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Talk:Zaporizhzhia (region)

Name
Why on earth would it be called Zaporizia and not Zaporozhia, when it is Zaporozhia both in ukrainian (Запорожжя) and in Russian? Afil (talk) 02:28, 6 January 2010 (UTC)

External links modified
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Russian Spelling/Pronunciation
Hello, for clearly apparent current and historical reasons the Russian pronunciation and spelling should be present on this page. I am not a Russian or Ukrainian speaker, but excluding Russian pronunciation in a mixed dialect area is clear and hard political bias. 71.168.163.192 (talk) 21:24, 5 June 2022 (UTC)

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

title: Talk:Zaporizhzhia (region)


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Effendi

Effendi or effendy (efendi ; افندی; originally from αφέντης ) is a title of nobility meaning sir, lord or master, especially in the Ottoman Empire and the Caucasus. The title itself and its other forms are originally derived from Medieval Greek aphentēs which is derived from Ancient Greek authentēs meaning lord.

It is a title of respect or courtesy, equivalent to the English Sir. It was used in the Ottoman Empire and Byzantine Empire. It follows the personal name, when it is used, and is generally given to members of the learned professions and to government officials who have high ranks, such as bey or pasha. It may also indicate a definite office, as hekim efendi, chief physician to the sultan. The possessive form efendim (my master) was formerly used by slaves, and is commonplace in formal discourse, when answering the telephone, and can substitute for "excuse me" in some situations (e.g. asking someone to repeat something).

In the Ottoman era, the most common title affixed to a personal name after that of agha was efendi. Such a title would have indicated an "educated gentleman", hence by implication a graduate of a secular state school (rüşdiye), even though at least some if not most of these efendis had once been religious students, or even religious teachers.

Lucy Mary Jane Garnett wrote in the 1904 work Turkish Life in Town and Country that Ottoman Christians, women, mullahs, sheiks, and princes of the Ottoman royal family could become effendi, a title carrying "the same significance as the French Monsieur" and which was one of two "merely conventional designations as indefinite as our 'Esquire' has come to be [in the United Kingdom]".

The Republican Turkish authorities abolished the title circa the 1930s.

Etymology
The Ottoman Turkish word افندی, in modern Turkish efendi, is a borrowing of the Medieval Greek αφέντης aféndēs, from Byzantine Greek ἀφέντης aphéntēs, from Ancient Greek αὐθέντης authéntēs, "master, author, doer, perpetrator" (from which authentic). The word was widely used as a Greek title for Byzantine nobles as late as 1465, such as in the letters of Cardinal Bessarion concerning the children of Thomas Paleologus.

Other uses

 * Effendi was also considered a title for a man of high education or social standing in an eastern (Mediterranean or Middle Eastern) country. It was an analogous to esquire, and junior to bey in Egypt during the period of the Muhammad Ali dynasty, and was used a lot among the Egyptians.
 * Effendi is still used as an honorific in Egypt, Jordan, and Turkey (as well as some other former Ottoman states), and is the source of the word أفندم؟ afandim?, efendim, a particularly polite way of saying, "Excuse me?", and can be used in answering the phone.
 * The colonial forces of British East Africa and German East Africa were built from a stock of Sudanese soldiers of the Egyptian army, which was nominally under the Ottoman Empire. These units entered East Africa with some officers who brought their title of effendi with them and, thus, it continued to be used for non-European officers of the two colonial forces. Up to the present the Swahili form afande is a way to address officers in the armies of Kenya, Tanzania and recently in Rwanda with the coming to power of RPF.
 * Effendi (Governor's Commissioned Officer) was the highest rank that African soldiers could reach in the King's African Rifles (KAR) and other British Colonial Auxiliary Forces units until 1961 (from then, promotions to commissioned officers became possible). They were equivalent to the Viceroy's Commissioned Officers in the British Indian Army. An Effendi's authority was confined to other KAR troops (askaris), and he could not command white troops. The KAR rank came into disuse during the 1930s and was reintroduced in 1956.
 * Effendi was also a non-European's officer rank in the Schutztruppe of German East Africa. Similar to the practice, Effendis were promoted by a governor's warrant, not by a kaiser's commission, as white commissioned officers were. Effendis had no authority over white troops. In the Schutztruppe this rank was used, together with other ranks of Ottoman origin like "Tschausch" (sergeant) and "Ombascha" (corporal). During the First World War askari NCOs were promoted to the rank of Effendi for exemplary service and leadership.
 * In Bosnia and Herzegovina "Efendija" refers to Muslim clerics.
 * In Indonesia and Malaysia, "Effendi" can be used as a first name.
 * In Pakistan and India, "Effendi" is the surname of some families whose ancestors migrated from Turkey or Afghanistan.
 * In Afghanistan, some members of the former ruling Barakzai clan of Durranis also use "Effendi" or a variant "Affandi" as their surname.
 * In China, "Effendi" (阿凡提) often refers to Nasreddin.
 * Jazz pianist McCoy Tyner has one composition named "Effendi". It appears on his debut album, Inception.
 * Shoghi Effendi, born Shoghí Rabbání, acquired the title from ʻAbdu'l-Bahá in his youth.
 * The word “apándi” used among today's Uighurs Turkish is a form of Effendi. Apándi is nothing but master

title: Effendi


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User:CONFIQ

Just testing :)

Testing and testing....

I can even add HTML in here

My food list my testing page

he:משתמש:CONFIQ sr:User:CONFIQ

title: User:CONFIQ


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Corrido

The corrido (Spanish pronunciation: [koˈriðo]) is a famous narrative metrical tale and poetry that forms a ballad. The songs are often about oppression, history, daily life for criminals, the vaquero lifestyle, and other socially relevant topics. Corridos were widely popular during the Mexican Revolution and in the Southwestern American frontier as it was also a part of the development of Tejano and New Mexico music, which later influenced Western music.

The corrido derives mainly from the romance and, in its most known form, consists of a salutation from the singer, a prologue to the story, the story itself, and a moral and farewell from the singer. In Mexico, it is still a popular genre today.

Outside Mexico, corridos are popular in Chilean national celebrations of Fiestas Patrias.

History

Corridos play an essential part in Mexican and Mexican American culture. The name comes from the Spanish word correr ("to run"). A typical corrido's formula is eight quatrains with four to six lines containing eight syllables. Corridos have a long history in Mexico, starting from the Mexican War of Independence in 1810 and throughout the Mexican Revolution. Until the arrival and success of electronic mass media (mid-20th century), the corrido served in Mexico as the leading informational and educational outlet, even with subversive purposes, due to an apparent linguistic and musical simplicity that lent itself to oral transmission. After the spread of radio and television, the genre evolved into a new stage and is still in maturation. Some scholars, however, consider the corrido dead or moribund in more recent times (see, e.g. Vicente T. Mendoza, El corrido mexicano, 1954). In more rural areas where Spanish and Mexican cultures have been preserved because of isolation, the romance has also taken on other forms related to the corrido. In New Mexico, for example, a story-song emerged during the colonial period known as an Indita, which loosely follows the format of a corrido, but is chanted rather than sung, similar to a Native American chant, hence the name Indita.

The earliest living specimens of corrido are adapted versions of Spanish romances or European tales, mainly about disgraced or idealized love or religious topics. These, which include (among others) "La Martina" (an adaptation of the romance "La Esposa Infiel") and "La Delgadina", show the same basic stylistic features of the later mainstream corridos (1/2 or 3/4 tempo and verso menor lyric composing, meaning verses of eight or less phonetic syllables, grouped in strophes of six or fewer verses).

Beginning with the Mexican War of Independence (1810–1821) and culminating during the Mexican Revolution (1910–1921), the genre flourished and acquired its "epic" tones, along with the three-step narrative structure as described above.

Some corridos are love stories. These are not exclusively male; there are also corridos about women, such as La Venganza de Maria, Laurita Garza, El Corrido de Rosita Alvirez and La Adelita, or couples, such as La Fama de la Pareja sung by Los Tigres del Norte. Some even employ fictional stories invented by their composers.

Before the widespread use of radio, popular corridos were passed around as an oral tradition, often to spread the news of events (for example, La cárcel de Cananea) and famous heroes and humour to the population, many of whom were illiterate before the post-Revolution improvements to the educational system. The academic study of corridos written during the Revolution shows that they were used to communicate news throughout Mexico as a response to the propaganda being spread in the newspapers, which the corrupt government of Porfirio Díaz owned. Sheet music of popular corridos was sold or included in publications. Other corrido sheets were passed out free as a form of propaganda to eulogize leaders, armies, and political movements or, in some cases, to mock the opposition. The best-known Revolutionary corrido is "La Cucaracha", an old song rephrased to celebrate the exploits of Pancho Villa's army and poke fun at his nemesis Victoriano Huerta.

With the consolidation of "Presidencialismo" (the political era following the Mexican Revolution) and the success of electronic mass media, the corrido lost its primacy as a mass communication form, becoming part of a folklorist cult in one branch and, in another, the voice of the new subversives: oppressed workers, drug growers or traffickers, leftist activists and emigrated farm workers (mainly to the United States). Scholars designate this as the "decaying" stage of the genre, which tends to erase the stylistic or structural characteristics of "revolutionary" or traditional corrido without a clear and unified understanding of its evolution. This is mainly signified by the "narcocorrido", many of which are egocentric ballads paid for by drug smugglers to anonymous and almost illiterate composers, but with others coming from the most popular norteño and banda artists and written by some of the most successful and influential ranchera composers.

In the Mestizo-Mexican cultural area, the three variants of corrido (romance, revolutionary and modern) are both alive and sung, along with popular sister narrative genres, such as the "valona" of Michoacán state, the "son arribeño" of the Sierra Gorda (Guanajuato, Hidalgo and Querétaro states) and others. Its vitality and flexibility allow original corrido lyrics to be built on non-Mexican musical genres, such as blues and ska, or with non-Spanish lyrics, like the famous song El Paso by Marty Robbins, and corridos composed or translated by Mexican indigenous communities or by the "Chicano" people in the United States, in English or "Spanglish". The corrido was, for example, a favourite device employed by the Teatro Campesino led by Luis Valdez in mobilizing predominantly Mexican and Mexican-American farmworkers in California during the 1960s.

Corridos have seen a renaissance in the 21st century. Contemporary corridos feature contemporary themes such as drug trafficking (narcocorridos), immigration, migrant labour and even the chupacabra.

Narcocorridos
Modern artists have created a modern twist to the historical corridos. This new type of corridos is called narcocorridos ("drug ballads"). The earliest form of corridos emerged in the Mexican Revolution and told stories of revolutionary leaders and battles. Narcocorridos typically use accurate dates and places to tell mainly stories of drug smuggling, including violence, murder, poverty, corruption, and crime.

