Oklahoma.

Despite being strongly liberal from an increasingly conservative state, he was elected to a full term in 1966, defeating attorney Pat J. Patterson, 54% to 46%. Patterson had tried to unseat Harris by announcing his support for a constitutional amendment proposed by Senator Everett M. Dirksen to allow school boards to provide for prayers in public schools. Dirksen's amendment had enthusiastic political support in Oklahoma, but Harris opposed it in a public letter: "I believe in the separation of church and state and I believe prayer and Bible reading should be voluntary".

During his Senate term, Harris also served briefly as chairman of the Democratic National Committee, preceded and succeeded in that position by Larry O'Brien. Harris was one of the final two candidates considered by Vice President and presidential nominee Hubert Humphrey to be the Democratic Party's nominee for Vice President of the United States in 1968; Humphrey chose Senator Edmund Muskie of Maine because of Harris's young age of 37. According to O'Brien, Humphrey vacillated between the two until finally choosing Muskie at the last minute. Harris broke with Johnson and Humphrey over the Vietnam War.

In 1970, Harris was a major player in the successful legislation to restore to the inhabitants of the Taos Pueblo 48,000 ac (19,425 ha) of mountain land that had been taken by President Theodore Roosevelt and designated as the Carson National Forest early in the 20th century. The struggle was particularly emotive since this return of Taos land included Blue Lake, which the Pueblo consider sacred. To pass the bill, Harris forged a bipartisan alliance with President Richard Nixon, from whom Harris was sharply divided on numerous other issues, notably the Vietnam War. In doing so, he had to overcome powerful fellow Democratic Senators Clinton Presba Anderson and Henry M. Jackson, who firmly opposed returning the land. As recounted by Harris's wife, LaDonna, who was actively involved in the struggle, when the bill finally passed and came up to be signed by the president, Nixon looked up and said, "I can't believe I'm signing a bill that was sponsored by Fred Harris."

In 1971, Harris was the only senator to vote against confirmation of Lewis F. Powell, Jr. as associate justice of the United States Supreme Court. He opposed Powell because he considered him elitist and to have a weak record on civil rights.

Harris also called for the abolition of the Interstate Commerce Commission.

Later life

Harris did not seek another Senate term in 1972, instead running for president on a platform of "economic democracy". The bid was short-lived, but he ran again in 1976. To keep expenses down, he traveled the country in a recreational vehicle and stayed in private homes, giving his hosts a card redeemable for one night's stay in the White House upon his election. He emphasized issues affecting Native Americans and the working class. His interest in Native American rights is linked to his ancestry and that of his former wife, La Donna Harris, a Comanche who was deeply involved in Native American activism. Moreover, he was from a state that had begun its political existence as Indian Territory.

After a surprising fourth-place finish in the 1976 Iowa caucuses, Harris coined the term "winnowed in" by saying, "The winnowing-out process has begun and we have just been 'winnowed in'." He won more than 10% of the vote, pushing Mo Udall, who at one point led the polls, into fifth place. Harris was "winnowed out" just over a month later. He finished fourth in the New Hampshire primary and, a week later, third in Vermont and fifth in Massachusetts. Harris remained in the contest for another month, with his best showing a fourth-place finish in Illinois, with 8%.

Harris left elective politics for academia after 1976. He became a professor of political science at the University of New Mexico and wrote many books on political subjects, including Potomac Fever (Norton, 1977 ISBN 0-393-05610-4) and Deadlock or Decision: The U.S. Senate and the Rise of National Politics (Oxford University, 1993 ISBN 0-19-508025-4). In 2003, Harris was elected to the Common Cause National Governing Board. He is also the author of three novels. He resides in Corrales, New Mexico.

title: Fred R. Harris


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Wikipedia:Articles for deletion/E-Werk

E-Werk
The only techno club I can seem to find is E-werk in Koln, also it does not have an entry on the German Wikipedia, afaik its not notable. -- Solitude 13:56, Oct 14, 2004 (UTC)
 * The E-Werk has been closed a few Years ago.... So let it be forgotten since it didn't get much notability when it was open. Delete. jni 14:25, 14 Oct 2004 (UTC)
 * Delete: A defunct club. I'm sure it was fun (though I do think techno fans could save money but just buying their own drum machines and shouting randomly while it plays). Geogre 14:50, 14 Oct 2004 (UTC)
 * I was in Germany at the start of the 90's and it was famous enough for philistines such as myself to have heard of it. IIRC it had a pivotal role in the German techno scene or something (the something was probably the famous techno track "d-d-d-d-d-d-d-d-d-d-d-bom-bom-bom-bom-bom-bom-bom-bom-" at 180 beats per minute), or possibly it was just a famous club. Delete if no-one comes up with more qualified information. --Ianb 20:27, 14 Oct 2004 (UTC)
 * Keep and cleanup.  Notable club. anthony (see warning) 16:00, 19 Oct 2004 (UTC)
 * keep. Intrigue 21:48, 19 Oct 2004 (UTC)

title: Wikipedia:Articles for deletion/E-Werk


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Large Millimeter Telescope

The Large Millimeter Telescope (LMT) (Gran Telescopio Milimétrico, or GTM), officially the Large Millimeter Telescope Alfonso Serrano (Gran Telescopio Milimétrico Alfonso Serrano), is the world's largest single-aperture telescope in its frequency range, built for observing radio waves in the wave lengths from approximately 0.85 to 4 mm. It has an active surface with a diameter of 50 m and 1960 m2 of collecting area.

The telescope is located at an altitude of 4850 metre on top of Sierra Negra, the fifth-highest peak in Mexico and an extinct volcanic companion to Mexico's highest mountain Pico de Orizaba, inside the National Park Pico de Orizaba in the state of Puebla. It is a binational Mexican (70%) – American (30%) joint project of the Instituto Nacional de Astrofísica, Óptica y Electrónica (INAOE) and the University of Massachusetts Amherst.

Millimetre-wavelength observations using the LMT give astronomers a view of regions which are obscured by dust in the interstellar medium, thus increasing our knowledge of star formation. The telescope is also particularly fitted for observing solar system planetesimals and planets as well as extra-solar protoplanetary disks which are relatively cold and emit most of their radiation at millimetre wavelengths.

The mission of the LMT is to: 1) pursue pioneering research, 2) train future generations of scientists and engineers, and 3) develop new technology for the benefit of society. The LMT mainly studies thermally cold objects, most of which are associated with large amounts of cosmic dust and/or molecular gas. Among the objects of interest are comets, planets, protoplanetary discs, evolved stars, star-forming regions and galaxies, molecular clouds, active galactic nuclei (AGNs), high-redshift galaxies, clusters of galaxies, and the cosmic microwave background.

The LMT has a bent Cassegrain optical system with a 50m-diameter reflecting primary surface (M1) formed by 180 segments distributed in five concentric rings. The number of segments in the rings, from the center of the dish to the outside, are: 12, 24 and 48 in the three outermost rings. Each segment is connected to the structure of the telescope through four actuators, allowing for an active reflecting primary surface. In addition, each segment is formed by eight precision electro-formed nickel sub-panels. The reflecting secondary surface (M2) has a 2.6-m diameter, also built by nine electro-formed nickel sub-panels, and is attached to the telescope with an active hexapod that allows precise focus, lateral offsets, and tilts. The hexapod is attached to the telescope through a metal tetrapod. Finally, the reflecting tertiary surface (M3) is almost flat, elliptical with a 1.6-m major axis and delivers the light beam to the receivers.

History
INAOE and UMass-Amherst signed the agreement to develop the Large Millimeter Telescope project on 17 November 1994, but construction of the telescope did not begin until 1998. The first observations were taken in June 2011 at 1.1 and 3 mm using the AzTEC camera and Redshift Search Receiver (RSR), respectively. In May 2013, the Early Science phase began, producing over a dozen scientific articles. The official name of the LMT was changed to "Large Millimeter Telescope Alfonso Serrano" on 22 October 2012 in order to honour the initiator of the project, Alfonso Serrano Pérez-Grovas.

Instrumentation
The set of LMT instrumentation is built by heterodyne receivers and broad-band continuum cameras, some of them still under development:

Broad-band continuum

 * TolTEC

TolTEC is a three-band imaging polarimeter which completed laboratory testing and was installed on the LMT in December of 2021, later undergoing commissioning in several phases up to 2023. TolTEC can image the sky at three (1.1, 1.4 and 2.1 millimetre) bands simultaneously using 7000 polarization-sensitive kinetic inductance detectors (KIDs). Each TolTEC observation produces nine independent images - measuring total intensity (I) and two Stokes parameters (Q and U) in all three bands. Because of the nearly ubiquitous presence of dust in our universe, TolTEC's science reach includes cosmology, the physics of clusters, galaxy evolution and star-formation along the history of the Universe, the relation between the star-forming process and the molecular clouds, small bodies of the Solar System, and much more. The instrument is designed to be capable of rapid mapping of the sky and is capable of a rate of mapping in excess of eight times greater than the decommissioned AzTEC instrument. The TolTEC Project is funded by the National Science Foundation (NSF).

Heterodyne Receivers

 * SEQUOIA

SEQUOIA operates in the range 85–116 GHz band using a cryogenic focal-plane array of 32 pixels arranged in dual-polarized 4×4 arrays fed by square horns separated by 2 fλ. The arrays are cooled to 18K and use low-noise Indium Phosphide (InP) monolithic microwave integrated circuit (MMIC) preamplifiers designed at UMass to provide a characteristic receiver noise of 55K in the range 85–107 GHz, increasing to 90K at 116 GHz.

