text:
National Democratic Party (Iraq)

The National Democratic Party (الحزب الوطني الديمقراطي, Hizb al Wataniyah al Dimuqratiyah) is an Iraqi Secular political party. The party was founded after the 2003 invasion of Iraq, as several Iraqis, including Naseer al-Chaderchi, son of former leader Kamil al-Chaderchi, and Abdel Amir Abbud Rahima, sought to revive the historic National Democratic Party.

The party ran in the 2005 Iraqi election and received 36,795 votes, sufficient to win one seat. It lost parliamentary representation in the December 2005 elections, but a leading member, Hashim Abderrahman al-Shibli was nominated as Minister of Justice by the Iraqi National List.

In the 2009 governorate election in Basrah, the party is contesting on the list 'National Tendency', together with the Iraqi Communist Party, Popular Democratic Gathering and Independent Sons of Iraq.

Naseer al-Chaderchi is a former leader of the party The party's current leader is Abid Faisal Ihmaid, father of Member of the European Parliament Abir Al-Sahlani.

title: National Democratic Party (Iraq)


text:
The Man Who Cried

The Man Who Cried is a 2000 drama film written and directed by Sally Potter, and starring Christina Ricci, Cate Blanchett, Johnny Depp, Harry Dean Stanton and John Turturro. The film tells the story of a young Jewish girl who, after being separated from her father in Soviet Russia, grows up in England and moves to Paris as a young adult, shortly before the beginning of World War II. It is the last film worked on by the French cinematographer Sacha Vierny.

Plot
Fegele Abramovich (Christina Ricci), a Russian Jew is separated from her father (Oleg Yankovsky) as a child in 1927. Her father has travelled to America to seek his fortune and plans to send for Fegele and her grandmother. Before leaving, he sings "Je Crois Entendre Encore" from the Bizet opera Les pêcheurs de perles to her. After her father leaves, the village is attacked and burned in a pogrom. Fegele escapes with the help of neighbours; after overcoming many obstacles, she is crowded onto a boat headed for Britain, with only a photo of her father and a coin given to her by her grandmother.

Upon arrival, an English official renames her "Susan" and places her with foster parents. English students at school taunt her by calling her a "gypsy", but she does not yet understand English. A teacher at the school overhears her singing "Je Crois Entendre Encore" in Yiddish, and teaches her to sing and speak in English.

Time passes, and Suzie auditions for a singing dance troupe heading for Paris. There, she meets an older Russian dancer named Lola (Cate Blanchett), and they share an apartment as friends. At a formal party, both women perform as dancers alongside a mysterious performing horseman, Cesar (Johnny Depp), a Romani to whom Suzie is attracted. After their performance outside, they overhear a tenor inside singing "Je Crois Entendre Encore"; the voice belongs to Dante (John Turturro), an Italian opera singer who immediately catches Lola's eye. Lola works her way into his good graces and falls for his charms, enticed by his wealth and success. Dante, Lola, Suzie, and Cesar all work for an opera company directed by Felix Perlman (Harry Dean Stanton). Dante is an imperious follower of Mussolini; this alienates him from Suzie even as he becomes Lola's lover. Meanwhile, Cesar introduces Suzie to his "family" (essentially his entire tribe), and they fall in love.

One day, Dante is rifling through Suzie's things after a dalliance with Lola in the apartment, and deduces her Jewish heritage after finding her father's photo. An elderly Jewish neighbour downstairs, Madame Goldstein (Miriam Karlin), also knows that Suzie is Jewish and has warned her of the dangers on the horizon as the Germans invade Poland. The following year, as the Germans invade France and approach Paris, an exodus begins of Jews and other people threatened by Nazism. Crowds for the operatic show dwindle, and eventually the only cast members left are Dante and Suzie. When Dante attempts to seduce Suzie, she rebuffs him. He lashes out at her for her heritage and her relationship with Cesar, whose heritage he also scorns. Perlman comes to her defence; he reminds Dante that as an Italian in Paris at that time, should Mussolini align with the Nazis, Dante's own position in Paris would be precarious. Perlman closes down the show; the Nazis enter Paris the following morning.