The border zone of Rio Grande has been credited with being the birthplace of narcocorridos. This began in the 1960s with the fast growth of drug empires in the border states of Mexico and the United States. As drug lords grew in influence, people idolized them and began to show their respect and admiration through narcocorridos.

There are two main types of narcocorridos: commercial corridos and private corridos. Commercial narcocorridos are recorded by famous artists who idolize a specific drug dealer and release a song about him, while the drug dealer usually commissions private narcocorridos. While commercial corridos are available to the public, private narcocorridos are restricted to nightclubs that are frequently attended by drug dealers or through CDs bought on the street. Drug lords often pay singers to write songs about them to send a message to rivals. These songs are found to be most popular on YouTube; many have a banner "Approved by the cartel". These types of corridos are changing from the formula historical and typical corridos would usually take. A first-person voice is now being sung instead of the historic third-person point of view.

The Mexican government has tried to ban narcocorridos because of their explicit and controversial lyrics. Most of the Mexican public argues that crimes and violence are to blame for narcocorridos. However, despite the efforts of the Mexican government to ban narcocorridos, the northern states of Mexico can still get access to these songs through US radio stations whose signal still reaches the conditions of the north of Mexico. Narcocorridos are also widely available on websites like YouTube and iHeartRadio. Today, narcocorridos are popular in Latin American countries like Bolivia, Colombia, Peru, Guatemala and Honduras.

Narcocorridos has grown in popularity in the United States, and the American public has targeted them. More recent narcocorridos are even targeted towards the American people; some are even written in English. Like many artists, narcocorrido singers have chosen American cities to perform concerts because the American public can buy concert tickets for a higher price than the average Mexican citizen.

Corridos tumbados
"Corridos tumbados" or "trap corridos" are corrido ballads influenced by hip hop and Latin trap. Largely popularized by Natanael Cano, the idea to fuse the two genres was proposed by Dan Sanchez, who wrote Natanael's first corrido tumbado, "Soy El Diablo", which later saw a remix featuring popular reggaeton and trap rapper Bad Bunny. Other prominent artists include Peso Pluma, Fuerza Regida and Junior H. Many corrido tumbado artists cite Ariel Camacho as one of their main influences.

Since 2023, this subgenre of corridos saw a major boom on the mainstream scene all around the world, with popular artists appearing on songs. These artists include Eladio Carrión, Myke Towers and Argentinian producer Bizarrap, who released a music session with Peso Pluma, which became a major hit. As corridos tumbados became popular around the world, major artists from the American hip-hop scene like Drake, Travis Scott and Lil Baby have been seen with acts from corridos tumbados. In Mexico, the genre has been controversial for some lyrics pertaining to "violent themes" including drug criminals.

Gregorio Cortez
Gregorio Cortez was a Mexican man born on a ranch near Matamoros, Mexico, in 1875, as the "seventh child to a family of eight." Cortez, his parents, and his eight siblings moved to Manor, Texas, in 1887. In 1889, Cortez joined his older brother, Ronaldo, in Karnes County, near Gonzales, Texas. They both worked for farmers as ranch hands and farmhands. They even worked as vaqueros. In 1900, Gregorio and Romaldo went to settle down and married. They were "inseparable".

On June 12, 1901, sheriff W.T. Morris came to Cortez and Román to investigate a horse theft. Even though Cortez and Román were innocent, they spoke Spanish, and the Sheriff did not. Sheriff Morris relied on poor Spanish translations from his fellow Texas Rangers. Cortez and Romaldo got confused and played along. The Sheriff was looking for a horse thief and asked if they traded a horse. Gregorio said "no" and told the Sheriff he had a mare. After a while, Sheriff Morris assumed Gregorio and Romaldo were lying and framed them for a crime they did not commit.

However, when the Sheriff tried to arrest the brothers, Gregorio stood up to him, saying "You can't arrest me for nothing". The Sheriff did not understand his Spanish and thought he said, "No white man can arrest me". The Sherriff got out his pistol and shot Ronaldo, wounding him. Gregorio shot the Sheriff in retaliation. However, Gregorio left the scene and headed straight towards the Austin-Gonzales vicinity.

Cortez walked eighty miles daily through rugged terrain to get to the border. All the while, Texas Rangers were following him, and he even killed the Gonzales sheriff Robert M. Glover, who led the charge. Gregorio walked 100 miles to meet a friend, Ceferino Flores, who gave him a saddle. Cortez eventually got a horse to ride 400 miles to the border. Gregorio landed at the Abran de la Garza sheep camp on June 22, 1901, where he started to talk with a man named Jesús González. González, however, led the rangers to find Cortez, and the rangers arrested him. Many Tejanos would brand González a traitor, and he would eventually be known as El Teco.

Cortez was later put on trial. A formal letter was written and signed by the Mexicans of Mexico City and the president of Mexico, who gave him money to help fund his claim. Subsequently, Gregorio was sentenced to life imprisonment for murder and the supposed theft of a horse. However, he was freed after a year. This verdict was a "victory" for Mexican Americans and the unfair treatment of Mexican Americans. His name became immortalized, and his story became a corrido, where Cortez was portrayed as a hero.

Ballad
The Ballad of Gregorio Cortez is a corrido that is well known by Mexican Americans who live near the Rio Grande border between the United States and Mexico. It tells the story of a Mexican man named Gregorio Cortez, who takes up a pistol to defend his rights against 33 Texas Rangers from June 12 to June 22, 1901.

The story of Gregorio Cortez was made into a corrido, and he would become a folk hero among people on the Texas-Mexico Border.

Cortez, a Mexican man with a kind heart and a diligent work ethic, was described as "a man who never raised his voice to the parent or elder brother and never disobeyed." Most of the story is no different from his real life, but the report calls him a sharpshooter, and his brother Romaldo was renamed Román.

Sheriff Morris had Román and Cortez questioned about the horses. Instead of Romaldo being wounded, his counterpart Román was shot dead trying to protect his brother and collapsed on the ground. However, Gregorio got a gun and shot the sheriff to avenge his brother. The story fantasizes Gregorio as being a non-disabled man who ran across the country with the Texas Rangers on his tail. The story tells that Gregorio walked 100 miles and rode more than 400 miles. Gregorio walked and walked until he reached the Rio Grande. However, as Gregorio arrived in Goliad, Texas, he met with his friend named "El Teco". However, El Teco betrayed him and turned him in to the police. The police arrested Gregorio and put him on trial, and Gregorio was sentenced to "ninety-nine years and a day" in federal prison for horse theft, despite never stealing a horse.

Impact
The story of Gregorio Cortez is a testament to the culture of Mexican-Americans who live in the southwest United States and Mexican American culture in general. His tale was later made into a corrido and passed on from person to person. Cortez ended up becoming a folk hero, and it helped inspire stories of heroism and told the "spirit of the border strife." Many people called Cortez a hero because his biography and the corrido both involved him running away from the rinches, or Texas Rangers. He kept evading them until his capture. This gave Mexican-Americans a Hispanic hero who defended his rights from American "outsiders".

Both the story and the corrido tell how Gregorio Cortez was strong because he stood up to a legal system that did not favour Mexican Americans and became a hero to people of Mexican descent in Texas.

The corrido has been adapted to other media as well. In 1958, Américo Paredes wrote the book With His Pistol in His Hand: A Border Ballad and Its Hero. This book details the corrido and the story of Gregorio Cortes in detail. It has become a "classic of Mexican-American prose." In 1982, a film titled The Ballad of Gregorio Cortez was created, and Edward James Olmos starred as Gregorio Cortez.

Form
Corridos, like rancheras, have introductory instrumental music and adornos (ornamentations), accommodating the stanzas of the lyrics. Like rancheras, corridos can be played in virtually all regional Mexican styles. Also, like rancheras, corridos are usually played in polka, waltz, or mazurka mode.

Films

 * 2006 - Al Otro Lado (To the Other Side). Directed by Natalia Almada.
 * 2007 - El Violin (The Violin) Directed by Francisco Vargas.
 * 2008 - El chrysler 300: Chuy y Mauricio Directed by Enrique Murillo.
 * 2009 - El Katch (The Katch) Directed by Oscar Lopez.

title: Corrido


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Zaporizhzhia (disambiguation)

Zaporizhzhia or Zaporizhia is a city in Ukraine.

Zaporizhzhia, Zaporozhzhia, or Zaporozhye may also refer to:

Places in Ukraine

 * Zaporizhzhia (region), a historical region in central east Ukraine below the Dnieper river rapids
 * Zaporizhzhia Governorate, (1920–22) Ukrainian SSR, Soviet Union
 * Zaporizhzhia Oblast (1939–), a first-level administrative unit in Ukraine
 * Zaporizhzhia Raion, an administrative unit of Zaporizhzhia Oblast
 * Nove Zaporizhzhia, Zaporizhzhia Raion, a village in Zaporizhzhia Raion
 * Zaporizhzhia Oblast, Russia; Oblast/occupied territory disputed with Ukraine

Facilities and structures

 * Zaporizhzhia International Airport, Zaporizhzhia
 * Zaporizhzhia Nuclear Power Plant, Enerhodar
 * Zaporizhzhia thermal power station, Enerhodar

Other uses

 * Ukrainian submarine Zaporizhzhia

title: Zaporizhzhia (disambiguation)


text:
Talk:Zaporizhzhia (disambiguation)

Merger proposal
I propose to merge Zaporizhia (disambiguation) into Zaporizhzhia (disambiguation), as it covers the same material, the only difference being the old and new spelling of the city used on Wikipedia. RicardoNixon97 (talk) 21:03, 30 October 2020 (UTC)
 * Question: Which is the "old" and which is the "new" spelling? GenQuest  "Talk to Me" 17:15, 31 October 2020 (UTC)
 * Zaporizhzhia with double "zh" is now a prefered spelling as per recent move discussion on Talk:Zaporizhzhia--RicardoNixon97 (talk) 22:14, 31 October 2020 (UTC)
 * Thanks for the info. That should be an uncontroversial merger, so you can proceed with the merger if you feel comfortable doing so.  GenQuest  "Talk to Me" 13:46, 7 November 2020 (UTC)

title: Talk:Zaporizhzhia (disambiguation)


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John of Seville

John of Seville (Latin: Johannes Hispalensis or Johannes Hispaniensis) (fl. 1133-53) was one of the main translators from Arabic into Castilian in partnership with Dominicus Gundissalinus during the early days of the Toledo School of Translators. John of Seville translated a litany of Arabic astrological works in addition to being credited with the production of several original works in Latin.