 * Redshift Search Receiver (RSR)

A novel MMIC-based receiver designed to maximize the instantaneous receiver bandwidth to cover the 90 GHz atmospheric window from 75 to 110 GHz in a single tuning. The receiver has four pixels arranged in a dual-beam and dual polarized configuration. Orthogonal polarizations are combined in waveguide-based orthomode transducers. Beam-switching at 1 kHz on the sky is achieved using a fast Faraday rotation polarization switch and a wire-grid to interchange the reflected and transmitted beams to each receiver. This ultra-wide-band receiver typically achieves noise temperatures < 50K between 75 and 110 GHz. The Redshift Search Receiver has exceptional baseline stability because it does not involve mechanical moving parts, therefore being well-suited to the detection of redshifted transitions of the CO ladder from star-forming galaxies at cosmological distances. An innovative wide-band analog autocorrelator system which covers the full 38 GHz with 31 MHz (100 km/s at 90 GHz) resolution serves as the backed spectrometer.

Decommissioned

 * AzTEC

The AzTEC millimetre camera was developed to operate at 1.1mm. It is formed by a 144 silicon nitride micromesh bolometer array arranged in a compact hexagonal package and fed by an array of horns separated by 1.4 fλ. The detectors are cooled down to ~250 mK inside a 3He closed-cycle cryostat, achieving a ~3 mJy Hz-1/2 pixel sensibility. The AzTEC field of view at the LMT is 2.4 arcminutes square and manages to take completely sampled images through telescope or reflecting secondary surface movements.

title: Large Millimeter Telescope


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Mahishasura

Mahishasura (महिषासुर, ) is a bovine asura in Hinduism. He is depicted in Hindu literature as a deceitful demon who pursued his evil ways by shape-shifting. Mahishasura was the son of the asura Rambha and a she-buffalo named Mahisi. He was ultimately killed by the goddess Durga with her trishula (trident) after which she gained the epithet Mahishasuramardini ("Slayer of Mahishasura"). Mahishasura had a son named Gajasura.

The Navaratri ("Nine Nights") festival eulogises this battle between Mahishasura and Durga, culminating in Vijayadashami, a celebration of his ultimate defeat. This story of the "triumph of good over evil" carries profound symbolism in Hinduism, particularly Shaktism, and is both narrated as well as reenacted from the Devi Mahatmya at many South and Southeast Asian Hindu temples.

The Mahishasura Mardini Stotra by Adi Shankara was written to commemorate her legend.

Legend
Mahishasura is a Sanskrit word composed of Mahisha meaning "buffalo" and asura meaning "demon", translating to "buffalo demon". As an asura, Mahishasura waged war against the devas, as the devas and asuras were perpetually in conflict. Mahishasura had gained the boon that no man could kill him. In the battles between the devas and the demons (asuras), the devas, led by Indra, were defeated by Mahishasura. Subjected to defeat, the devas assembled in the mountains where their combined divine energies coalesced into the goddess Durga. The newborn Durga led a battle against Mahishasura, riding a lion, and killed him. Thereafter, she was named Mahishasuramardini, meaning The Killer of Mahishasura. According to the Lakshmi Tantra, it is the goddess Lakshmi who slays Mahishasura instantaneously, and extolling her feat is described to offer everlasting supremacy. Mahishasura's legend is told in the major texts of the Shaktism traditions known as the Devi Mahatmya, which is part of Markandeya Purana. The story of Mahishasura is told in the chapter where Markandeya is narrating the story of the birth of Savarnika Manu. Per the Markandeya Purana, the story of Mahishasura was narrated in the second Manvantara (approximately 1.3 billion years ago, as per the Vishnu Purana) by Maharishi Medha to a king named Suratha. Mahishasura is described as an evil being who can change his outer form, but never his demonic goals. According to Christopher Fuller, Mahishasura represents the forces of ignorance and chaos hidden by outer appearances. The symbolism is carried in Hindu art found in South Asia and South-East Asia (e.g., Javanese art), where Durga is shown as a serene, calm, collected and graceful symbol of good as she pierces the heart and kills the scared, overwhelmed and outwitted Mahishasura.

Art
Durga slaying Mahishasura is a prominent theme which was sculpted in various caves and temples across India. Some of the prominent representations are seen at the Mahishasuramardini caves in Mahabalipuram, the Ellora Caves, in the entrance of Rani ki vav, Hoysaleswara Temple in Halebidu and many more temples across India. The worship of Durga during Durga Puja in Bihar, West Bengal, Jharkhand, Odisha and other eastern states is represented in Pandal which depict Durga killing Mahishasura. The legend of Mahishasura has also been inspiration for films, plays and dance dramas.

Etymology of Mysore
The popular legend is that Mysore (Mahishooru) gets its name from Mahishasuramardini, a manifestation of goddess Durga. The buffalo demon Mahishasura, states the regional tradition, had terrified the local population. It is believed that goddess Durga (Chamundeshwari) killed Mahishasura on top of the Chamundi Hills. The spot was constructed as the Chamundeshwari Temple in Mysuru, an event that is annually celebrated at Navaratri and Mysuru Dasara. The British Era in India saw the name of "Mahishooru" change to "Mysore" and later Kannadized into "Mysuru".

The temple of the city's guardian deity, Chamundeshvari, has a giant statue of Mahishasura on the hill facing the city. The earliest mention of Mysore in recorded history may be traced to 245 B.C., i.e., to the period of Ashoka when on the conclusion of the third Buddhist convocation, a team was dispatched to Mahesha Mandala.

title: Mahishasura


text:
Aerocar International

Aerocar International was a roadable aircraft manufacturer, founded by Moulton Taylor in Longview, Washington. Work continued until the late 1960s, when changing legislation made Taylor's designs impractical.

History and background
Moulton Taylor was a former naval commander, and is credited with flying and demonstrating the first guided missile. In 1947, he produced the first conceptual drawings for the Aerocar, and in 1948, he began development. The first model built was backed with a $50,000 investment from 49 investors. The first Aerocars were manufactured on a custom basis, and were priced at $12,000, approximately $7000 more than the cheapest light plane in 1951. There were seven Aerocars built from 1950 through 1967, in two different versions. The interior in both versions were cramped, with only fourteen cubic feet of baggage space over the engine compartment. Aerocar I had the capability to cruise at 100+ mph and its range was 300 miles on a 23.5 gallon fuel tank. On the road, its speed was 55-60 mph.

Moulton wanted to mass produce the Aerocar in order to make it more affordable, so he entered into an agreement with Ling-Temco Enterprises in 1961, in Dallas, Texas for production. According to Moulton, the company accepted $278,000 in pre-order deposits and absconded with the money. Taylor sued the company and was involved in a two-year lawsuit in an attempt to retrieve the money. Taylor was never successful in producing the Aerocar on a mass scale, he says, because of the Federal Aviation Administration and their costly regulations, which would govern the industry.

Aircraft

 * Aerocar I (1949) – Single-engine two-seat roadable aircraft. 135 hp aircraft engine
 * Aerocar Aero-Plane (1964) – Aircraft-only derivative of Aerocar I. 143 hp aircraft engine
 * Aerocar III – Reworked fuselage derivative of Aerocar I. 143 hp aircraft engine. One produced
 * Aerocar Coot (1969) – Single-engine two-seat floatplane with pusher propeller
 * Aerocar IMP – Single-engine four-seat pusher aircraft
 * Aerocar Mini-IMP – Single-engine single-seat smaller version of IMP
 * Aerocar Bullet – Single-engine two-seat version of IMP
 * Aerocar Micro-IMP (1981) – Single-engine single-seat smaller version of Mini-IMP
 * Aerocar Ultra-IMP (1987) – Development of Micro-IMP with ultralight aircraft engine. One produced

title: Aerocar International


text:
Talk:Everolimus

Please, I work with transplats persons I will receive more information about the best therapy, sirolimus or verlimus, and if you have a comparative study betwen these two medications.

Thanks This page is very helpfull. r2ro_99@yahoo.com

Xience
Should we move the stuff about Xience V into a new Xience V article ? If we do it would be easier to expand it without overwhelming this Everolimus article. Rod57 (talk) 00:46, 7 September 2008 (UTC)

Everolimus Structure
I believe that there is an error in the structure shown for everolimus. I believe that the methyl group on the ethylene bridge between the lactone and the cyclohexyl ring should be in the R configuration (solid wedge).

F. R. Green III (talk) 15:59, 24 December 2009 (UTC)
 * Yes, you're right. I'll correct the structure as soon as possible. Fvasconcellos (t·c) 16:10, 24 December 2009 (UTC)

Need more on Kidney cancer
Probably approved also in Europe for advanced renal cell carcinoma. Rod57 (talk) 20:20, 28 April 2011 (UTC)

Novartis investigating use as anti-aging drug
". . . Novartis has completed a successful pilot trial examining its cancer drug everolimus as a potential treatment to reverse immunosenescence, or the gradual deterioration of the immune system that occurs with age and is a major cause of disease and death."

http://www.voanews.com/content/reu-drugmakers-push-boundaries-old-age/2510089.html

(Similar content appeared in the Baltimore Sun for 11/13/2014 in an article headlined "Drugmakers look to push bounds of aging." Couldn't find that online 11/13; sometimes articles from the Sun are posted online a couple of days after their appearance in the hard-copy newspaper.)