Dante reluctantly returns to his earlier role as minstrel. After another rebuff from Suzie, Dante reveals to a German officer that Suzie is a Jew. Lola overhears this and informs Suzie that she is in danger and must leave Paris. Lola has also decided to leave Dante and has purchased tickets for Suzie and herself on an ocean liner headed for America. The same night of the party, the Nazis attack the Romani village and kill a child. When Cesar comes to her apartment to say goodbye, Suzie expresses her desire to stay and help Cesar fight the Nazis for his family, but he tells her she must flee and find her father. They share a tender last evening together.

During the ocean passage the liner is torpedoed, with Lola killed in the sinking. Suzie is among the survivors rescued and brought to New York.

Suzie searches for her father and discovers that he changed his name, gave up singing, and moved west after hearing about the attack on his home village, which he assumed killed all the members of his family. Suzie goes to Hollywood where her father has established himself into a studio head, and discovers he has a new family and that he is dying. She goes to the hospital, walks past his new wife and children who are waiting outside the door to his room, and is reunited with her father. He recognizes her and expresses joy at her appearance. She sits on the side of his bed and sings "Je Crois Entendre Encore" to him in Yiddish as tears roll down his face.

Cast

 * Christina Ricci as Suzie
 * Oleg Yankovsky as Father
 * Claudia Lander-Duke as Young Suzie
 * Cate Blanchett as Lola
 * Miriam Karlin as Madame Goldstein
 * Johnny Depp as Cesar
 * Harry Dean Stanton as Felix Perlman
 * John Turturro as Dante Dominio
 * Josh Bradford as extra
 * Don Fellows as Joe (Final film role)

The singing voices for the characters of Dante and Suzie were provided by Salvatore Licitra and Iva Bittova, respectively.

Release
The film was first presented at the Venice Film Festival on 2 September 2000. The film screened at the London Film Festival; the Mar del Plata Film Festival, Argentina; the Tokyo International Film Festival & the Reykjavik Film Festival, Iceland among others.

Reception
The film received mixed to negative reviews, currently holding a 35% 'rotten' rating on review aggregate Rotten Tomatoes. The consensus, based on 69 reviews, says 'The storyline is overwrought and awkward, and the audience is distanced from the flatly drawn characters.' Metacritic calculated an average score of 40 out of 100 based on 22 reviews, indicating "mixed or average reviews".

Awards

 * Wins
 * National Board of Review: NBR Award; Best Supporting Actress, Cate Blanchett; 2001.
 * Florida Film Critics Circle Awards: FFCC Award; Best Supporting Actress, Cate Blanchett; 2002.

 * Nominations
 * Venice Film Festival: Golden Lion, Sally Potter; 2000.

Soundtrack
The Man Who Cried: Original Motion Picture Soundtrack was released 22 May 2001. It features new music composed by Osvaldo Golijov, and was produced by Sally Potter and performed by the Royal Opera House Orchestra Covent Garden, Salvatore Licitra, and Taraf de Haïdouks.

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

title: The Man Who Cried


text: Category:Airlines of Costa Rica

title: Category:Airlines of Costa Rica


text:
Talk:Lucire

Untitled
Actually, in Romanian, Lucire is not quite "to reflect". Here's the dictionary definition:

 * (lucire is the long infinitive form of "a luci")
 * LUCÍ, lucesc, vb. IV. Intranz. 1. A răspândi lumină; a străluci, a lumina. 2. A sclipi din cauza luminii; a scânteia. ♦ (Despre ochi) A avea o strălucire deosebită, exprimând o emoţie, o dorinţă etc. 3. Fig. (Despre idei, sentimente) A apărea în mod brusc sau pentru scurt timp. ♦ A se remarca prin calităţi deosebite. – Lat. *lucire (= lucere).