Life and Context
John of Seville was a baptized Jew, whose Jewish name (now unknown) has been corrupted into "Avendeut", "Avendehut", "Avendar" or "Aven Daud". This evolved into the middle name "David", so that, as a native of Toledo, he is frequently referred to as Johannes (David) Toletanus. However, Avendehut's translations typically translated Arabic text into Spanish vernacular. John of Seville was capable of translating Arabic directly into Latin, creating a distinction between himself and Avendehut. Some historians argue that in fact there were two different persons with a similar name, one as Juan Hispano (Ibn Dawud) and other as Juan Hispalense, this last one perhaps working at Galician Limia (Ourense), for he signed himself as "Johannes Hispalensis atque Limiensis", during the Reconquista, the Christian campaign to regain the Iberian Peninsula. Though his precise birthdate and death date remain unknown, he is known to have flourished in his work from 1133 to 1153. His date of death is sometimes placed around 1157, but this remains an uncertainty.

Translated and Original works
Since John of Seville had gone by multiple names throughout his lifetime, it is often debated by historians as to which translations of this time period were actually his. The topics of his translated works were mainly astrological, in addition to astronomical, philosophical and medical. John of Seville's particular style of translation is recognized by scholars due to his proclivity to translate works, word for word, while continuing to maintain the original language's syntax and grammatical structure.

Astrological and Astronomical
John of Seville translated Al-Farghani's Kitab Usul 'ilm al-nujum ("Book on the Elements of the Science of Astronomy") into Latin in 1135 ('era MCLXXIII') under the revised title of The Rudiments of Astronomy, as well as the Arab astrologer Albohali's "Book of Birth" into Latin in 1153. This also includes the work to translate another one of Al-Farghani’s works titled Kitāb fī Jawāmiʿ ʿIlm al-Nujūm ("Elements of astronomy on the celestial motions"). He also translated Kitāb taḥāwīl sinī al-‘ālam ("Flowers of Abu Ma'shar") by Abu Ma'shar al-Balkhi into Latin. More notable works of John of Seville include the translations of a manuscript in the library of St. Marks, the Greater Introduction of Albumasar, and the engraved written work of Thebit. Another astronomical work translated by John is De compositione et utilitate astrolabii ("The composition and utility of the astrolabe") which is an instructional book explaining the construction and utilization of astrolabes. The introduction of an effective method of marking alidades, an integral component of astrolabes, was introduced through one of John's translations titled Dixit Johannes: Cum volueris facere astrolabium accipe auricalcum optimum. The work itself is originally attributed to the Arabic astronomer Mash’allah. Another significant work translated by John of Seville was Omar’s (Umar Ibn al-Farrukhân al-Tabarî) work Kitâb al-Mawâlid ("The Book of Nativities"), under the Latin title “De Nativitatibus.” Kitâb al-Mawâlid is an astrological treatise concerning “the interpretation of nativities, or birth horoscopes”. It has three separate books with quotes from other authors, including Ptolemy, Messahallah and Hermes. Another work that is attributed to John of Seville through a note in the beginning of one of the margins is from Astroligi(c)e speculationis exercitium habere volentibus, which is now at Pommersfelden, near Bamberg in Germany.

Medical and Alchemy
At least three of his translations, a short version of the Secretum Secretorum dedicated to a Queen Tarasia, a tract on gout offered to one of the Popes Gregory, and the original version of the 9th century Arabic philosopher Qusta ibn Luqa's De differentia spiritus et animae (The Difference Between the Spirit and the Soul), were medical translations intermixed with alchemy in the Hispano-Arabic tradition. His partial translation of the Secretum Secretorum is considered to be his earliest known work. Unlike much of his later work, this translation utilizes a first-person perspective. A lesser-known translation of his titled Speculum Elementorum, also referred to as Tractatus de perfecta et infallibili Medicina arte Akimie, was originally written by an unknown author. Another notable work translated by John of Seville from arabic is the Emerald Tablet, an alchemical work of the Hermetic tradition that is originally credited to Hermes Trismegistus himself, it was said to contain many alchemical secrets.

Philosophical
In his Book of Algorithms on Practical Arithmetic, John of Seville provides one of the earliest known descriptions of Indian positional notation, whose introduction to Europe is usually associated with the book Liber Abaci by Fibonacci:

 * “A number is a collection of units, and because the collection is infinite (for multiplication can continue indefinitely), the Indians ingeniously enclosed this infinite multiplicity within certain rules and limits so that infinity could be scientifically defined; these strict rules enabled them to pin down this subtle concept.”

John of Seville is also credited with working in collaboration with Dominicus Gundissalinus and Jewish philosopher Abraham Ibn Daud to translate the De anima of Avicenna, a philosophical commentary on Aristotle's writings. Avicenna had many other of his works translated such as a philosophical encyclopedia titled Kitab al-Shifa’ (The Book of Healing) and a short script on metaphysics titled Liber de Causis (Book of Causes). John even retranslated an original Avicenna translation of Aristotle’s On the Heavens. It is speculated that the written work of Zael, titled Liber temporum, may have been translated by John of Seville. However, the name of the translator was never mentioned in the manuscript so it remains uncertain. A work by Jewish philosopher Avencebrol is believed to be translated by both John of Seville and Dominicus Gundissalinus titled Fons Vitae (Source of Life). Another one of John of Seville's philosophical translation includes the work by philosopher Al-Ghazali titled Maqasid al-falasifa (The Aims of the Philosophers), a book regarding basic philosophical concepts such as judgement, concept and logic.

Original
In addition to his many translations John of Seville is credited with a work of his own titled, Epitome artis astrologiae, written in 1142 which is a summary of astrology as a whole.

Copying Errors
The work of John of Seville was later preserved by medieval scholars through the copying of his translations. These copies occasionally deviate from John's original text, producing errors that further perpetuate the issue of John's identity. When the name of a translator was improperly copied into a manuscript, further copies of this manuscript would carry this error, initiating a mutation of names and dates over the span of multiple copies. Carelessness further complicated the matter. Abbreviations such as "Ioh Hisp" (Iohannes Hispalensis was yet another possible identity for John) were used, such as in a manuscript from 1503.

Fortunately, a number of factors have aided in determining whether certain translations belong to John of Seville. He would often sign his translations "Cum laude Dei et eius adiutorio," making otherwise error-ridden manuscripts easily attributable to John.

title: John of Seville


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The Gold Bug Variations

The Gold Bug Variations is a novel by American writer Richard Powers, first released in 1991.

Plot introduction
The novel intertwines the discovery of the chemical structure of DNA with the musicality of Johann Sebastian Bach's harpsichord composition the Goldberg Variations. A similar theme is explored by Douglas Hofstadter in his 1979 book ''Gödel, Escher, Bach: an Eternal Golden Braid. ''The title also alludes to Edgar Allan Poe's 1843 short story "The Gold-Bug", which is also incorporated in the plot of the novel.

The plot hinges on two love affairs: the first set in the 1950s, between two scientists intent on discovering the mysteries of DNA; the second in the 1980s, between two lovers who befriend the scientist featured in the novel's flashbacks.

Awards
The Gold Bug Variations has received the following awards:

 * Time magazine Book of the Year, 1991
 * Publishers Weekly Best Books of 1991
 * Vrij Nederland Best Books of 1991
 * New York Times Notable Book, 1991
 * De Morgen Best Book of 1991 (named in 1999, in a compilation of the best books each year over the last half century)
 * Finalist, National Book Critics Circle Award for Fiction, 1991

title: The Gold Bug Variations


text:
Carbonless copy paper

Carbonless copy paper (CCP), non-carbon copy paper, or NCR paper (No Carbon Required, taken from the initials of its creator, National Cash Register) is a type of coated paper designed to transfer information written on the front onto sheets beneath. It was developed by chemists Lowell Schleicher and Barry Green, as an alternative to carbon paper and is sometimes misidentified as such.

Carbonless copying provides an alternative to the use of carbon copying. Carbonless copy paper has micro-encapsulated dye or ink on the back side of the top sheet, and a clay coating on the front side of the bottom sheet. When pressure is applied (from writing or impact printing), the dye capsules rupture and react with the clay to duplicate the markings made to the top sheet. Intermediary sheets, with clay on the front and dye capsules on the back, can be used to create multiple copies; this may be referred to as multipart stationery.

Operation
Carbonless copy paper consists of sheets of paper that are coated with micro-encapsulated dye or ink or a reactive clay. The back of the first sheet is coated with micro-encapsulated dye (referred to as a Coated Back or CB sheet). The lowermost sheet is coated on the top surface with a clay that quickly reacts with the dye to form a permanent mark (Coated Front, CF). Any intermediate sheets are coated with clay on top and dye on the bottom (Coated Front and Back, CFB).

When the sheets are written on with pressure (e.g., ball-point pen) or impact (e.g., typewriter, dot-matrix printer), the pressure causes the micro-capsules to break and release their dye. Since the capsules are so small, the resulting print is very accurate.

Carbonless copy paper was also available in a self-contained version that had both the ink and the clay on the same side of the paper.

Uses
Carbonless copy paper was first produced by the NCR Corporation, applying for a patent on June 30, 1953. Formerly, the options were to write documents more than once or use carbon paper, which was inserted between the sheet being written upon and the copy. Carbonless paper was used as business stationery requiring one or more copies of the original, such as invoices and receipts. The copies were often paper of different colors (e.g., white original for customer, yellow copy for supplier's records, and other colors for subsequent copies). Stationery with carbonless copy paper can be supplied collated either in pads or books bound into sets, or as loose sets, or as continuous stationery for printers designed to use it.

Dyes and chemicals
The first dye used commercially in this application was crystal violet lactone, which is widely used today. Other dyes and supporting chemicals used are PTSMH (p-toluene sulfinate of Michler's hydrol), TMA (trimellitic anhydride), phenol-formaldehyde resins, azo dyes, DIPN (diisopropylnaphthalenes, formaldehyde isocyanates, hydrocarbon-based solvents, polycyclic aromatic hydrocarbons, polyoxypropylene diamine, epoxy resins, aliphatic isocyanates, bisphenol A, diethylene triamine, and others. The dyes in carbonless copy papers may cause contact dermatitis in sensitive persons.

Health and environmental concerns
Until the 1970s, when the use of polychlorinated biphenyls (PCBs) was banned due to health and environmental concerns, PCBs were used as a transfer agent in carbonless copy paper. PCBs are readily transferred to human skin during handling of such papers, and it is difficult to achieve decontamination by ordinary washing with soap and water. In Japan, carbonless copy paper is still treated as a PCB-contaminated waste.