Jo3sampl (talk) 13:32, 13 November 2014 (UTC)

Adverse reactions
They seem common and often serious so I've added a report from one trial but really it needs a more comprehensive summary eg from some reviews covering a wider range of trials and conditions. - Rod57 (talk) 00:41, 29 February 2016 (UTC)

Specification on typography
Just wished to enquire why some brand names are italicized and some bold. Zuke Denvar (talk) 04:19, 13 June 2019 (UTC)

The Anti-Aging feature of this drug deserves more recognition
It's a highly significant advancement in medicine, and can cause a 440% lifespan increase in mice and its suggested this is the case for humans too. doi:10.1007/s11357-020-00274-1 p1139. It should be the most significant part of the page in my opinion. It has attention from harvard medical school doi:10.1016/j.cmet.2014.01.001 and its recognised by the ageing institute. this is well worth having a vaccine style rollout with. 141.195.131.11 (talk) 03:18, 27 September 2023 (UTC)

title: Talk:Everolimus


text:
Olt (river)

The Olt (Romanian and Hungarian; Alt; Aluta or Alutus, Oltu, Ἄλυτος Alytos) is a river in Romania. It is 615 km long, and its basin area is 24050 km2. It is the longest river flowing exclusively through Romania. Its average discharge at the mouth is 174 m3/s. It originates in the Hășmaș Mountains of the eastern Carpathian Mountains, near Bălan, rising close to the headwaters of the river Mureș. The Olt flows through the Romanian counties of Harghita, Covasna, Brașov, Sibiu, Vâlcea, and Olt. The river was known as Alutus or Aluta in Roman antiquity. Olt County and the historical province of Oltenia are named after the river.

Sfântu Gheorghe, Râmnicu Vâlcea and Slatina are the main cities on the river Olt. The Olt flows into the Danube river near Turnu Măgurele.

Settlements
The main cities along the river Olt are Miercurea Ciuc, Sfântu Gheorghe, Făgăraș, Râmnicu Vâlcea and Slatina.

The Olt passes through the following communes, from source to mouth: Bălan, Sândominic, Tomești, Cârța, Dănești, Mădăraș, Racu, Siculeni, Ciceu, Miercurea Ciuc, Sâncrăieni, Sântimbru, Sânsimion, Tușnad, Băile Tușnad, Bixad, Micfalău, Malnaș, Bodoc, Ghidfalău, Sfântu Gheorghe, Ilieni, Prejmer, Hărman, Vâlcele, Bod, Feldioara, Hăghig, Măieruș, Belin, Apața, Aita Mare, Ormeniș, Baraolt, Augustin, Racoș, Hoghiz, Ungra, Comăna, Părău, Șercaia, Mândra, Făgăraș, Beclean, Voila, Viștea, Ucea, Arpașu de Jos, Cârța, Porumbacu de Jos, Avrig, Racovița, Tălmaciu, Turnu Roșu, Boița, Câineni, Racovița, Brezoi, Călimănești, Dăești, Bujoreni, Râmnicu Vâlcea, Budești, Mihăești, Galicea, Băbeni, Ionești, Olanu, Drăgoești, Orlești, Dobroteasa, Prundeni, Vulturești, Verguleasa, Drăgășani, Voicești, Teslui, Grădinari, Strejești, Curtișoara, Pleșoiu, Găneasa, Olt, Slatina, Slătioara, Milcov, Piatra-Olt, Brâncoveni, Ipotești, Osica de Sus, Coteana, Fălcoiu, Mărunței, Drăgănești-Olt, Fărcașele, Stoenești, Dăneasa, Gostavățu, Sprâncenata, Băbiciu, Scărișoara, Rusănești, Cilieni, Tia Mare, Izbiceni, Lunca, Giuvărăști and Islaz.

Tributaries
The following rivers are tributaries of the river Olt (from source to mouth):

 * Left: Mediaș, Fântâna lui Gal, Sedloco, Babașa, Șoarecu, Cad, Racul, Nicolești, Delnița, Pustnic, Fitod, Fișag, Tușnad, Vârghiș, Valea Roșie, Micfalău, Pârâul Urșilor, Malnaș, Hereț, Talomir, Râul Negru, Valea Neagră, Ghimbășel, Bârsa, Homorod (Ciucaș), Crizbav, Valea Cetății (Rotbav), Valea Seacă, Hotaru, Măieruș, Bozom, Valea Lungă, Remetea, Ormeniș, Top, Valea Cetății (Racoș), Valea Mare, Bogata, Lupșa, Comana, Veneția, Părău, Găvan, Șercaia, Urăsa, Mândra, Iaz, Sebeș, Racovița, Hurez, Săvăstreni, Netot, Dridif, Breaza, Sâmbăta, Racovița, Drăguș, Hotarul, Viștea, Corbul Viștei, Corbul Ucei, Ucea, Racovița, Gârlățel, Gostaia, Arpaș, Valea Neagră, Cârțișoara, Opat, Scorei, Sărata, Porumbacu, Avrig, Mârșa, Racovița, Sebeș, Strâmba, Rândibou, Curpăn, Valea Satului, Boia Mare, Pârâul Sec, Băiaș, Lotrișor, Văratica, Păușa, Valea Satului, Sălătrucel, Alunoasa, Valea Satului, Sâmnic, Aninoasa, Pârâul Ruzii, Topolog, Ursana, Stăneasa, Geamăna, Cungra, Sterpul, Cepturaru, Surduiu, Cungrișoara, Recea, Racovăț, Teslui, Strehareți, Milcov, Cinculeasa, Oboga, Dârjov, Iminog
 * Right: Sipoș, Lunca Mare, Lunca, Modicea, Mădărașul Mare, Șopot, Var, Segheș, Știuca, Beta, Capolnaș, Techera, Valea Mare, Chendreș, Valea Merilor, Chereș, Pârâul Mare, Mitaci, Răchitiș, Calnic, Valea Crișului, Arcuș, Valea Porumbelor, Debren, Valea Sâmbrezii, Ilieni, Baciu, Vâlcele, Hăghig, Iarăș, Corlat, Belinul Mare, Valea Adânca, Aita, Valea Mateiașului, Pârâul Adânc, Căpeni (Chepeț), Baraolt, Cormoș, Pârâul Sărat, Homorod, Dăișoara, Crăița, Ticuș, Felmer, Galați, Poenița, Cincu, Golbav, Pârâul Nou, Valea Fermelor, Brad, Cibin, Pleașa, Megieș, Lotrioara, Vad, Valea Largă, Valea lui Vlad, Uria, Robești, Sărăcinești, Călinești, Lotru, Lotrișor, Căciulata, Valea Căldărilor, Muereasca, Bujoreanca, Olănești, Pârâul Sărat, Govora, Focșa, Bistrița, Luncavăț, Nisipoasa, Pesceana, Oporelu Canal, Oltișor, Olteț, Teslui, Caracal, Vlădila, Suhat, Crușov

Dams
For supply of drinking water and water for irrigation and for the production of hydroelectricity, 44 reservoirs have been built in the Olt river basin. There are 24 reservoirs for hydropower on the river Olt itself, and three on its tributary Lotru. There are hydropower plants at (from source to mouth) Voila, Viștea, Arpaș, Scoreiu, Avrig, Gura Lotrului, Turnu, Călimănești, Dăești, Râmnicu Vâlcea, Râureni, Govora, Băbeni, Ionești, Zăvideni, Drăgășani, Strejești, Arcești, Slatina, Ipotești, Drăgănești, Frunzaru, Rusănești and Izbiceni. The total energy production of the 43 hydropower plants in the Olt basin was 2,980 GWh in 1996.

Gallery

 * More pictures: Raft ride (rafting) on Olt

title: Olt (river)


text:
Edna Best

Edna Clara Best (3 March 1900 – 18 September 1974) was a British actress.

Early life
Born in Hove, Sussex, England, she was educated in Brighton and later studied dramatic acting under Miss Kate Rorke who was the first professor of Drama at the Guildhall School of Music and Drama, London.

Career
Edna Best was known on the London stage before she entered films in 1921, having made her debut at the Grand Theatre, Southampton, in Charley's Aunt in 1917. She also won a silver swimming cup as the lady swimming champion of Sussex. She appeared with husband Herbert Marshall in John Van Druten's 1931 play There's Always Juliet on both Broadway and London.

For Gainsborough Pictures, she starred in the melodramas Michael and Mary and The Faithful Heart alongside her husband. She is best remembered for her role as the mother in the original 1934 film version of Alfred Hitchcock's The Man Who Knew Too Much. Her subsequent roles were a mixture of British and Hollywood productions. Her other film credits include Intermezzo: A Love Story (1939), Swiss Family Robinson (1940), The Late George Apley and The Ghost and Mrs. Muir (both 1947), and The Iron Curtain (1948).

Best received a nomination for an Emmy Award in 1957 for her role in This Happy Breed. She had appeared on television as early as 1938 in a live production of Love from a Stranger, adapted from the Agatha Christie short story "Philomel Cottage" by Frank Vosper.

Personal life
Best was married three times and divorced twice.

Her first marriage to William Seymour Beard ended in divorce in 1928. The London Divorce Court gave Beard custody of the couple's twins (James and John Beard ) in granting the divorce "owing to the misconduct of his wife, Miss Best, with Mr. Marshall." The Mr. Marshall was actor Herbert Marshall, whose divorce from Hilda Lloyd Marshall ("owing to the misconduct of her husband ... with ... Miss Edna Best") was granted in the same court session. Best later was married to Marshall from 28 November 1928 until 1940, and they had a daughter, actress Sarah Marshall. She married talent agent Nat Wolff on 7 February 1940 in Las Vegas. The judge "who granted the divorce [from Marshall] after a five-minute closed hearing, performed the marriage a few minutes later."