An attempt of translation:

Bogdan | Talk 22:45, 14 Feb 2005 (UTC)
 * 1) to propagate light, to glitter, to shine
 * 2) to coruscate
 * 3) (about the eyes) to have a spark, expressing an emotion, a wish.
 * 4) (about ideas, sentiments) to appear abruptly or for a short time
 * 5) (about a person) to have some remarkable abilities

 * Thanks, Bogdan. I got my info from someone working at the magazine, but AFAIK they are not Romanian. I'll pass on the definition. Stombs 11:30, Mar 14, 2005 (UTC)

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title: Talk:Lucire


text:
Talk:Emily Booth

Untitled
It seems the article in question is copied directly from the official website listed on the tempory page. -- 64.12.117.12 22:46, 14 Feb 2005 (UTC)

Adult career
I'm pretty sure she had a career, however slight or large, in pornography which should probably go in if anyone knows anything about it. Tony2Times (talk) 00:37, 4 March 2008 (UTC)
 * The page does mention Threesome, which I believe was an adult/pornographic show in which she was involved.--Jayunderscorezero (talk) 08:58, 4 March 2008 (UTC)

Citations?
A near complete lack of citations, which would be understandable if it was copied from her website. Is her bra size really relevant information? 149.254.219.65 (talk) 02:48, 22 April 2009 (UTC)
 * Bouff's bra size has always been relevant. Meowy 17:17, 16 May 2009 (UTC)

I agree, her bra size being included is infantile and irrelevant. TheFatJamoc (talk) 15:45, 31 May 2009 (UTC)

I concur, given the context of the paragraph. If someone wants to whip up a proper "stats" section including bouffs height, weight etc then I think it would be acceptable there. I'll delete for now. Angelstorm (talk) 16:22, 1 July 2009 (UTC)

See notes above about adult career. People want that information in the article, and edits are just a reflection of that so probably best to change the infobox and encourage them to put the information there. -- Horkana (talk) 19:26, 4 July 2009 (UTC)

As my mother used to say, "want doesn't get" :) In all seriousness, it's such a random piece of information in a paragraph that is otherwise cohesive, that it just seemed better in the interests of the article to remove it. Personally, I'm not going to create another infobox entitled "breast size" and put that single fact in there :) Someone else may do so however. Angelstorm (talk) 16:34, 6 July 2009 (UTC)

 * My point was to discourage lazy deletions and to instead encourage those who want to add to the article to instead put them in a way that is more encyclopedic and less likely to be deleted. I don't expect you do work on anything you aren't interested in but I am asking if maybe there is more you can do to direct people and advise them to phrase their content better than to just delete it without making them any wiser and just discouraging them from trying to change the article. -- Horkana (talk) 23:04, 6 July 2009 (UTC)

Link to Bits tv show
In the carrer section there is this Bits link (in the line 'She co-presented and co-wrote video game review show BITS for two years'). It takes you to a Wiki Disambiguation page for bits. It doesn't list a TV show, and Wikipeadia doesn't appeare to have an articule for it. I think the link is of no use. I plan to come back and remove it. Dannman (talk) 11:25, 19 March 2012 (UTC)

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Article needs many improvements
This article should follow Wikipedia’s BLP guidelines for “People who are relatively unknown”. It should only include material relevant to the person's notability, focusing on high-quality secondary sources. Material published by the subject may be used, but with caution.

I don’t want to remove any information, as I know how much time and effort people put into editing articles. But, honestly, this article has way too much unnecessary information, and should only focus on why she is known.

Also, I noticed the citation for Booth’s birthday and birthplace are from a fan website that is not associated with her. While using personal websites to cite this type of information is okay for BLPs, fan websites are not. It must be the personal website for the person the article is about.

See: https://en.m.wikipedia.org/wiki/Wikipedia:Biographies_of_living_persons MiddleAgedBanana (talk) 12:32, 30 May 2020 (UTC)

title: Talk:Emily Booth


text:
Josef Hyrtl

Josef Hyrtl (7 December 1810 – 17 July 1894) was an Austrian anatomist.