Exposure to certain types of carbonless copy paper or its components has resulted, under some conditions, in mild to moderate symptoms of skin irritation and irritation of the mucosal membranes of the eyes and upper respiratory tract. A 2000 review found no irritation or sensitization on contact with carbonless copy paper produced after 1987. In most cases, good industrial hygiene and work practices should be adequate to reduce or eliminate symptoms. These include adequate ventilation, humidity, and temperature controls; proper housekeeping; minimal hand-to-mouth and hand-to-eye contact; and periodic cleansing of hands.

In a 1997 study, the University of Florida found that a poorly-ventilated office where large amounts of carbonless copy paper were used had significant levels of volatile organic compounds present in its air, whereas a well-ventilated office where little such paper was used did not. The study also found that there were higher rates of sick leave and illness complaints at the office using large amounts of carbonless copy paper. Another study, which was published in Environmental Health Perspectives, connected chronic occupational exposure to paper dust and carbonless copy paper with an increased risk of adult-onset asthma.

The average carbonless copy paper contains a high concentration of bisphenol A (BPA), an endocrine disruptor.

In 2001, three employees of a medical center in San Francisco filed a lawsuit against their employer, blaming exposure to carbonless copy paper and other chemicals for their inflammatory breast cancer.

With the increasing adoption of inexpensive inkjet printers and laser printers on computer systems since the 1980s, the use of carbonless multipart forms in businesses has declined, as it is simpler to make copies of documents.

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Young Americans (TV series)

Young Americans is an American drama television series created by Steven Antin. The show debuted on July 12, 2000, on The WB network as a summer replacement for, and spin-off from another Columbia TriStar Television production, Dawson's Creek. The series was originally ordered for the 1999–2000 United States television season with a planned fall debut, but was delayed due to unresolved matters between Columbia TriStar and The WB.

The main character, Will Krudski, was introduced late in season three of Dawson's Creek as a childhood friend of the group who has kept in contact with Pacey Witter. The show explores themes of forbidden love, morality, social classes and gender roles.

Plot summary
Young Americans is set in the town of New Rawley at a prestigious boarding school, Rawley Academy. Will Krudski, a working class New Englander, earns a scholarship to his hometown's posh boarding school, starting with the summer session, as a means of escaping his abusive father. In a moment of carelessness he confesses to his roommate Scout Calhoun that he cheated on the entrance exam. Their professor, Finn, overhears Will and Scout discussing what to do. Before making a final decision about expelling him, Finn has Will write an essay on who he is. You asked me to write an essay telling you what I have to say and what I realized is that I've been ordered to listen from the moment I was born but now I know it is my time to speak. What I figured out is that I have always seen myself as others have seen me, this poor kid, this smart kid, this dreamer who doesn't have a chance. I have known the comfort of my mother's arms and the violence of my father's disappointment but everyone encounters obstacles. The trick is to discover the opportunities within them. I've learned that every day we create who we are by what we do and what we think and how we behave. So now that it is my time to speak I just hope that I have something to say and I am going to set my expectations high and one day will exceed them. Throughout the series, Will faces moral dilemmas as he struggles to find his place at school while not alienating his friends in town. There is also the forbidden love between Scout and Bella Banks, Will’s childhood friend who may or may not share the same father with Scout. Jacqueline Pratt, in an attempt to see if her mother notices her, enrolls at Rawley Academy posing as a male student with the name Jake. Things get complicated when she develops feelings for Hamilton Fleming, the dean's son. Hamilton begins to wonder if he is gay as he realizes he has feelings for Jake. The story lines do not converge until the final two episodes of the show as Bella seeks the truth about her biological father.

Main characters

 * Rodney Scott as William "Will" Krudski, a poor but brilliant young man who cheated on the entrance exam to ensure his admission and has a complicated relationship to his father
 * Mark Famiglietti as Scout Calhoun, Will's roommate at Rawley Academy. Scout meets, and dates, Will's old friend Bella until her stepfather explains his reasons why he disapproves.
 * Katherine Moennig as Jacqueline "Jake" Pratt, a teenage girl who disguises herself as a boy to get the attention of her absent mother.
 * Ian Somerhalder as Hamilton Fleming, a student at the school and the son of the dean. Hamilton finds himself confused by his attraction to Jake.
 * Kate Bosworth as Bella Banks, Will's childhood friend – a pretty townie torn between Scout and fellow New Rawleyian, Sean
 * Ed Quinn as Finn, coach of the rowing team and also a teacher

Notable guest appearances

 * Matt Czuchry as Sean McGrail, Will's long-time best friend and baseball teammate as well as a childhood friend of Bella's. He eventually becomes Bella's boyfriend.
 * Deborah Hazlett as Susan Krudski, Will's mother. Works at a New Rawley beauty salon named "Glamorama".
 * Charlie Hunnam as Gregor Ryder, bad-boy and student at Rawley Academy
 * Michelle Monaghan as Caroline Busse, Will's love interest
 * Cyndi Johnson as Paige Bennett, old friend of Scout's family
 * Kathleen Bridget Kelly as Kate Fleming, Hamilton's mother and the dean's wife
 * Gabrielle Christian as Grace, Bella's irresponsible sister
 * Beau Gravitte as Senator Calhoun, Scout's dad
 * Glynnis O'Connor as Donna Banks, Bella & Grace's mom
 * Naomi Kline as Lena, a student visiting Rawley Academy for girls showing a romantic interest in Jake

Production
Steve Antin credits a stop at a New England gas station as the inspiration for the series. He was a little surprised to see four teenage girls working as pump jockeys. "One of them said, 'My dad owns the station.' I just thought this was the sweetest thing I ever saw."

The pilot was filmed in Atlanta in 1999 and with a somewhat different cast. The character of Finn was played by Jeremy Sisto in the pilot, but between the pilot and the reshoots for the series, Sisto was cast in the title role of CBS' miniseries Jesus. When the production relocated they also replaced secondary roles, and the only original cast members that remained were the five principal actors. The pilot's soundtrack contained recognizable tracks by Fatboy Slim, New Radicals, and The Flys, but after the reshoots, Antin replaced them with favorites like Nick Drake's "Pink Moon" and Israel Kamakawiwo'ole's "Over the Rainbow", which at the same time became fashionable in commercials for Volkswagen's Cabrio convertible and eToys.com. A subplot in the pilot involving an affair between Finn and the dean's wife was dropped and later inserted into the third episode of the series.

The series was filmed in Havre de Grace, Maryland where a new "town square", gas station and Friendly's restaurant were built for the production of the show at the intersection of Congress Avenue and North Washington Street. Wilmington and Charlotte, both in North Carolina, had been considered possible filming locations for the series.

Sponsorship
Young Americans was originally supposed to be a mid-season show in 2000 but was put on hold until Coca-Cola offered to sponsor the show. The character of Will Krudski was then written into Dawson's Creek to associate Young Americans with one of The WB's established shows. When Dawson's Creek went on hiatus in the summer of 2000, Young Americans occupied its timeslot of Wednesdays at 9 P.M. Repeats were shown at 9 P.M. on Fridays.

The Coca-Cola Company paid $6 million to be the primary sponsor, the show being billed as "Coca-Cola Presents Young Americans". Young Americans was profiled by Steve Carell on the August 22, 2000 episode of The Daily Show in the Ad Nauseam segment due to the Coca-Cola tie ins. Carell constantly referred to "The Beginning" as an "hour-long commercial". Some of the scenes also took place in a Friendly's restaurant, which was built from an old pizzeria for the show.

Coca-Cola products are seen or mentioned in most episodes. The unaired pilot episode does not contain the product placement. Among the changes to the pilot is a scene that was reshot in order to show the characters drinking Coca-Cola.

Promotion
A scene from the pilot, which was heavily promoted prior to the show's premiere, where the characters and other students at Rawley run in slow motion to the school's lake while stripping off their clothes was parodied in another WB show, Grosse Pointe.

Episodes
The main character, Will Krudski, was introduced late in season three of Dawson's Creek as a childhood friend of the group who has kept in contact with Pacey Witter. In a three-episode story arc, Will goes to Capeside to visit with old friends while on spring break. After briefly dating Andie McPhee, he leaves Capeside to attend Rawley Academy.

Music
The soundtrack features several songs with Nick Drake from his album Pink Moon.

 * Nick Drake – "Pink Moon" (ep 1.1 and 1.7)
 * The Getaway People – "Six Pacs" (modified) (ep 1.1 and theme song)
 * Nick Drake – "From the Morning" (ep 1.1)
 * Blur – "Tender" (ep 1.1)
 * Hans Zimmer – "You're so cool" (ep 1.1)
 * Israel Kamakawiwo'ole – "Over the Rainbow" (ep 1.1 and 1.8)
 * Crash Poets – "Goodbye" (ep 1.2)
 * Nick Drake – "Which Will" (ep 1.3)
 * Kate Bosworth as Bella Banks – "The Way You Look Tonight" (ep. 1.4)
 * Julius La Rosa – "The Way You Look Tonight" (ep. 1.4)
 * David Gray – "This Years Love" (ep. 1.5)
 * Salt-N-Pepa – "Let's Talk About Sex" (ep. 1.5)
 * David Gray – "Sail Away" (ep 1.5)
 * David Gray – "Please Forgive Me" (Album Version) (ep 1.5)
 * Nick Drake – "Place to Be" (ep 1.7)
 * Nick Drake – "Things Behind the Sun" (ep 1.7)
 * Brooke Lundy – "Fernando" (ep 1.8)

Theme song
The theme song "Six Pacs" by The Getaway People from the album Turnpike Diaries was changed at the request of the producers to remove the original reference to cigarettes in the lyric.

Joe Voci, the show's executive producer, said in an interview with VH1.com that "Unlike other teen shows that are angst-driven, ours is about a group of kids who want to do the right things, and how they handle the obstacles they're presented. The song presented a mood, tone and feel that is optimistic and implies a sense of adventure."

Reception
David Zurawik of The Baltimore Sun described the series as "Shakespeare Summer Lite, with some gender-bending and woodland trysts to go along with the star-crossed lovers." In comparing the series to another debut Ken Tucker of Entertainment Weekly found that "it at least avoids the unearned angst of the summer's other 15-year-olds-in-school show, Fox's hapless Opposite Sex". Harvard creative writing professor Jane Rosenzweig found that Young Americans "has a breadth of focus that's far more true to life than the so-called reality-based shows like MTV's Real World and CBS's summer hit Survivor."