Best suffered a stroke in 1959.

Recognition
In 1960, Best was inducted into the Hollywood Walk of Fame with a motion pictures star located at 6124 Hollywood Boulevard.

Death
She died in Geneva, Switzerland in 1974 at age 74.

Filmography

 * Tilly of Bloomsbury (1921) - Tilly Welwyn
 * A Couple of Down and Outs (1923) - Molly Roarke
 * Sleeping Partners (1930) - She
 * Loose Ends (1930) - Nina Grant
 * Escape (1930) - Shingled Lady
 * Beyond the Cities (1930) - Mary Hayes
 * The Calendar (1931) - Jill Panniford
 * Michael and Mary (1931) - Mary Rowe
 * The Faithful Heart (1932) - Blackie Anderway / Blackie's Daughter
 * The Key (1934) - Norah Kerr
 * The Man Who Knew Too Much (1934) - Jill Lawrence
 * South Riding (1938) - Sarah Burton
 * Prison Without Bars (1938) - Yvonne Chanel
 * Intermezzo (1939) - Margit Brandt
 * Swiss Family Robinson (1940) - Elizabeth Robinson
 * This Man Reuter (1940) - Ida Magnus
 * The Late George Apley (1947) - Catherine Apley
 * The Ghost and Mrs. Muir (1947) - Martha Huggin
 * The Iron Curtain (1948) - Mrs. Albert Foster

title: Edna Best


text: Category:The Donnas albums

title: Category:The Donnas albums


text:
Gold Medal (album)

Gold Medal is the sixth studio album by American rock band the Donnas, released on 26 October 2004 through Atlantic Records. Leading up to an appearance at the Lollapalooza 2003 festival, drummer Torry Castellano suffered from De Quervain Tendonitis, prompting wrist surgery. The band began rehearsing slower-tempo material, allowing guitarist Allison Robertson to experiment with her playing style. Following a false-start with Scott Litt, the band started working with producer Butch Walker. Sessions were held at Black in Back and Conway Recording Studios, Hollywood, California in June and July 2004. Gold Medal is a hard rock album that continues the sound of their fifth studio album Spend the Night.

Gold Medal received generally favourable reviews from music critics, some praising the band's musicianship and specifically highlighting Robertson's guitar playing, while others felt it lacked lyrical substance. The album sold over 13,000 copies in its first week of release, peaking at number 76 on the Billboard 200. "Fall Behind Me" was released as the lead single in October 2004, and the band promoted the album with the US tour at the end of 2004. "I Don't Want to Know (If You Don't Want Me)" was released as the second single from the album in March 2005, which was followed by a supporting slot for Maroon 5 on the Honda Civic Tour.

Background and recording
The Donnas released their fifth studio album Spend the Night in October 2002. Its lead single "Take It Off" peaked at number 17 on the Billboard Modern rock radio chart. Their profile grew when they appeared on covers for magazines, as well as perform on TV shows such as Saturday Night Live and Total Request Live. In preparation for Lollapalooza 2003, drummer Torry Castellano began suffering from De Quervain Tendonitis. They continued touring with Castellano receiving cortisone injections, until she reached the point where she was forced to stop playing. The band took an extended break from touring from September 2003 as Castellano had wrist surgery. Post-operation, they started rehearsing material for their next album in 2004, opting to play slower-tempo songs as Castellano was still recovering. Guitarist Allison Robertson said this choice allowed her to "explore parts that had more funk and feeling" to them.

Around this time, the band's label Atlantic Records was undergoing personnel changes stemming from the company's owner Warner Music Group switching investors. The band met with several people, before landing on Scott Litt; they travelled from the Bay Area to Los Angeles to start pre-production with him in January 2004. They liked his work with R.E.M. and assumed the partnership would be a good experience based on prior conversations they had. though any work proved fruitless. Upon meeting up, the band realised Litt wanted a different sound than what they were aiming for. From a selection of four-to-five people, they came across Butch Walker, who had recently completed sessions with Avril Lavigne. He was aware there had been some form of disagreement between Litt and the band, and that they wanted to show some growth as a unit.

Walker and the band spent sometime discussing music they liked growing up and what they wanted to takeaway from their influences. In June and July 2004, the band and Walker recorded drums at Black in Back studio, before moving to Conway Recording Studios in Hollywood, California. Paul David Hager served as the main engineer throughout recording, while Seth Waldman, Tony Rambo and Lars Fox acted as assistant engineers. As Castellano was still recovering, the rest of the band recorded their parts first. Chris Lord-Alge mixed the recordings at Image Recording Studios, also in Hollywood, with assistant engineers Keith Armstrong and Dmitar Kranjaic. Emily Lazar then mastered the album at The Lodge in New York City, with assistant engineer Sarah Register.

Composition
Gold Medal continues the hard rock sound of Spend the Night; while influences from AC/DC and the Ramones can still be heard, the band also incorporate portions from Alice Cooper, Golden Earring and Steppenwolf. Uncut writer Stephen Dalton described it as 1970s rock "pastiche meets revved-up sugar-rush melodies, cynical teen-romance lyrics and knowingly dumb sexual innuendo". Bassist Maya Ford Spend the Night was "all fast and hard [...] we limited ourselves"; for Gold Medal, they decided they "should do just what ever we want to do and experiment". Discussing the album's title, Robertson said: "To us, it's going for what we think is the gold. On each song we just went with what sounded best instead of going, 'Oh, the Donnas would never do that.. They collaborated together instead of letting one individual do a bulk of the writing, resulting in a more melodic sound, aided by Walker's past production work with Lavigne and Simple Plan.

The opening track to Gold Medal, "I Don't Want to Know (If You Don't Want Me)", talks about a disintegrating relationship and is reminiscent of the work of Ash. It is followed by the mid-tempo hard rock track "Friends Like Me", which evokes the sound of the Stooges and the Who. The metallic "Don't Break Me Down" discusses trying to make a relationship work after having moved on quickly from past partners. "Fall Behind Me" recalls the band's earlier sound, while being compared to the work of the Cult; it starts off akin to Status Quo, switching to "Rocket Queen" (1987) by Guns N' Roses. Robertson said it dealt with bands that get ahead of others by luck, only to be forgotten in a short timeframe thereafter. The softer-sounding "Is That All You've Got for Me" marked the first time the band uses acoustic guitars in their music, adding elements of rockabilly. Unlike the rest of the album, "The Gold Medal" features a piano and acoustic guitar break in lieu of an electric guitar solo. Ford referred to the song as a fuck you' to San Francisco. We live there, but have never really fitted into the city". The blues-indebted "Out of My Hands" tackles the theme of a long-distance relationship. Kel Munger of News & Review said the power ballad "Revolver" is an "ode to love gone truly, truly bad".

Release
On August 9, 2004, Gold Medal was announced for release in two months' time; a few days later, a music video was filmed for "Fall Behind Me" in Los Angeles, California. They played a small number of club shows on the West Coast, prior to appearing at the Reading and Leeds Festivals in the UK. "Fall Behind Me" was posted online on September 1, 2004, and was released as a single on 11 October 2004. Gold Medal was released on October 26, 2004; coinciding with this, the band members dropped their Ramones-esque stage names in favor of their actual names. Initial promotion was focused on reaching fans through online advertisements and listening parties.

Gold Medal was one of the first albums released in the DualDisc format, alongside Still Not Getting Any... (2004) by Simple Plan, but was recalled due to a mastering error on the CD side of the album. Warner Music Group provided the affected song on the band's website and allowed buyers to return it for a standard CD copy. The DVD side of it included the album in 5.1 surround sound, the music video for "Fall Behind Me", a behind-the-scenes feature on that video, in addition to lyrics for the album's tracks. The band embarked on a tour of the US throughout November 2004, with support from the Von Bondies and the Starlite Desperation. In January 2005, the band performed at Big Day Out in Australia. On January 26, 2005, the music video for "I Don't Want to Know (If You Don't Want Me)" was posted online. The track was released as a single on 7 March 2005. That same month, the band performed at the South by Southwest music conference. They then supported Maroon 5 on the Honda Civic Tour until May 2005.

Reception
Gold Medal was met with generally favourable reviews from music critics. At Metacritic, the album received an average score of 70, based on 22 reviews.

AllMusic reviewer Zac Johnson said that what the band "lack in 'wall of sound' noise attack they've made up for in nuance; the basslines have never been more intricate, [...] and the whole album sports the most terrific production of any Donnas record to date". This Is Fake DIY reviewer Stephen Ackroyd compliment their "smooth, thought out, structured" sound, with tracks that were "less vitriolic, more melodic". Entertainment Weekly writer David Browne added to this: "With their well-scrubbed sound [...] and Anderson's evenkeeled delivery, the Donnas are now a likable, proficient band". Anthony Miccio of Stylus Magazine added to this by writing that they seem "incapable of playing in anything but the key of badass", and The Japan Times' Philip Brasor said it relied more on "craft than attitude".

The staff at Pitchfork wrote that Robertson's guitarwork has improved with each subsequent release, "gut here she's really tearing it up, giving Gold Medal a more dynamic feel". Rolling Stone Jenny Eliscu expanded on this, writing that Robertson was "wailing on solos that would make AC/DC's Angus Young proud". PopMatters editor Adam Williams said Robertson "anchors the album with muscular riffs throughout". Lollipop Magazine writer Ari M. Joffe, on the other hand, said Robertson's "blazing guitar playing" had been "either completely stripped away, or toned way down". The staff said at E! Online said the "tempos are sluggish and the lyrics are emotionally vacant". Pitchfork shared a similar sentiment, stating: "The recycled riffs and too-easy lyrical cheese are occasionally still in play". Dalton said that while they be "shamelessly role-playing their Joan Jett schtick," the band "still out-rock earnest retrobores like Jet and Kings Of Leon".