Biography
Hyrtl was born at Kismarton, Hungary (now Eisenstadt, Austria). He began his medical studies in Vienna in 1831, having received his preliminary education in his native town. His parents were poor, and he had to find funds to defray the expenses of his medical education. In 1833, while he was still a student, he was named prosector in anatomy, and the preparations which this position required him to make for teaching purposes attracted the attention of professors as well as students. His graduation thesis, Antiquitates anatomicæ rariores, was a prophecy of the work to which his life was to be devoted. On graduation he became Prof. Czermak's assistant (famulus) and later became also the curator of the museum. He added valuable treasures to the museum by the preparations which he made for it. As a student he set up a little laboratory and dissecting room in his lodgings, and his injections of anatomical material were greatly admired. He took advantage of his post in the museum to give special courses in anatomy to students and in practical anatomy to physicians. These courses were numerously attended.

In 1837, when only twenty-six, Hyrtl was offered the professorship of anatomy at the University of Prague, and by his work there laid the foundation of his great reputation as a teacher of anatomy. There he completed his well-known textbook of human anatomy, which went through some twenty editions and has been translated into several languages. The chair of anatomy at Vienna fell vacant in 1845. Satisfied with the opportunities for work at Prague, he would not have applied for the post but for the insistence of his friends. He was immediately elected. Five years later he published his Handbook of Topographic Anatomy, the first textbook of applied anatomy of its kind ever issued. Before his death he was to see this department of anatomy become one of the most important portions of the teaching in the medical schools of the world. It was as a teacher that Hyrtl did his great work. Professor Karl von Bardeleben, himself one of the great teachers of the nineteenth century, did not hesitate to say that in this Hyrtl was unequalled. His fame spread throughout Europe, and he came to be looked upon as the special glory of the University of Vienna. In 1858, he was visited by George Eliot and her partner. In her journal, she wrote: "Another great pleasure we had at Vienna—next after the sight of St. Stephen's and the pictures—was a visit to Hyrtl, the anatomist, who showed us some of his wonderful preparations, showing the vascular and nervous systems in the lungs, liver, kidneys, and intestinal canal of various animals. He told us the deeply interesting story of the loss of his fortune in the Vienna revolution of '48. He was compelled by the revolutionists to attend on the wounded for three days' running. When at last he came to his house to change his clothes he found nothing but four bare [40] walls! His fortune in Government bonds was burned along with the house, as well as all his precious collection of anatomical preparations, etc. He told us that since that great shock his nerves have been so susceptible that he sheds tears at the most trifling events, and has a depression of spirits which often keeps him silent for days. He only received a very slight sum from Government in compensation for his loss."

In 1865, on the occasion of the celebration of the five-hundredth anniversary of the foundation of the university, he was chosen rector in order that, as the most distinguished member of the university, he should represent her on that day. His inaugural address as rector had for its subject The Materialistic Conception of The Universe of Our Time. In this he argued that there was clear lack of logic in the materialistic view of the world and concluded: "When I bring all this together it is impossible for me to understand on what scientific grounds is founded this resurrection of the old materialistic view of the world that had its first great expression from Epicurus and Lucretius. Nothing that I can see justifies it, and there is no reason to think that it will continue to hold domination over men's minds."

His brother Jakob Hyrtl (1799-1868) was a Viennese engraver, who bequeathed to his brother Josef Hyrtl the skull attributed to Mozart. Josef Hyrtl examined the skull and bequeathed it to the city of Salzburg.

In 1880 there was a magnificent celebration of Hyrtl's seventieth birthday, when messages of congratulation were sent to him from all the universities of the world. After retiring from his professorship he continued to do good work, his last publication being on Arabic and Hebraic elements in anatomy. On the morning of 17 July 1894, he was found dead in bed at his estate near Vienna.

His monograph for the reform of anatomical terminology Onomatologia Anatomica (Vienna, 1880), attracted widespread attention.

title: Josef Hyrtl


text:
Virginia State Route 31

State Route 31 (SR 31) is a primary state highway in the U.S. state of Virginia. The state highway runs 24.56 mi from U.S. Route 460 (US 460) in Wakefield north to SR 5 and SR 199 in Williamsburg. SR 31 is the primary north–south highway of Surry County, where the highway serves the towns of Surry and Dendron. The state highway also connects Williamsburg with Jamestown. The sections of SR 31 on either side of the James River are connected by the Jamestown Ferry.