Rob Owen of the Pittsburgh Post-Gazette said that the show presents as though the creator "looked at the blueprints of other WB shows and plucked out the elements that would give his series the best chance for success with the Gen Y set." After naming a checklist of elements of the show that are common to many shows on The WB, Owen says that it is admirable from a business standpoint to make a show in such a manner but that it is not very original. Owen concludes by calling Young Americans "mindless and clichéd" but still "guilty summer fun." Michele Hewitson of The New Zealand Herald compared the show to the film Dead Poets Society and said that it is not often "an American television series manages to exceed all expectations - of utter awfulness."

Despite being a spin-off of one of the most popular WB shows, Young Americans received low ratings throughout its summer run and was cancelled in August 2000. As of September 2010 Young Americans ranks 49th among unreleased TV shows on TVShowsOnDVD.

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Drum rudiment

In rudimental drumming, a form of percussion music, a drum rudiment is one of a number of relatively small patterns which form the foundation for more extended and complex drumming patterns. The term "drum rudiment" is most closely associated with various forms of field drumming, where the snare drum plays a prominent role. In this context "rudiment" means not only "basic", but also fundamental. This tradition of drumming originates in military drumming and it is a central component of martial music.

Definition
Rudimental drumming has something of a flexible definition, even within drumming societies devoted to that form of drumming. RudimentalDrumming.com defines it as "the study of coordination." The Percussive Arts Society defines it as a particular method for learning the drums—beginning with rudiments, and gradually building up speed and complexity through practicing those rudiments. Camp Duty Update defines a drum rudiment as an excerpt from a military call with a definite rhythm, definite sticking, definite dynamic structure (accents), and a defined nomenclature. Encyclopedia Rudimentia defines a rudiment as a short pattern of strokes, using John Pratt's logic that "the rudiments of drumming are strokes," in reference to the four basic drum strokes.

History
The origin of snare drum rudiments can be traced back to Swiss mercenaries armed with long polearms. The use of pikes in close formation required a great deal of coordination. The sound of the tabor was used to set the tempo and communicate commands with distinct drumming patterns. These drumming patterns became the basis of the snare drum rudiments.

Swiss
The earliest instance of rudimental fife and drum is often cited as the Swiss military at the battle of Sempach in 1386. There is evidence, however, that the Swiss were already using drums in battle in 1315 at the Battle of Morgarten. Initially, Swiss rudiments were very influential to the French system, which in turn was the basis for many other rudimental systems. Switzerland produced two distinct rudimental cultures, the wider Swiss Ordonnanz Trommel practiced in Zurich, Valais, and Geneva, and the Basel version or Basler Trommeln.

The Basler Trommeln rudiments, in contrast to the Swiss Ordonnanz Trommel, are much more widely known and practiced outside of Switzerland due to Fritz Berger's publications, Das Basler Trommeln, Werden und Wesen and Instructor for Basle Drumming, and travels to the United States in the 1930s. His student Alfons Grieder continued to promote Basel style drumming in North America for many years. The two Swiss systems differ in several ways, including that Basel drumming rudiments draw heavily from the French system while Swiss rudiments are indigenous, and that Basel drumming was notated in a set of symbols until the 20th century (Berger devised his own notation system for export that was much more legible) while Swiss rudiments were written in standard notation centuries earlier. Swiss Ordonnanz rudiments are nearly unknown outside of Switzerland, while Basel rudiments are featured (after the 1930s) in other systems around the world, such as the Scottish, American, and Hybrid. The Top Secret Drum Corps is a prominent organization from Basel Switzerland that utilizes traditional Basel rudimental drumming along with other rudimental influences.

French
French rudiments were influenced by the Swiss and then later contributed back to the specific Basel culture in a two-way exchange. Thoinot Arbeau's Orchesographie of 1588 is commonly cited as one of the first "rudimental" texts, though its actual use of notation is limited. French professional drummers became part of the king's honor guard in the 17th and 18th centuries. In 1754 Joseph-Henri de Bombelles published Instruction pour les Tambours, which was one of the earliest military drum manuals to codify a specific national duty in legible drum notation. The craft was improved during the reign of Napoleon I. The French dance known as Le Rigodon is one of the cornerstones of modern rudimental drumming. Kastner's Manuel Général de Musique Militaire a L’Usage des Armées Françaises from 1848 details the rudimental signals starting as far back as the 17th century and works up through the variations to his contemporary mid-19th century usage, showing that the complexity of French drumming increased significantly over time.

At least 5 French military manuals appeared between 1870 and 1900, beginning with Félix Carnaud's École du Tambour from 1870 and N. Pita's Methode de Tambour from 1885, followed closely and expanded upon by H. Broutin (1889), Théophile Dureau (1895), and E. Reveillé (1897).

In the 20th century, Henri Kling published his Méthode de Tambour  in 1901. Robert Tourte's Méthode de Tambour et Caisse Claire d'Orchestre was published in 1946 and combined a selection of 34 rudiments and the classic French military calls with studies of common orchestral excerpts such as Nikolai Rimsky-Korsakov's Scheherezade and Maurice Ravel's Bolero. The French system is complex and expansive, rivaled in scope only by the Swiss, American, and Scottish systems. Between 30 and 34 rudiments have normally been taught from the mid-20th century onward, from a historical catalog of over 70 rudiment variations.

Spanish
Spain used its own rudimental system, documented as far back as 1761, with Manuel de Espinosa publication of Toques de Guerra. Composed mostly of single strokes, the system is extremely simple with only around eight to ten named patterns.

Italian
The Italian peninsula was home to fife and drum traditions as far back as the 1400s. During the 19th century, at least 3 distinct styles of drumming were practiced: Austrian style drumming in the northern regions adjacent to the Austrian Empire, a central Italian style in Sardinia, Piedmont, and the Papal States, and a southern style in Naples and Sicily. With the unification of the Kingdom of Italy in the 1870s, the central Italian style was adopted over the Austrian or Sicilian as the official pan-Italian rudimental system.

German
German speaking regions of Europe, often referred to historically as Prussian, had developed their own unique rudimental system by the late 18th century, as evidenced by Wittwe's 1777 publication Kurze Anweisung zum Trommel-Spiel The system was dominated by the right hand and featured only about 14 standard rudiments, such as the druckruf and doppelwirbel. The Prussian drumming style was distinct from the regional rudimental practices of Bavaria, despite Bavaria being a part of modern Germany. It also did not apply in Hannover – which was effectively part of the British Empire for a significant period and thus used British drumming idioms.

Swedish
Sweden had drummers on military payrolls as early as 1528. The Swedish rudimental style has some unique features and rhythmic interpretations, however it draws significant influence from both French and Prussian sources. The first written manual dates from 1836 with little variation in style until the 20th century. After the 1960s the drum parts in standard military music became simplified compared to their earlier incarnations.

Dutch
The military tradition of the Netherlands has a distinct rudimental system. Drummers are known to have participated in military functions from possibly as far back as 1570. Military units paid the drummers from their own commanders' budget until 1688 when the military began paying musicians directly. The rudimental term "Tattoo," a term for a meeting of drum corps and a signal from the standard camp duty, derives from the Dutch "Taptoe" Tamboers. Manuals go back at least as far as 1809 with the publication of Over Het Tromslaan – Met Marschen En Andere Muziekstukken Voor Den Trom which indicates some basic rolls and a few military signals. Marsen en Signalen voor de Koninklijke Nederlandsche Armee by Jacob Rauscher was published in 1815 and shows about nine basic rudiments. Several manuals are known from the late 1800s and early 1900s, such as Voorschrift voor den seargent of korporaaltamboer of 1893, Tamboers- and Hoornblazersschool of 1896, and Tamboers- and Hoornblazersschool from 1901. The system was simplified and many embellishments removed in the 1930s. The system was again refined following WWII in 1945 and 1946. Now, only the Dutch Marines continue the official military tradition actively, along with a few civilian groups. There are currently only about 14 Dutch rudiments.

Russian
Russian drumming was originally brought in from abroad specifically to emulate the drumming of other nations. Dutch drumming was used verbatim in the 17th century. This gave way to a more distinct Russian style in the 18th century under Peter I. Imperial Russian military units stopped using drummers around 1909 but the USSR reintroduced drumming to the military in the 1920s. Russia actually has no names or specific sticking for rudimental patterns but a selection of rolls and ruffs of various lengths are present in military music. Youth Pioneer groups use simplified military signals, though the rudiments taught in these groups use American terms.

British
British rudimental manuals with decipherable rudiments date back as far as 1634 with the publication of Thomas Fisher's Warlike Directions or the Soldiers Practice which shows at least 4 ruff-based rudiments. A more thorough manual appeared in 1760, Spencer's The Drummer's Instructor. British military drumming had already been exported to the American Colonies by the time of the American Revolution in the 1770s. The anonymously authored Young Drummers Assistant was published around 1780 and was an influential book on both sides of the Atlantic. The British system was further refined for the 19th century by Samuel Potter in 1817 with his book The Art of Beating the Drum. In the 18th century, drummers uniforms were reverse color from the rest of their military unit, but after the War of 1812, and coincidentally during Samuel Potter's service, their uniforms were switched to the standard color scheme so as not to stand out in battle. Samuel's son, Henry Potter, a noted instrument maker, would later publish an updated drum manual called Authorised Sergeant Drummers' Manual. In 1887, the War Office published Drum and Flute Duty for the Infantry Branch of the Army which is one of only a few pre-20th century publications to feature the 17 stroke roll. In modern times, every infantry battalion in the British military has a rudimental Corps of Drums except for Irish, Scottish, and Rifle Battalions which feature Pipe Bands and their associated style of Scottish drumming.

Scottish
Scottish drum and fife signals (those differing significantly from the English) date back to at least the 17th century, when the English referred to them as the "Scots Duty." The old Scottish calls used similar rudimental patterns and drumming idioms to the English, but featured slightly different drum arrangements and fife tunes, rather than the distinctively snappy dot-cut triplet shuffle sound that pipe band drumming would use later. The Scotch Reveille that would normally accompany The Mother and the Three Camps was adapted from, or at least inspired by, the Scotch Reveilly [sic] from this pre-pipe band era. Scottish pipe bands, in their modern form, were created by the British Army around 1830. British regiments made up of Scottish clansmen married rudimental drumming with the Highland bagpipes and kilts in order to regain their independent culture. The drum rudiments were modified from British and European sources to fit with the piping idioms that had been in place for several hundred years prior. Pipe bands, and their stylistically unique drummers, saw their first widespread use during the Crimean War. They continued to be an active part of battle until World War I, after which they assumed a ceremonial role. There are currently around 60–75 Scottish rudiments played in pipe bands around the commonwealth countries and former British colonies, taking influence from Swiss, French, and American Hybrid drumming as well as traditional Scottish rhythms.