The Austin Chronicle Christopher Gray praised the members for being confident musicians, however, they had switched from "carefree party girls to jaded cynics practically overnight". Rock Hard reviewer Marcus Schleutermann wrote that what they had "undoubtedly gained in profile," they had "lost the obvious hit factor". Joffe said the album was "devoid of any of the grit the band once possessed", coming across as formulaic. Exclaim! writer Liz Worth said the album "gives off a clean, pop-studded sound, but falls a little flat" when compared to their previous works, and aside from a few highlights, "much of the album blurs together". The Guardian Dorian Lynskey wrote that whether the change is sound has "done them good, though, is debatable", spotlighting the "lyrical sourness [that has become] less bothersome than their AC/DC posturing".

Spend the Night was successful at MTV and radio, and co-manager Molly Neuman hoped Gold Medal would do as well. It sold over 13,000 copies in its first week of release, reaching number 76 on the Billboard 200. By June 2007, the album has sold 87,000 copies in the US; 79,000 of these were sold in its first year, under-selling Spend the Night first year sales of 360,000. Neuman theorised that the latter had a "real pop visibility and a pop fan base. But that's a transient fan base—they love it and then leave it. They're not going to be lifelong fans". She also attributed the drop to the failure of the DualDisc format, which she felt may have dismayed fans.

Track listing
All songs written by the Donnas.

 * 1) "I Don't Want to Know (If You Don't Want Me)" – 3:47
 * 2) "Friends Like Mine" – 3:38
 * 3) "Don't Break Me Down" – 3:31
 * 4) "Fall Behind Me" – 3:23
 * 5) "Is That All You've Got for Me" – 3:00
 * 6) "It's So Hard" – 2:20
 * 7) "The Gold Medal" – 2:13
 * 8) "Out of My Hands" – 2:47
 * 9) "It Takes One to Know One" – 2:58
 * 10) "Revolver" – 3:30
 * 11) "Have You No Pride" – 2:54

Personnel
Personnel per booklet.

The Donnas
 * Brett Anderson – vocals, piano
 * Torry Castellano – drums, percussion, backing vocals
 * Maya Ford – bass, backing vocals
 * Allison Robertson – guitars, backing vocals

Design
 * Greg Gigendad Burke – art direction, design
 * James Jean – cover illustration
 * Katrina Dixon – photography
 * Sam Buffa – studio photography
 * Charlie Becker – logo

Production
 * Butch Walker – producer
 * Paul David Hager – engineer
 * Seth Waldman – assistant engineer
 * Tony Rambo – assistant engineer
 * Lars Fox – assistant engineer
 * Chris Lord-Alge – mixing
 * Keith Armstrong – assistant engineer
 * Dmitar Kranjaic – assistant engineer
 * Emily Lazar – mastering
 * Sarah Register – assistant engineer

title: Gold Medal (album)


text:
Talk:Rose O'Neal Greenhow

Ishbel Ross Book References
Few questions I had regarding this page verus Ishbel Ross's account in Rebel Rose. Rebel Rose only mentions the four daughters (pg. 4) rather than eight children. It also mentions her prison room faced the prison yard (pg. 169) rather than a view that could be seen from the street. Lastly it lists that a small notebook was found in a small purse of O'Neal's upon her death and discovery on shore (pg. 237), but says nothing of searchers finding a copy of Imprisonment. SarahPML (talk) 21:43, 17 July 2013 (UTC)

Untitled
How old was Rose O'Neal Greenhow when she finished her goals?

She didn't, she died! Duh! She was 47 when she died.

Some info from "American Civil War spies" that I didn't see in this article: "The Greenhows had four daughters : Florence, Gertrude, Leila, and "Little" Rose. Tragedy struck the family when Greenhow's husband died falling off an elevated sidewalk in California and succumbing to internal soon after little Rose's birth. After his death, Greenhow saw her oldest child Florence move west, and later, just before the Civil War, Gertrude died. Greenhow's sympathy for the Confederate cause grew after her husband's death. She was strongly influenced in her commitment to the right to secession by her friendship with John C. Calhoun. Greenhow's loyalty to the Confederacy was noted by those with similar sympathies in Washington, and she was soon recruited as a spy." —Preceding unsigned comment added by Srfrantz (talk • contribs) 13:51, 19 October 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 16:06, 9 November 2007 (UTC)

Rose's early life
Was her father murdered by slaves?

According to Rose O'Neal Greenhow's biography, a personal slave Jacob was with Rose's father who was a well-known drunk.on the night when Mr O'Neal died. Mr O'Neal sent Jacob on ahead to tell the staff to make ready for Mr. O'Neal's return, which Jacob did. After a time, when Mr O'Neal did not return home, Jacob went back and found Mr O'Neal dead, having fallen from his horse and hit his head. Jacob had a trial and pleaded not guilty when he was charged with the murder, but no case involving a white man and a slave had ever ended in favor of the slave when a white man died and Jacob was hung for the murder of his master.

It would be a falsehood to state that Mr O'Neal was murdered by his slaves, no matter what the record may say because we have to consider the time at which this unfortunate event took place. There is a 50/50 chance at the very least that Mr. O'Neal died from the fall and was not murdered.

Janeey51@aol.com — Preceding unsigned comment added by 205.167.3.23 (talk) 22:53, 21 January 2013 (UTC)

 * Thanks for the clarification - do you have a page reference for the cite? And which biography was this in? Sounds like the recent one might have been more interested in correcting the record about "slave murders". I've marked numerous places in the article that have details that appear to come from the biography. If you have access, it would help readers if you would add the page numbers where material is found. Thanks!Parkwells (talk) 17:01, 26 May 2013 (UTC)

THE WOMAN AND HER FAMILY ARE AS EVIl AS hITLER  — Preceding unsigned comment added by 67.174.191.14 (talk) 18:57, 20 November 2018 (UTC)

Birthdate?
In the main article, her date of birth is given as 1817, but in the lede, it is '1813 or 1814'. Can we be consistent? 86.148.132.157 (talk) 19:06, 16 March 2013 (UTC)
 * We should identify the sources for the differing dates. I think the Library of Congress cite has 1813 or 1814; don't know the source of 1817, or what kind of record it's based on.Parkwells (talk) 17:04, 26 May 2013 (UTC)

 * It was the other way around - Blackman had "1813 or 1814", with associated data (year of O'Neals' marriage) that made it appear to be based in fact. I've used this, with a note as to NARA bio (it also had a different place of birth, but Fishel also had O'Neal Greenhow born in Montgomery County.)Parkwells (talk) 02:07, 27 May 2013 (UTC)

Rose's Death
Rose was on a boat along with many other passengers. When the sailors thought, (or did) see a Yankee Craft pursuing their ship she demanded a life boat for her and two other Confederates. She had gotten gold from a book she had written and her money was sewn into her dress. When the other boat was driven to the ground, her life boat flipped and because she was weighed down she drowned. People found her the next day and there was a full military ceremony, (funeral) 192.171.219.146 (talk) 20:43, 7 March 2023 (UTC)

Rose's Death
Rose was on a boat along with many other passengers. When the sailors thought, (or did) see a Yankee Craft pursuing their ship she demanded a life boat for her and two other Confederates. She had gotten gold from a book she had written and her money was sewn into her dress. When the other boat was driven to the ground, her life boat flipped and because she was weighed down she drowned. People found her the next day and there was a full military ceremony, (funeral) 192.171.219.146 (talk) 20:44, 7 March 2023 (UTC)

title: Talk:Rose O'Neal Greenhow


text:
Körös

The Körös or Criș  (German: Kreisch) is a river in eastern Hungary and western Romania. Its length is 128.6 km from the confluence of its two source rivers Fehér-Körös (Crișul Alb) and Fekete-Körös (Crișul Negru) to its outflow into the Tisza. Its drainage basin area is 27,537 km2. It has three source rivers, all with their origin in the Apuseni Mountains in Transylvania, Romania: Crișul Alb (Fehér-Körös), Crișul Negru (Fekete-Körös) and Crișul Repede (Sebes-Körös). The confluence of the rivers Fehér-Körös (Crișul Alb) and Fekete-Körös (Crișul Negru) is near the town Gyula. The Körös downstream from Gyula is also called the Kettős-Körös (Hungarian for "double Körös"). 37.3 km further downstream, near Gyomaendrőd, the Sebes-Körös (Crișul Repede) joins the Körös/Criș. The section downstream from Gyomaendrőd is also called the Hármas-Körös (Hungarian for "triple Körös"). The Körös flows into the Tisza River near Csongrád.

It was known in antiquity as the "Chrysus", Crisus, Crisia, Grisia, or Gerasus.

title: Körös


text:
Luxury tax

A luxury tax is a tax on luxury goods: products not considered essential. A luxury tax may be modeled after a sales tax or VAT, charged as a percentage on all items of particular classes, except that it mainly directly affects the wealthy because the wealthy are the most likely to buy luxuries such as expensive cars, jewelry, etc. It may also be applied only to purchases over a certain amount; for instance, some U.S. states charge luxury tax on real estate transactions over a certain limit.