American
Many attempts at formalizing a standard list of American snare drum rudiments have been made. The first publication to formally organize American drumming was by Friedrich Wilhelm von Steuben at Valley Forge. He included camp duty signals in his general manual on military practices for George Washington’s troops, the “blue book” written in 1778–79, though the drum parts were listed in prose. The first America rudimental manual to have prescribed rudimental exercises in notation was A Revolutionary War Drummers Book, also from 1778, which displayed 20 exercises that can be taken as rudiments as well as "drum beatings" such as the piece Valley Forg [sic]. This was followed by Ben Clark's manual on military drumming in 1797 and David Hazeltine's book Instructor in Martial Music in 1810. Charles Stewart Ashworth was the first person to actually label short drum exercises as "Rudiments" in 1812.

Several more manuals of note were printed between 1812 and 1860, including those by Charles Robbins (1812), Rumrille and Holton (1817), Alvan Robinson (1818), Levi Lovering (1819), and George Klinehanse (1853).

A number of manuals next appeared during the American Civil War, including those by Elias Howe (1861), Keach, Burditt, and Cassidy (1861), Bruce and Emmett (1862), H.C. Hart (1862), Simpson and Canterbury (1862), William Nevins (1864). Adjutant-General Samuel Cooper's general military manual of 1861 also contained a small section on rudimental drumming, but in a very simplified form, as did Brigadier General Silas Casey’s tactics manual of 1862.

Gardiner A. Strube published his influential distillation of Civil War practices in 1870. Between the Civil War and the 20th century, Fifes and Drums were phased out in favor of bugles for official signals, though military music continued to be taught and practiced for ceremonial purposes. John Philip Sousa produced a manual in 1886 that would later be revised several times by the U.S. Army. Walter Smith also produced a manual in 1897 for the Army and Navy, though he was a bandleader in the Marines. In 1912, just 42 years after Strube's Lessons, Harry Bower, in his book The Harry A. Bower System for Drums Bells Xylophone and Tympani, calls the military rudiments "ancient," "old fashioned," and "old style beats, rolls, and flourishes," to be played only when emulating a military sound. The Bower book offers several competing versions of many rudiments taken from multiple competing 19th century manuals.

During World War I, V.F. Safranek published a manual in 1916 (based on Smith's 1897 work), while Carl E. Gardner released another in 1918. Sanford Moeller put a list in his 1925 book, which is one of the few books here intended for civilian drummers. The Moeller method advocated for a return to the "ancient" traditions of military drumming technique and rudiments.

The National Association of Rudimental Drummers, an organization established to promote rudimental drumming that included George Lawrence Stone and William F. Ludwig, Sr., organized a list of 13 essential rudiments and second set of 13 additional rudiments to form the Standard NARD 26 in 1933. This was largely based on Strube's 25 rudiments from 1870, with a single addition, the single stroke roll.

During World War II, the War Department used a manual from 1940, TM 20–250 Field Music Technical Manual, that clearly echoes Smith and Safranek. The Marine Corps had a competing manual, essentially mirroring Sousa but updated in 1942, Manual for Drummers, Trumpeters, and Fifers.

Later in the 20th century there were several notable variations and extensions of rudimental drumming from teachers like Charles Wilcoxon, author of All-American Drummer and Modern Rudimental Swing Solos, and Alan Dawson, whose "Rudimental Ritual" was popular at Berklee College of Music in the 1970s.

Drum Corps International was founded in 1971 bringing together drum corps from around North America to compete, some of which had been in existence since the 1930s or 1940s (though many others were formed as late as the mid-1960s). From the outset, the drummers steadily expanded the rudimental vocabulary from the traditional American military and NARD repertoire to include Swiss rudiments as well as Hybrid rudiments that combined elements of multiple unrelated rudiments into new, more complex patterns.

In 1984, a Percussive Arts Society committee led by Jay Wanamaker reorganized, and reinterpreted, the NARD 26 and added another 14 to form the current 40 International Snare Drum Rudiments.

Beginning in the early 1990s, rudimental instruction began to focus heavily on hybrid rudiments. Edward Freytag's 1993 Rudimental Cookbook and Dennis Delucia's 1995 Percussion Discussion both feature significant hybrid rudiment instruction. This trend continued into the 21st century with John Wooton's 2010 Rudimental Remedies, Bill Bachman's 2010 Rudimental Logic, and Ryan Bloom's 2019 Encyclopedia Rudimentia significantly focusing on hybrid corps-style rudiments as well as older standards.

Present day
In the 21st century there are four principal rudimental drumming cultures: Swiss Basler Trommeln, Scottish pipe drumming, Anglo-American ancient drumming, and American modern drumming (or DCI hybrid drumming). Other organized rudimental systems include the French, Dutch, German (Prussian), Swedish rudimental drumming, Trommeslått, Bavarian, Austro-Hungarian, Italian, Belgian, Mexican rudimental drumming, Russian rudimental drumming, Swiss Ordonnanz Trommel (non-Basel, poorly understood outside of Switzerland), and Bajoaragonés systems, which are still studied and performed on a small scale in their home countries. There is also a distinct historic Spanish military rudimental culture, though this system is no longer widely used, as well as a similarly defunct Sicilian system.

Recently, the International Association of Traditional Drummers (IATD) has been working to once again promote the 26 NARD rudiments of 1933 (1870 Strube list of 25 plus 1). One of the chief issues the IATD has with the PAS 40 is the "Swiss influence," though only eight of the extra 14 rudiments (that do not appear in the Standard 26) are foreign or not found in American military manuals prior to Strube. Only two of those eight non-traditional rudiments can be traced to a Swiss origin.

There is a movement in the German-speaking areas of Europe, led by Claus Hessler and Percussion Creativ, to revise rudimental practices and combine the French and Basel systems with some of the modern American rudiments into a single Rudimental Codex of 42 rudiments. The Rudimental Codex has been submitted to UNESCO as an intangible World Heritage Site.

Single stroke
A stroke performs a single percussive note. There are four basic single strokes.

Double stroke
A double stroke consists of two single strokes played by the same hand (either RR or LL).

Diddle
A diddle is a double stroke played at the current prevailing speed of the piece. For example, if a sixteenth-note passage is being played, then any diddles in that passage would consist of sixteenth notes.

Paradiddle
A paradiddle consists of two single strokes followed by a double stroke, i.e., RLRR or LRLL. When multiple paradiddles are played in succession, the first note always alternates between right and left. Therefore, a single paradiddle is often used to switch the "lead hand" in drumming music.

Mill stroke
A mill stroke is essentially a reversed paradiddle with the sticking RRLR or LLRL with an accent on the first note. The single flammed mill is the most common mill stroke variant in American playing.

Drag
A drag is a double stroke played at twice the speed of the context in which it is placed. For example, if a sixteenth-note passage is being played then any drags in that passage would consist of thirty-second notes. Drags can also be notated as grace notes, in which case the spacing between the notes can be interpreted by the player. On timpani, drags are often played with alternating sticking (lrL or rlR).

In Scottish pipe band snare drumming, a drag consists of a flam where the grace note is played as a "deadstick" (staccato note).

Ruff
Historically, 2 grace notes preceding a beat were known as a Ruff (or Rough) llR if played closed and a Half Drag llR when played open. Ruff can also refer to a single stroked set of grace notes preceding a regular note. In American playing the 3 Stroke Ruff has 2 single stroked grace notes before the primary or full note rlR and a 4 Stroke Ruff has 3 singles before the primary note lrlR. Other rudimental systems have differing sticking methods and names for similar notation figures. Though still used and taught by drummers and drum teachers in practice, the 3 Stroke Ruff and 4 Stroke Ruff are not officially listed on the NARD or PAS rudiment sheets and the term Drag has eclipsed Ruff (or Rough) for the double stroked rudiments, in both open or closed execution, according to the current PAS standard terminology.

Flam
A flam consists of two single strokes played by alternating hands (rL or lR). The first stroke is a quieter grace note followed by a louder primary stroke on the opposite hand. The two notes are played almost simultaneously, and are intended to sound like a single, broader note. The temporal distance between the grace note and the primary note can vary depending on the style and context of the piece being played. In the past, or in some European systems, open flams and closed flams were listed as separate rudiments.

Charge stroke
A charge stroke is a special variation on an open flam in which one or both of the notes are accented to provide a driving feel that can create the illusion that the downbeat has moved earlier in time. The two major types are French Lr or Rl and Swiss LR or RL with the first note preceding the downbeat, which falls on the second note, in both types. Charge strokes can be combined with flams or drags to create complex grace note figures preceding a downbeat.

Double stop
A double stop consists of two single strokes played simultaneously, one on each hand. It differs from a flam or charge stroke in that there is no space between the notes and both hands fall exactly at the same time. This is not considered an American rudiment on any common list, but is a staple of several European systems. Alternative names include Flat Flam, Unison, or Both and the technique is used in modern corps style snare drumming as well as drum kit and classical percussion applications.

Roll
Drum rolls are various techniques employed to produce a sustained, continuous sound.

Percussive Arts Society rudiments
Rudiments according to the Percussive Arts Society. There are more than 850 rudiments worldwide, but these 40 are the current American standards, referred to as “international” because they mix rudiments traditionally used in Anglo-American drumming with several drawn from the Swiss Basel drumming tradition. They were compiled by a committee led by Jay Wanamaker in 1984 that also happened to include William F. Ludwig Jr., son of the founder of NARD in 1933. In contrast, there are 26 rudiments between the NARD 13 Essential and 13 Rudiments to Complete sheets, 46 rudiments on the Scottish Drumming Rudiments sheet, and 42 rudiments on the French/Swiss Rudimental Codex sheet.

Single stroke rudiments
The single-stroke roll consists of alternating sticking (i.e., RLRL, etc.) of indeterminate speed and length.

Double stroke open roll rudiments
There are 10 official variants of the double-stroke roll.

Historical organization
(NARD Standard 26 American Drum Rudiments of 1933)

Thirteen "essential" rudiments
• The double stroke open roll

• The five stroke roll

• The seven stroke roll

• The flam

• The flam accent

• The flam paradiddle

• The flamacue

• The drag (half drag or ruff)

• The single drag tap

• The double drag tap

• The double paradiddle

• The single ratamacue

• The triple ratamacue

Second thirteen rudiments
• The single stroke roll

• The nine stroke roll

• The ten stroke roll

• The eleven stroke roll

• The thirteen stroke roll

• The fifteen stroke roll

• The flam tap

• The single paradiddle

• The drag paradiddle No. 1

• The drag paradiddle No. 2

• The flam paradiddle-diddle

• The lesson 25

• The double ratamacue

Last fourteen rudiments
In 1984, the Percussive Arts Society added 14 more rudiments to extend the list to the current 40 International Snare Drum Rudiments. The ordering was completely changed during this last re-organization. • The single stroke four

• The single stroke seven

• The multiple bounce roll

• The triple stroke roll

• The six stroke roll

• The seventeen stroke roll

• The triple paradiddle

• The single paradiddle-diddle

• The single flammed mill

• The pataflafla

• The Swiss Army triplet

• The inverted flam tap

• The flam drag

• The single dragadiddle

Notable contributors

 * Charles Stewart Ashworth: drum major and author, United States Marine Corps Band
 * Samuel Potter: drum major and author, Band of the Coldstream Guards
 * H.C. Hart: drum major and author, 71st New York Infantry
 * George Barrett Bruce: drum major and author, 7th New York Militia, 22nd New York Infantry Regiment, 5th Maryland Infantry Regiment, 69th New York Infantry Regiment.
 * Gardiner A. Strube: drum major and author, Duryeé's Zouaves, 12th Regiment NGSNY.
 * J. Burns Moore: champion drummer, contributor to the 26 rudiments, former president of NARD, New Haven Symphony Orchestra and Governor's Guards
 * William F. Ludwig: contributor to the selection of the standard 26 rudiments, owner of Ludwig Drums Company, former president of NARD
 * George Lawrence Stone: author and teacher, contributor to the selection of the standard 26 rudiments, former president of NARD
 * Charley Wilcoxon: author and teacher
 * Fritz Berger: author and teacher, promoter of Swiss rudiments
 * Frank Arsenault: teacher known for his official recording of The 26 Standard American Drum Rudiments and Selected Solos, former president of NARD
 * John S. Pratt: author, instructor, and arranger, West Point Band, Interstatesmen, Gray Knights, and Hawthorne Caballeros Drum and Bugle Corps, and founder of IATD
 * Marty Hurley: contributor to the PAS 40 rudiments, instructor and arranger, Phantom Regiment Drum and Bugle Corps
 * Mitch Markovich: composer, clinician, former president of NARD, The Cavaliers Drum and Bugle Corps
 * Fred Sanford: contributor to the PAS 40 rudiments, instructor and arranger, Santa Clara Vanguard Drum and Bugle Corps
 * Jay Wanamaker: author, contributor to the PAS 40 rudiments, president Roland Corporation
 * Ralph Hardimon: instructor and arranger, Santa Clara Vanguard Drum and Bugle Corps
 * Claus Heßler: president of Percussion Creativ, contributor to the Rudimental Codex

Hybrid rudiments
A hybrid drum rudiment is when two rudiments are combined into one rudiment. For example, the PAS #30 Flam Drag is a simple hybrid combining the traditional PAS rudiments #20 Flam and #31 Drag. A hybrid can also be created by adding a prefix before a rudiment or a suffix at the end of the rudiment in the form of extra notes or a rudimental pattern.

There are certain characteristics that make a reasonable hybrid rudiment;

 * The Rudiment cannot be too long as to where it extends beyond one measure (bar).
 * The Rudiment needs to be symmetrical meaning that it may be played on the right or left. As an example; the rock beat cannot be a rudiment because the right-hand plays something completely different from the left.

A few examples are the "Herta" which is a drag played with alternating sticking; the "cheese", a diddle with a grace note; and the "eggbeater", a five-tuplet with the sticking "rrrll." These hybrids have themselves given way to further hybrids; the "cheese invert" (an inverted flam tap with cheeses instead of flams) and the "diddle-egg-five" (a paradiddle-diddle followed by an eggbeater and two diddles, one on each hand). Other hybrid rudiments include: "book reports", "ninjas", and "flam dragons" (formerly known as "double flam drags").

Hybrid rudiments have been historically associated with modern marching band repertoire, especially Drum Corps International. The number of hybrid rudiments expanded rapidly starting in the 1990s. Today there are an indeterminate number, with more than 500 published and documented hybrid rudiments or unique variations.

The latest innovation in hybrid rudiments has been "The Grid", which is a method for producing variations on a simple rudimental pattern by moving the individual elements of the rudiment (for example flams, accents, or diddles) through the notes of basic rhythm of the rudiment. One example of a Grid technique would be to play the PAS Flam Accent (a grace note and accent on the first of 3 single strokes) with the accent on the first note, then the second note, then the third note, producing 3 variations of the pattern and exhausting the placement options for the accent within the rhythm. The same could then be done with the grace note for the flam, producing 3 more patterns. The resulting 6 patterns could then be combined in a sequential way, producing further variations until all combinations of elements are exhausted. Not all of the resulting combinations are named or officially listed as rudiments, but are useful in developing a player's skills.

title: Drum rudiment


text:
Choccolocco, Alabama

Choccolocco is an unincorporated community and census-designated place in Calhoun County, Alabama, United States. As of the 2010 census, its population was 2,804. It was founded in 1832.

The name Choccolocco is an anglicization of the Creek words "chahko lago" ("big shoals") or "choko rakko" ("big house"); sources vary.

The community gained brief notoriety in 2001 when The Daily Show aired a piece on the "Choccolocco Monster", a part of local folklore concerning sightings of a mysterious creature in the area in the late 1960s. An October 2001 article in the Anniston Star newspaper revealed that the creature was, in fact, local resident Neal Williamson. As a teenager, Williamson would don his costume (consisting of a cow skull and a sheet) and gain the attention of passing cars by jumping out of the woods onto the roadside, often startling motorists.

Demographics
Choccolocco first appeared on the 1890 U.S. Census as a town, but did not appear again until 2010 when it was made a census-designated place (CDP).

title: Choccolocco, Alabama


text: Category:Seasons in English football

title: Category:Seasons in English football


text:
Talk:Battle of the Trebia

Untitled
Trebbia River is flowing northward from the Apennines, not from the Alps.

Polybius reports that "not less than 10.000" infantry saved in Placentia and other, later, had been driven there by Scipio with "the most part of cavalry" (Stories, III,74). So how can Roman start with 26.000 men and have 20.000 casualties? (excuse me for my bad bad bad English)--151.37.226.15 14:27, 15 July 2005 (UTC)

 * Has been corrected. The Romans hat two whole legions i.e. more than 40,000 men. --Proofreader 12:10, 26 February 2006 (UTC)

- The article states that

"No sooner had the cavalrymen shown up in the vicinity of the Roman camp, than Sempronius sent out his cavalry to drive them off, and shortly afterward, recklessly sent his entire army of 36,000 Roman infantry, 4,000 allied cavalry, and 3,000 Gallic auxiliaries, towards the battle. He was impatient to gain what appeared to him to be victory, though unaware of the trap set for him."

And that the Roman strength was 45,000. (Which is backed up by Polybius)

But as stated before, Longus left a base guard of 10,000 at his camp. This means that the figure for Roman infantry that Longus sent in pursuit could have been no greater than 26000. --- The estimation of Hannibal's forces is also problematic. For one, Hannibal had about three dozen elephants, not "three elephants". Also, the article does not take notice of the Gallic forces that had joined Hannibal after his 26,000 man army arrived in Italy (probably about 14,000),∐$$  $$ and the numbers are given in the description of Hannibal's deployment add up to 31,000, not the given 26,000.

Why keep the old image?
Hy, I tried to replace the old brown image with newer one from the US military academy. To my suprise this replacement was reverted with no explanation except "keep both images". Well I can only say that the newer image shows the locations of the troops in a better deatil (can you see the ambushed carthaginian troops in the old image?) and should logically replace the older image. The older image should be deleted in favour of the new. Flamarande 22:07, 31 May 2006 (UTC)

 * The new image includes just the battle field, the old image shows a larger portion of territory, up to Clastidium, which had a significant role in the prelude to the battle. Beside, there is a discordancy between the two map (the positions of Roman and Carthaginian forces are reversed) and until now I didn't manage to investigate which image is exact. GhePeU 12:15, 1 June 2006 (UTC)

sacred band cavalry?
"The sacred band" referred to earlier infantry units fielded by Carthage - is there any evidence this was ever applied to cavalry? As far as I know, it was Numidian cavalry used to lure the Romans into battle. JW (talk) 06:57, 3 March 2008 (UTC)

Hannibal began the war?
The text of this article reads, "Hannibal began the Second Punic War in 219 B.C. by attacking the Roman-allied city of Saguntum..." I think that's not neutral POV, according to the sources. I'll check and see exactly what they say.Gallador (talk) 01:32, 24 July 2008 (UTC)

Conflicting maps
The two maps of the battle currently appearing in this article have a dramatic conflict: the places of the two armies are reversed. Which is accurate? Shouldn't there be an explanation of the disparity, even if it's simply "it appears that Gonius erred in his depiction"? --Piledhigheranddeeper (talk) 00:27, 18 December 2008 (UTC) Ah. I see now that this issue was raised two years back. However, there's still no resolution. --Piledhigheranddeeper (talk) 00:28, 18 December 2008 (UTC)

Which Scipio?
There are several references to Scipio on this page. Does it mean Scipio Africanus, or his father, Publius Cornelius Scipio? Or both? Can someone answer that and provide a link to the subject? —Preceding unsigned comment added by Egthegreat (talk • contribs) 05:50, 23 August 2009 (UTC)