A luxury good may be a Veblen good, which is a type of good for which demand increases as price increases. Therefore, the effect of a luxury tax may be to increase demand for certain luxury goods. In general, however, since a luxury good has a high income elasticity of demand by definition, both the income effect and substitution effect will decrease demand sharply as the tax rises.

Theory
Luxury tax is based on the concept of positional goods, which are scarce goods whose value arises as status symbols largely from their ranking against other positional goods. This creates a zero-sum game in which the absolute amount of goods purchased is less relevant than the absolute amount of money spent on them and their relative positions. Agents competing in such a game for pure positional goods do not lose utility if some of this money is taken as tax, because their utility comes as status from the amount of money (displayed to be) spent rather than the use-value of the goods themselves. For a pure positional good, a luxury tax is the perfect form of taxation because it raises revenue without reducing the utility of those paying the tax.

History
In Britain, authorities taxed windows – the window tax – from 1696 to 1851. France imposed window taxes from 1798 to 1926.

In the United States, many states used to collect state sales-tax through the use of "luxury tax tokens", instead of calculating a percentage to be paid in cash like the modern-day practice. Tokens could be purchased from the state and then used at checkouts instead of rendering the sales tax in cash. Some tokens were copper or base metal, while some were even plastic.

Bulgaria
A luxury tax of 10% on boats over $300,000 and aircraft over $1 million was proposed in 2010 by finance minister Simeon Djankov. Parliament approved the tax for a temporary 3-year period.

Norway
In Norway, at the beginning of the 20th century, oil-powered cars, sugar products, and chocolates were viewed as luxury goods. Today few Norwegians consider sugar or chocolate a luxury, but the luxury taxes on these goods remain.

United States
In November 1991, The United States Congress enacted a luxury tax and was signed by President George H. W. Bush. The goal of the tax was to generate additional revenues to reduce the federal budget deficit. This tax was levied on material goods such as watches, expensive furs, boats, yachts, private jet planes, jewelry and expensive cars. Congress enacted a 10 percent luxury surcharge tax on boats over $100,000, cars over $30,000, aircraft over $250,000, and furs and jewelry over $10,000. The federal government estimated that it would raise $9 billion in excess revenues over the following five-year period. However, only two years after its imposition, in August 1993, at the behest of the luxury yacht industry, President Bill Clinton and Congress eliminated the "luxury tax" citing a loss in jobs. The luxury automobile tax remained in effect until 2002.

In sports, the Luxury tax is the incremental tax team owners have to pay for their teams going over the salary cap, basically a financial penalty for high-spending teams.

A common misconception is that tampons and other menstrual products are taxed as a "luxury item" because they are subject to sales tax in 30 states as of February 2021. In actuality, they are simply subject to the normal state sales tax rate in states where they are not tax exempt. Such tax exempt consumer products vary from state to state, but are usually limited to food, prescription drugs, and more rarely, clothing.

Canada
The Luxury Tax, originally proposed in the 2021 federal budget, received Royal Assent on June 23, 2022. The tax applies to new cars and aircraft with a retail sales price over $100,000 and to vessels over $250,000. It will be calculated at the lesser of 20% of the value above a set threshold ($100,000 for cars and personal aircraft, and $250,000 for vessels) and 10% of the full value of the item subjected to tax.

In popular culture
One of the squares on the Monopoly board game (U.S. edition) is labeled "luxury tax". While there is a picture of a sparkling diamond ring on the square, the only effect is that whoever lands on this square must pay $75.00 to the bank.

In the 1961 film Breakfast at Tiffany's, the salesman at Tiffany's tells Holly Golightly and Paul that the "federal tax" referring to the 10 percent luxury tax then in effect was not required on a particular item they were considering as a purchase.

title: Luxury tax


text:
Monkton, Kent

Monkton is a village and civil parish in the Thanet District of Kent, England. The village is located at the south-west edge of the Isle of Thanet and is situated mainly along the B2047 road, leading off the A253 road between Canterbury and Ramsgate. The civil parish stretches south to the River Stour and northwards towards Acol. The hamlet of Gore Street is included in the parish.

Community

Monkton was subject to an explosion during 2007, and was largely evacuated as a result. Kent Fire and Rescue Service said that crews were faced with "a well developed fire in a large single-storey building", which was among the largest in the village.

Monkton Nature Reserve, run by the environmental charity, Thanet Countryside Trust, is situated on chalk hills to the north of the village. The reserve is set in a 16 acre abandoned chalk quarry which has been reclaimed by nature. It is notable for its geology and many important habitats, a pond and rare orchids. It also houses the Thanet Astronomical Observatory and the first artificial bat cave built in the UK. Facilities include field centre with a museum, reference library, bookshop and picnic site.

Monkton Church of England Primary School is situated in the village. The school was purpose built in 1872 and was extended and modernised in 2007. It currently teaches 109 pupils from 4 to 11 years. In 2007 the school achieved an Ofsted Inspection rating of Grade 2 'Good' overall.

Church

The 12th-century Anglican parish church is dedicated to St Mary Magdalene, and was largely rebuilt in the 15th century. This included the north porch and an extension of the tower, taking it to its current height; the north aisle was also blocked up, as well as new windows inserted. A church on the site was recorded on the Domesday survey, and the church is the smallest of the remaining seven ancient Thanet churches. The roof dates to the 15th century also. The churchyard is surrounded by stone walls, with multiple gates to enter through.

title: Monkton, Kent


text:
Talk:Still Not Getting Any...

If I Die Tomorrow
They wrote the song and didn't like it, so Motley Crue used it for their album, "Red, White And Crue". —Preceding unsigned comment added by Wolfinator-x (talk • contribs) 22:36, 14 June 2010 (UTC)

NOR
This article contains a large section describing each track. This section appears to violate Wikipedia's policy on original research. If nobody disagrees, I'm going to remove this whole section within the next couple of days. If you disagree, though, please feel free to speak up and indicate why this is not original work. --Yamla 23:40, 5 February 2006 (UTC)

 * Describing each track by itself does not violate WP:NOR, and actually the descriptions look pretty honest to me. If you see a problem, your probably better off rewriting it then just using deletions. --unsigned comment from T-rex

 * Actually, I wrote this segment just previous to creating an account here. I felt/feel that describing each track on the album, (hopefully from a neutral standpoint) would give the reader a better idea of what the album, and by extension, the band, is like. You will note that for some of the descriptions, I used references to easy-to-find material, particularly from cannon sources such as the DVD special features from the Dual-Disc version of the album, and the Simple Plan website. I also included paraphrased comments that reflect professional reviews, such as the one linked to in the "overview box" (or whatever it's called), and reviews on [ http://www.amazon.com Amazon.com]. If you wish, I can provide more obvious links to those as well. Although, there are a few small matters I feel must be rectified, particularly my rather thoughtless comment about The Matrix... edit time... Caligari 87 06:48, 9 February 2006 (UTC)

 * Although I can see how much effort Caligari put into writing the song section, I could tell at an instant that it was POV and written by a fan.

 * It is way too favourable and I don't know if there is anyway to describe each song whilst also being neutral.

 * Just delete the whole thing. Why not have a "critical response" section instead, detailing the reception to the album on a whole, from a NPOV of course. --Rachel Cakes 06:38, 13 February 2006 (UTC)

 * I'm open to that (EDIT: The rewrite). I tried to write from NPOV, but I admit I didn't do a good job, so I'd like to see it evened out a bit. But these kinds of things are quite imformative to me when I'm looking at music-related stuff; track-by-track breakdowns instead of a general overview. Please don't delete it. Let's try to make it better. Caligari 87 06:32, 14 February 2006 (UTC)

 * I've seen this song by song type review for other albums and I like it. I think the best way to get it to be netral is to have a number of different people write up and edit the section --T-rex 15:44, 14 February 2006 (UTC)

 * the section describtion is just fine. In fact i think it is very informative. Perhaps what can be done is add a more diverse set of view to make it neutral instead of deleting it. —Preceding unsigned comment added by 116.14.71.20 (talk) 13:06, 19 September 2007 (UTC)

name
whats the name of the album mean? SkaterBoy182 (talk) 18:15, 5 July 2008 (UTC)

title
Shouldn't the title of this article be "Still Not Getting Any…" with an ellipsis (…) instead of "Still Not Getting Any..." with three periods (...)? --Yvesnimmo (talk) 00:03, 15 September 2008 (UTC)
 * No, it shouldn't. There is no reason to use a special character in the page title if it is not necessary. -- Basilicofresco  (msg) 12:35, 29 July 2012 (UTC)

title: Talk:Still Not Getting Any...


text:
Tom Stewart (politician)

Arthur Thomas Stewart (January 11, 1892 – October 10, 1972) was a Democratic United States Senator from Tennessee from 1938 to 1949.

Early life and education
Stewart was born in Dunlap, Tennessee. Stewart also had a sister called Lydia. He attended the former Pryor Institute, a private school, in Jasper, Tennessee and Emory College (now Emory University). He returned to Tennessee and attended Cumberland University's law school in Lebanon, Tennessee. Upon admission to the bar in 1913, he set up practice in Birmingham, Alabama. He moved back to Jasper, Tennessee in 1915 and practised there until 1919, then moved to Winchester, Tennessee.