Answers
Hello guys. I'm a genuine Greek and Latin guy. The Greek and Latin guys had all this worked out long ago, you just don't have access to the articles. Harvard allowed Google to put much of its library online so now we have some access. Don't even think about buying articles online, they are way overpriced. It's a genuine racket. But, that is where the information is. I'll do the best I can with sources you can actually get. I must say, you have the usual expectations of non-ancient-historians. You hear about everything almost as soon as it happens and within a year or two can get the whole story, unless it is being suppressed. Polybius and Livy were working from a dozen or so hand-written paper manuscripts, which didn't even last their lifetimes. The general population couldn't read and didn't know a thing about it. As Mark Twain quipped somewhere, the ancient kings had no idea where half their kingdoms lay and couldn't have their borders surveyed. What I am saying, what you read is all you are going to get, my friends. There are no solutions. I mean, there are many, but who knows which is right? When that Vandal back then brought a manuscript from the library of Alexandria into the toilet with him that was the last anyone was ever going to know of many of these battles. If you could pick one book about WWII to survive, which would it be? Whichever one it is it wouldn't be enough. Feel grateful, you have two, Livy and Polybius. Saguntum. Hannibal did too start it. That was the casus belli. He had a dream, he said, to lay waste to Italy. He swore an oath never to make peace with Rome. Sure, bub. The best defense he might offer is that Rome made a treaty with a city they had formerly agreed was to be neutral. We don't read about Hannibal sending any old men to the Roman senate to work things out. Take a look at his career - wherever he went, blood baths. The sequence is this - there is peace. Hannibal levels Saguntum. Rome sends to Carthage offering peace. Carthage refuses to check Hannibal and accepts war. The fact that they were unhappy about Sardinia has nothing to do with it. The attack on Saguntum reopened the war. But, as I say, we are not given any clear motives, only the guesses of Polybius and Livy. Maybe none are right, maybe all are right. Where's the non-NPOV? Are we neglecting evidence? What evidence are we neglecting? Should we be making stuff up here just to be fair to Hannibal? I don't see any non-NPOV. The war starts with a declaration following the attack. I believe in modern times the custom is to identify the attacker as the aggressor. We wouldn't say, the United States started WWII by provoking Japan to attack Hawaii or that Poland started it by tempting the 3rd reich to attack it. If you fellows are interested in research, there are plenty mysteries to illuminate here. Maybe you can find something. Do a paper. Whoever first worked on this article found some solutions by making stuff up. That's not allowed. Better to present the problem, but that takes more work. If you can't put it in, don't meddle with the article. So much for that. I find much of the article is usable so I'm going to back it up with the apparatus. It borders on being corny in places but nothing I could really say, this is bad prose. I hope this will take care of some questions for you. Bonjour.Dave (talk) 01:59, 22 March 2009 (UTC)

Highlight problematic approach - re-write is in order
This article doesn't appear meet the standards required of an encyclopedia entry. Too much of the original source material is dismissed out of hand with little or no explanation and much content that is included is speculation based on unreferenced secondary work. Yes the sources are confused and missing key information but that is the nature of historical sources in this period. You can't just fill in the rest with speculation without making this very clear.

The whole article has a pro-Roman and pro-Longus bias which is hard to justify in the face of the facts. For those not well versed in this area of history it must be confusing to read and appear contradictory. Less content, sticking to the establishable facts would be better - elements of common speculation such as the site of the battle are important but should be clearly identified, referenced and show a comprehensive survey of modern opinion.

--Dfairweather (talk) 12:03, 29 March 2009 (UTC)
 * So if you want, and are well aware of WP:Manual of Style procedures (really annoying if having to reformat and reclean an article having a long history of such work), rewrite it at your will! Good luck --'''Attilios''' (talk) 12:26, 29 March 2009 (UTC)

OK, I'll have a go in a week or two when I've got enough time to do it all in one go, unless anyone else wants to first of course. --Dfairweather (talk) 13:18, 29 March 2009 (UTC)

 * Hello Mr. Fairweather. This article does meet standards of an encyclopedia entry. The previous article did not meet such standards. It's too bad you find this annoying, Attilios. I wonder why you did not find the plagiarism and total neglect of the sources annoying in the previous article. That reminds me, Mr. fairweather - exactly what original sources got neglected? You do understand that interpretive accounts are not original sources? Hmn. Mr. Fairweather, I do agree with you on one point - it could use more secondary sources. I'm only trying to correct the flaws of the previous. I always like to encourage work, as that is the policy. Go ahead, my boy. Dig in. Let us see what you can do. Mr. Fairweather, you say we should stick to the etablishable facts. Let's have some more of those, hey? Make sure you establish them, however. Now, you talk about a comprehensive survey of modern opinion. I'd like to see that. Can you do it? I would interject that YOUR offhand opinion is not a modern survey. I'm getting off this article now. I see your overall opinions as off the mark. This article is far better than the previous, includes better sources and answers some of the problems raised in the discussion. I can't see how you would not see that, so there is a credibility gap here. Maybe you didn't like some of the things I said in correction or didn't like being corrected. Neither does any student. Time will tell. Now, Mr. Attilius, I saw your initial title corrections. Well, mine were OK but in fact I like yours better. However you did end up with two "sources" sections. I would say, do be careful will you? Don't "correct" just to be correcting, do BETTER than me. Now, as I do not like Mr. Fairweather's tone and I do not like Mr. Attilios' seconding of it, I am leaving this article to you for now. Later I will look at it again with fresh eyes and if it is worse I will say so and why. Meanwhile I mean to chide you for your tone but I do not mean to discourage you. Have at it. If I don't see a major redesign I will know you couldn't do it and then I will start expressing the problems in improvement tags. Oh, Mr. Fairweather, I don't know what you mean by "less content" when you seem to be proposing a great deal more content (however we can split off more articles if necessary). Frankly the truth of your words does not match your tone. I see you have no user page. I don't know WHO you are until I see your work. If you are going to stay with us, how about a user page? The flak is no worse than what goes around in universities all the time.Dave (talk) 16:24, 29 March 2009 (UTC)

 * PS. One more thing, Mr. Fairweather. You claim the article is pro-Longus and pro-Roman. Keep in mind, the main sources are pro-Roman. Livy was very much pro-Roman and so was Polybius. Unfortunately there are no pro-Carthaginian sources to tell us any different. If the battle did not happen that way, you need to show that it did not happen that way, and you need sources to show that bias may have prevented the sources from telling it the way it was. Your own pro-Carthaginian views are not of interest. So, it isn't me or the article you want to address, it is the sources. My opinion, which I expressed above, is not in the article in any way nor do I base any view on it. I stuck to what the sources said. The only "source" I cut out was the novel. Novels are not sources. If you put it in again I will tag it as non-encyclopedic. Now, you tell us you are going to fix this all in a single session. What? Don't you want to do any reading, any lookups, any offline writing? A single session? I don't see how you are going to do that. You need to qualify yourself to work on this article by doing the homework; your offhand opinion is the problem with articles such as this. Exactly how are the sources pro-Roman? I probably should tip you off, it is a big subject and may require a new section if not another article. Even to say, "so-and-so thinks this part of the account reflects Roman bias" is going to take research and space in the article. That is all I wanted to say. So long now.Dave (talk) 19:57, 29 March 2009 (UTC)

 * PPS. Whew. It appears that I am not off the article after all. I am gathering the secondary sources you requested, Mr. Fairweather. Now, with regard to your sudden presence on Wikipedia, either you were on before under another name or you are not familiar with the policies. Your statements lead me to think you had a sudden replacement in mind. I should warn you that you cannot do that. I will regard it as vandalism and will revert it. I am sure Mr. Attilios, a more experienced editor, was not suggesting that you could. You have to give reasons for what you do, so if you want to rewrite you have to state what you are rewriting and why. That gives the rest of us a chance to evaluate it. For myself I am interested in the best article that can be obtained. So if you do something and I see that it is better I will have no objection. I think Mr. Attilios sees that that is so. I see him making unobtrusive changes mainly for the better here and there. Wikipedia is based on successive alteration of what is there, and that is best; otherwise, anyone can just replace any article at any time. Chaos would result. I think once you start a rewrite, if you do, you will not find me unreasonable. Certainly it is not the work of a single session. I am saying all this under the presumption that there is a sincere persona under the name of Fairweather, which is the presumption that Wikipedia recommends and supports. I would only doubt it because your abrupt statements seem so far off the mark, but they may be characteristic of a novice. I find the fact that no one is rushing to carry on the usual juvenile (or hypocritical) confrontations reassuring. Maybe you are researching the topic and encountering the probems.Dave (talk) 12:13, 31 March 2009 (UTC)

left or right
The article is very confusing due to its treatment of the conflicting sources regarding the positions and strength of the armies.

 * The map in the infobox contradicts the map used further below
 * The map quotation states that "This article adopts Mommsen's classic view that the Romans camped on the right bank and crossed to the left." yet numerous sections below permit both possibilities.
 * The prelude again takes a strong view on positions "Tiberius sent an unspecified number of cavalry across the river with 1,000 infantry. They caught the Carthaginians pillaging there and drove them into Hannibal's camp (clearly on the left bank). The Carthaginians acquired reinforcements and sallied out to push the Romans back across the river, where the Romans sent for reinforcements from their camp (proving a right-bank location).", while the battle and aftermath section allow both possibilities.
 * The numbers section goes to great length to explain why both roman armies were likely not merged, yet the battle section totally ignores is and gives numbers for the merged case.

As a result, the article is inconsistent and hard to read. There are, in my opinion, two possible solutions:

 * 1) If one side (on both the issues of location and number) has a clear majority of scholars arguing for it, the entire article should follow this side and present the dissenting side only in a separate section to avoid confusion.
 * 2) If both sides are equally represented, then all sections of the article should present both cases, not only some (while others only take one side). --Xeeron (talk) 14:46, 10 March 2010 (UTC)

Date of the battle
The lede states that the battle took place "on or around the winter solstice." Appian says this: "The river Trebia separated the hostile armies, which the Romans crossed before daylight on a raw, sleety morning of the spring equinox, wading in the water up to their breasts." - Roman History 7,6. Can someone explain or give a source for the current winter solstice date? Failing that I will go ahead and adjust the lede accordingly. ~ Alcmaeonid (talk) 19:24, 10 February 2012 (UTC)

missing word
The following sentence seems to be missing a word at the end. "Yet while harassing the Romans, the Carthaginian cavalrymen turned aside to pillage Scipio's abandoned." I can't fix it because I don't know what word belongs there. Tupelo the typo fixer (talk) 18:27, 12 January 2015 (UTC)

Duplicate sentences
Hanberke (talk) 12:38, 2 September 2020 (UTC)
 * A cold snap had set in and the precipitation had turned from rain to snow and ice. All the elephants but one (or several in Polybius) died along with "many men and horses".
 * The storm was followed by a cold snap. All the elephants except one, and many of the horses died.
 * Yep. Thanks. Work in progress. I am reluctant to remove old text until I know that I have my new text lined up. Although, checking, they are both old text. Sorted. Cheers. Gog the Mild (talk) 13:27, 2 September 2020 (UTC)

Juan Valdez mercado jr
reference my journey 2001:4455:6ED:A400:F147:A6DC:B598:5070 (talk) 16:26, 23 December 2023 (UTC)

title: Talk:Battle of the Trebia


text:
User:Tkinias/Taxo test

Taxobox test...

title: User:Tkinias/Taxo test


text:
Talk:The Gold Bug Variations

Fair use rationale for Image:RichardPowers TheGoldBugVariations.jpg
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title: Talk:The Gold Bug Variations


text: User talk:68.41.173.219

title: User talk:68.41.173.219