Legal career
In private practice in Winchester, he was elected district attorney for the former 18th Circuit for a term beginning in 1923. He served in this position until 1939. As a consequence, in 1925 Stewart was the chief prosecutor in the Scopes Trial. Stewart designed the prosecution's argument to preserve political control over the schools exclusively within the state legislature, thereby keeping the trial to the narrow, legal matters and forestalling attempts by the defense to introduce scientific testimony or to show there was not a conflict between evolution and the story of divine creation set forth in Genesis. Except for the willingness of William Jennings Bryan (hired by a Christian fundamentalist group to assist with the prosecution) to be cross-examined by Clarence Darrow, Stewart's positions controlled the trial and the Scopes defense had no recourse but to ask the jury to convict the defendant so the case could be appealed to the Tennessee Supreme Court (which overturned the conviction on a legal technicality but upheld the constitutionality of the Butler Act).

Political career
In 1938 Stewart entered the race for the balance of the unexpired term of the late Senator Nathan L. Bachman, who had died in office. In the August Democratic primary he defeated labor union leader George L. Berry, who had been appointed to the seat upon Bachman's death by Governor Gordon Browning, and was elected Senator on November 8. Eligible to begin serving immediately, he instead waited until the expiry of his term as district attorney on January 16, 1939 to take his Senate seat.

Stewart was somewhat typical of the Democratic Party's Southern wing of that era. He has been considered to be at least somewhat an ally of Memphis political boss E. H. Crump, but less so than Tennessee's other Senator of the time, Memphian Kenneth McKellar. Unlike some of the other Southern Senators, however, Stewart was also a staunch pro-Roosevelt New Dealer and was the only successful Senator to win a primary and purge an incumbent Senator whom Roosevelt targeted in the 1938 midterm election "purge." Stewart was reelected in 1942. In that year, shortly after the beginning of Japanese internment, he introduced a bill in the Senate to revoke citizenship from all American-born persons of Japanese ancestry. In 1948, he was challenged for renomination by Estes Kefauver, a progressive East Tennessean who defeated him. Edward J. Meeman, the influential editor of the Memphis Press-Scimitar, supported Kefauver to undermine the Crump machine, with which Meeman had long been at odds. After he defeated Stewart, Kefauver then handily prevailed over the Republican nominee, B. Carroll Reece.

Stewart returned to the private practice of law. He died in Nashville and was interred at Winchester's Memorial Park Cemetery.

title: Tom Stewart (politician)


text:
Wikipedia:Articles for deletion/The Kavlotics

The Kavlotics, Marty Terra, Sound Reactor
looks to be a string of self-promotion articles, created by user Martin t, who is listed as being in the group. user has also created Marty Terra (an auto-biography), Sound Reactor (another group he is a member of) and various other spellings Kavlotics, Sound reactor and has edited no other articles. Google gets one 1 google hit (their own website). clarkk 14:22, 14 Oct 2004 (UTC)
 * Delete all. Non-notable bands. Self-promotion in Wikipedia. jni 14:30, 14 Oct 2004 (UTC)
 * "sound reactor" gets a few more google hits Google and appeared as part of triple J's unearthed, but probably should have somebody else write something about them, rather than a member. clarkk 14:34, 14 Oct 2004 (UTC)
 * Delete. Vanity. No recordings.   — Gwalla | Talk 00:24, 15 Oct 2004 (UTC)
 * Delete all: Autobiography/vanity. One is not supposed to write one's own article anyway.  Surely there are fans to do that, if the acts are notable. Geogre 00:25, 15 Oct 2004 (UTC)
 * This site has 8 visitors? Move to talk unless an external link to a respectable verifiable source is given in the article. anthony (see warning) 16:05, 19 Oct 2004 (UTC)


text: Category:Simple Plan albums

title: Category:Simple Plan albums


text:
Still Not Getting Any...

Still Not Getting Any... is the second studio album by Canadian rock band Simple Plan. It was released on October 26, 2004, by Lava Records. The album garnered a positive reception, but critics were unsure of the band's musicianship and lyricism in their given genre. Still Not Getting Any... debuted at number 3 on the US Billboard 200 and spawned four singles: "Welcome to My Life", "Shut Up!", "Untitled (How Could This Happen to Me?)" and "Crazy". It was certified Platinum by the Recording Industry Association of America (RIAA), denoting sales of over one million copies.

Background and production
Simple Plan released their debut album No Pads, No Helmets...Just Balls in March 2002 through major labels Lava and Atlantic Records. It was promoted with support slots for Sugar Ray, Blink-182, Green Day and Avril Lavigne, and went on two stints of the Warped Tour, leading up at August 2003. Various tours: Due to the frequent touring schedule, the band had around three months to write ten new songs for their next album. Drummer Chuck Comeau and vocalist Pierre Bouvier argued frequently as a result of the short time they had. The pair wrote material in Vancouver, Canada and recorded demos using the Reason software. By the end of the year, they had 10–15 rough ideas for new songs. In January and February 2004, they went on a co-headlining tour with MxPx, ad following its conclusion, the band began recording their next album.
 * Supporting Sugar Ray:
 * Supporting Blink-182 and Green Day, first Warped Tour appearance:
 * Supporting Avril Lavigne:
 * Second Warped Tour appearance:

Sessions were held at Studio Piccolo in Montreal, Canada with producer Bob Rock. Him and Eric Helmkamp acted as engineers; Helmkamp and Mathieu Roberge served as digital engineers. Rock explained to the band upon meeting them that he wanted to do "The Black Album, but with our songs", as Bouvier described. He expanded on this, saying the record had a "really clean yet intense and powerful sound." Subsequently, the band went with a bigger and more open drum sound, with Rock using as many as five different microphone placements for the kick drum alone. The band briefly took a break to play two shows in July and August, before finishing the album in September. The recordings were mixed by Randy Staub with assistance from Zach Blackstone at Warehouse Studios in Vancouver, Canada. George Marino mastered the album at Sterling Sound.

Composition
All of the tracks on Still Not Getting Any... were credited to the band. While it has been tagged as pop-punk, the group placed less emphasis on this genre, instead opting for a straightforward rock sound. The band continued the upbeat mood of No Pads, No Helmets...Just Balls with tracks such as "Thank You", "Jump" and "Promise", while "Welcome to My Life", "Perfect World", "Crazy" and "Everytime" were mid-tempo tracks. "One" and "Untitled" were written during the final days of recording. Both songs featured string arrangements by Bob Buckley. Bill Sample played piano on "Untitled"; Desrosiers played additional drums on it. The lyrics, which recalled Linkin Park, conveys the theme of teenage angst.

The opening track "Shut Up!" talks about ignoring critics and following one's dream. "Welcome to My Life" discusses growing up and living one's life. The track is in half-time and was compared to Avril Lavigne. It starts off with acoustic guitars, with power chords coming in during the chorus sections. "Perfect World" continues the half-time signature, before switching into a military-esque drumming pattern and programmed drum rolls. "Thank You" is a sarcastic retort to a back-stabbing best friend. "Me Against the World" was the heaviest song the band had written, which was the result of Bouvier listening to Thrice at the time. The chorus section was cribbed from "Smells Like Teen Spirit" by Nirvana. Bouvier said "Crazy" could've been much longer had they written about more topics, instead talking about the money gap between rich and poor people, the objectification of women in the media, and the stereotypes they're expected to live up to.

"Jump" evokes the song of the same name by Van Halen while also sounding like Sum 41. Comeau said it was in the vein of 311, and is followed by the Ryan Adams-indebted "Everytime". "One" discusses the topic of alienation; the guitars are played alongside a violin section. Its title is taken from the Metallica track of the same name.The band initially disliked the first version of the song, before rewriting it with a dancehall-like rhythm influenced by Sean Paul. The closing track "Untitled" is a stadium rock ballad in the vein of Foreigner. The band called it "Untitled" simply as they were unable to come up with anything else. It is anchored by a piano and opens with a string section.

Release
Despite the album still being recorded, Still Not Getting Any... was announced on August 20, 2004, for release in October. "Welcome to My Life" was made available for streaming through AOL.com on September 6, before being sent to radio on September 13. The CD version included live versions of "Addicted" and "The Worst Day Ever". Still Not Getting Any... was released on October 26 through Lava Records; the same day it was made available for streaming through MTV's website. The artwork sees the band sitting in the back of a bus; some versions used alternative covers with the members in their 40s or in a retirement home. The booklet continues this theme: the band becoming progressively older, which was done with prosthetics and makeup.

Some copies were released with a bonus DVD or a DualDisc, which included the whole album in 5.1 surround sound, a discography listing, lyrics and photos. An outtake from the recording sessions, "If I Die Tomorrow", was recorded by Mötley Crüe and released on their Red, White & Crüe (2005) compilation.

A music video was filmed for "Shut Up!" in December with director by Erik White. It features the band walking to a gig, passing through an upscale neighborhood and a hotel. The members perform in a ballroom, jump from tables and destroy ice sculptures, which shifts to them performing at a club. "Shut Up! was released as a single on January 25, 2005. The CD version included an acoustic version of "Welcome to My Life" and live version of "I'd Do Anything".

"Untitled", now re-titled "Untitled (How Could This Happen to Me?)", was released as a single on March 29, 2005. The CD version included live versions of "Welcome to My Life" and "Jump". The song's music video was directed by Marc Klasfeld and tackles the issue of drunk driving. Bouvier acts as a ghost walking around the remains of a two-car collision. With rain pouring down, a girl is shown trapped against the steering wheel. The other members of the band show up as police and EMTs as they attempt to free the girl. It was promoted with the band appearing in several public service announcements for Mothers Against Drunk Driving.

On October 4, 2005, the band release the live/video album MTV Hard Rock Live, which featured acoustic versions of "Welcome to My Life" and "Crazy" as bonus tracks. "Crazy" was released as a single on October 17. The CD version included a live version of "Crazy", and MTV performances of "Shut Up!" and "I'd Do Anything". The music video for the song was filmed earlier in September in Los Angeles, California with Klasfeld directing again. The clip, filmed in black-and-white shows instances of real-life suffering: a man dying from AIDS, a girl with anorexia, a soldier missing some of his limbs, among others. The album was included in a package with Get Your Heart On! (2011) in 2013.

Touring
Prior to the release of Still Not Getting Any..., the band supported Avril Lavigne on a European tour. Following its release, the group went on a club tour, which was followed by headlining radio festivals throughout December 2004. In the same month, the band performed on MuchMusic. From January to April 2005, the band toured across the UK, New Zealand, Australia and Japan. They visited Europe for a few weeks worth of publicity, before returning to the US. In May and June, the group went on a co-headlining US tour with Good Charlotte, dubbed the Noise to the World tour. They were supported by Relient K. Between June and August, the group appeared at the Grand Prix F1 Weekend, supported Green Day for two shows in the UK. performed as part of the Canadian branch of Live 8, and played "Untitled" on the 2005 Teen Choice Awards. Various shows:
 * Grand Prix F1 Weekend:
 * Supporting Green Day:
 * Live 8:
 * 2005 Teen Choice Awards:

After appearing on three dates at Warped Tour, the band toured Japan, the UK, Australia and China, which included an appearance at the Reading and Leeds Festivals. During a hometown show in September, Bouvier was injured by the crowd throwing bottles, and as a result, the band were forced to cancel an appearance at a benefit concert for victims of Hurricane Katrina. Sometime afterwards, they went on a South American tour. In October and November, the group went on a US tour, with support from Straylight Run, Plain White T's and Paramore. Prior to the start of the trek, the group were in Mexico when Hurricane Wilma hit, resulting in them being evacuated, but leaving their equipment behind. Subsequently, they had to rent gear and their stage show lacked props. The band closed the year with their first ever cross-country Canadian tour in November and December 2005 with support from the Planet Smashers. The group went on their final supporting tour for the album in February 2006, during a stint of the UK.

Critical reception
Still Not Getting Any... received generally positive reviews, receiving praise for its production and catchy choruses, but music critics were still questioning the band's musical talent in terms of lyrics and instrumentation in their given genre. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 66, based on 9 reviews.

Johnny Loftus of AllMusic commended the band for shifting their teenage ennui material from pop-punk to a more modern rock sound that shows maturity in their lyrics, concluding that "As Still Not Getting Any...'s title and rowdier moments prove, they can still bring the spunky crowd-pleasers. But it's the album's less raucous and more thoughtful side that shows Simple Plan's investment in the future." Sean Richardson of Entertainment Weekly praised the band for maintaining their sense of humor and energy on the album, concluding that "Life may be complicated for Avril Lavigne's favorite opening act, but they're smart enough to understand that sometimes music shouldn't be." While mixed on the teenage-aimed lyrics, Jenny Eliscu of Rolling Stone found the production and instrumentation of the tracks catchy and worthy of being released as singles, saying that "[D]espite the overwrought angst, Still Not Getting Any . . . is a hard-to-deny collection of bubblegum punk."

Nick Catucci of Blender commended the band for adding their own musical choices to the pop-punk formula that evoke emotional introspection and empowerment but found it lacking in substance and stand out musicianship, concluding that "Simple Plan are gluttons for the pleasure of release, a quality they picked up from an earlier generation of wound-up punk. Though that's also the only quality to which they've remained loyal." Jon Pareles of The New York Times was mixed on the messages that Bouvier delivered throughout the album, concluding that "Individually, the songs are catchy, but as they pile up over the length of the album, it's impossible not to wonder whether the singer's endless complaints didn't drive everyone away." Robert Christgau graded the album as a "dud", indicating "a bad record whose details rarely merit further thought."

NME listed the album as one of "20 Pop Punk Albums Which Will Make You Nostalgic".

Commercial performance
It debuted and peaked at number 3 on the US Billboard 200 with over 139,000 copies sold in its first week. The record was certified Platinum by the Recording Industry Association of America (RIAA), denoting shipments of one million copies. As Of July 2005, it has sold 1.2 million copies in the US.

Lead single "Welcome to My Life" peaked at number 40 on the Billboard Hot 100, number 10 on Mainstream Top 40, and was certified gold by the RIAA for 500,000 shipments.

Track listing
All songs written by Simple Plan.

Personnel
Personnel per booklet.

Simple Plan
 * Pierre Bouvier – lead vocals
 * Chuck Comeau – drums
 * Jeff Stinco – guitars
 * Sebastien Lefebvre – guitars, background vocals
 * David Desrosiers – bass, background vocals; additional drums (track 11)

Additional musicians
 * Bob Buckley – string arrangements (tracks 10 and 11)
 * Bill Sample – piano (track 11)

Production
 * Bob Rock – producer, engineer
 * Eric Helmkamp – engineer, digital engineer
 * Mathieu Roberge – digital engineer
 * Randy Staub – mixing
 * Zach Blackstone – assistance
 * George Marino – mastering
 * Darcy Proper – 5.1 surround mastering
 * Chapman Baehler – album photography
 * Simple Plan – art direction, concept
 * Christina Dittmar – art direction for Lava
 * Fred Jérôme – layout design

title: Still Not Getting Any...


text:
Category:Clinical trials

Clinical trials are used to gather statistical evidence about the effects of particular medical investigations or therapies. This category is for specific clinical trials and specific types of clinical trials. Use Category:Clinical research for articles which are about the field but not particularly about clinical trials themselves.

title: Category:Clinical trials


text:
Telos

Telos (τέλος) is a term used by philosopher Aristotle to refer to the final cause of a natural organ or entity, or of human art. Telos is the root of the modern term teleology, the study of purposiveness or of objects with a view to their aims, purposes, or intentions. Teleology is central in Aristotle's work on plant and animal biology, and human ethics, through his theory of the four causes. Aristotle's notion that everything has a telos also gave rise to epistemology.

In Aristotle
Telos has been consistently used in the writings of Aristotle, in which the term, on several occasions, denotes 'goal'. It is considered synonymous to teleute ('end'), particularly in Aristotle's discourse about the plot-structure in Poetics. The philosopher went as far as to say that telos can encompass all forms of human activity. One can say, for instance, that the telos of warfare is victory, or the telos of business is the creation of wealth. Within this conceptualization, there are telos that are subordinate to other telos, as all activities have their own, respective goals.

For Aristotle, these subordinate telos can become the means to achieve more fundamental telos. Through this concept, for instance, the philosopher underscored the importance of politics and that all other fields are subservient to it. He explained that the telos of the blacksmith is the production of a sword, while that of the swordsman's, which uses the weapon as a tool, is to kill or incapacitate an enemy. On the other hand, the telos of these occupations are merely part of the purpose of a ruler, who must oversee the direction and well-being of a state.

Moreover, it can be understood as the "supreme end of man's endeavour".

Telos vs techne
Telos is associated with the concept called techne, which is the rational method involved in producing an object or accomplishing a goal or objective. In the Theuth/Thamus myth, for instance, the section covering techne referred to telos and techne together. The two methods are, however, not mutually exclusive in principle. These are demonstrated in the cases of writing and seeing, as explained by Martin Heidegger: the former is considered a form of techne, as the end product lies beyond (para) the activity of producing; whereas, in seeing, there is no remainder outside of or beyond the activity itself at the moment it is accomplished. Aristotle, for his part, simply designated sophia (also referred to as the arete or excellence of philosophical reflection) as the consummation or the final cause (telos) of techne. Heidegger attempted to explain the Aristotelian conceptualization outlined in the Nicomachean Ethics, where the eidos – the soul of the maker – was treated as the arche of the thing made (ergon). In this analogy, the telos constitutes the arche but in a certain degree not at the disposition of techne.

In modern philosophy
The notion of purpose, or telos, has formed the foundation of cybernetics, and is now part of the modern analysis of social media platforms as intelligent social machines.

Action theory also makes essential use of teleological vocabulary. From Donald Davidson's perspective, an action is just something an agent does with an intention – i.e., looking forward to some end to be achieved by the action. Action is considered just a step that is necessary to fulfill human telos, as it leads to habits.

According to the Marxist perspective, historical change is dictated by socio-economic structures (or "laws"), which are simultaneously preconditions and limitations of the realization of the telos of the class struggle.

title: Telos


text:
Parry (crater)

Parry is a lunar impact crater that is attached to the southeast rim of the walled plain Fra Mauro. It was named after British explorer William Parry. Attached to the west and southwest rim of Parry is the crater Bonpland. Due south of Parry is the small crater Tolansky, and farther to the south-southwest is Guericke.

The rim of Parry is heavily worn and slightly distorted due to the co-joined formations. The wall is the most prominent along the northwest, and crossed along the southwest by the small Parry B. The floor has been flooded by lava, and is relatively flat. At the midpoint is a pair of small craters.

A rille system, called the Rimae Parry, crosses the region in a series of graben. One rille crosses the southeast rim of Parry in a northeast direction before crossing the east rim and continuing a short distance across the surrounding mare. Another extends from Tolansky crater across the west side of Parry and into Fra Mauro crater. One other crosses the north rim of Bonpland crater and into Fra Mauro where it intersects with another rille.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Parry.

The following craters have been renamed by the IAU.
 * Parry A — See Tolansky (crater).

title: Parry (crater)


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title: User talk:68.236.11.236