Route description
SR 31 begins at an intersection with US 460 in the town of Wakefield in Sussex County. The state highway heads east on Main Street, which continues west of US 460 as SR 628. At the eastern town limit, SR 31 veers north onto Birch Island Road. The state highway becomes Rolfe Highway when it enters Surry County right before the highway crosses the Blackwater River. SR 31 heads northeast through town of Dendron and the hamlet of Elberon. The state highway runs concurrently with SR 10 (Colonial Trail) while passing through the town of Surry. North of Surry, SR 31 passes Smith's Fort Plantation before reaching the Scotland terminal of the Jamestown Ferry across the James River. The Jamestown Ferry is the only crossing of the James River between the James River Bridge in Newport News and the Benjamin Harrison Memorial Bridge near Hopewell.

SR 31 resumes at the Jamestown terminal of the ferry at Glass House Point in James City County. The state highway, which heads northeast as Jamestown Road, passes Jamestown Festival Park and has an intersection with SR 359, a short connector between SR 31 and Colonial Parkway. SR 31 leaves Jamestown and crosses over Powhatan Creek and Lake Powell. The state highway passes through the suburban area surrounding Williamsburg before reaching its northern terminus at SR 199 (Humelsine Parkway) just inside the city limits. Jamestown Road continues northeast as SR 5 beyond SR 199; westbound SR 5 joins SR 199 in a short concurrency west toward Richmond.

History
The first piece of the present SR 31 to exist as a state highway ran from Williamsburg southwest to Jamestown. It was a spur of State Route 9 (roughly current U.S. Route 60), and was present in the initial 1918 system. SR 9 was renumbered as State Route 39 in the 1923 renumbering, and the Yorktown spur became State Route 392.

The Jamestown-Scotland Ferry began operations February 26, 1925 from the Jamestown end of SR 392 to Scotland across the James River.

The road on the Scotland side was added to the state highway system from 1926 to 1931, at first as an extension of State Route 351, but soon as part of SR 392. In the 1928 renumbering the route was renumbered State Route 510.

Capitol Landing Road from Williamsburg to Magruder was added to the state highway system in 1932 as State Route 542. Later that year, both SR 510 and SR 524 became State Route 31, connected by Francis Street in Williamsburg (U.S. Route 60, formerly State Route 39).

title: Virginia State Route 31


text:
Talk:Subthreshold conduction

To do list
-"As threshold voltages are reduced, subthreshold leakage rises exponentially."

I'd like to have a citation on that line, please! Thank you! —The preceding unsigned comment was added by 132.210.72.131 (talk) 02:09, 16 May 2007 (UTC).

-The first reference in References section: Tsividis, Yannis (1999). Operation and Modeling of the MOS Transistor (2 ed.). New York: McGraw-Hill. p. 99. ISBN 0-07-065523-5. points to an incorrect book: Classical and object-oriented software engineering with UML and C++ by Schach, Stephen R I could not find a proper source to point to, if you have one - please fix.

title: Talk:Subthreshold conduction


text: User talk:65.78.173.108

title: User talk:65.78.173.108


text:
Ron Nessen

Ronald Harold Nessen (born May 25, 1934) is an American government official who served as the 15th White House Press Secretary for President Gerald Ford from 1974 to 1977. He replaced Jerald terHorst, who resigned in the wake of President Ford's pardon of former president Richard Nixon.

Prior to joining the Ford administration, Nessen served as a Washington, D.C. correspondent for NBC News. On the day of Ford's succession to the presidency, August 9, 1974, he provided commentary. That evening he was on the NBC Nightly News; in that piece, Nessen reported on the appointment of Jerald terHorst, the man whom he would succeed one month later.

Nessen, who also served NBC News as a war correspondent during the Vietnam War, was seriously wounded by grenade fragments while on patrol outside Pleiku in the Central Highlands in July 1966. He was with cameraman Peter Boultwood when he was wounded.

Nessen was a member of the Peabody Awards Board of Jurors from 1996 to 2003, and served as Chair in 2003.

Quotes

 * "Nobody believes the official spokesman but everybody trusts an unidentified source."

Works

 * Nessen, Ron. It Sure Looks Different on the Inside. Playboy Press, 1979. (ISBN 0-87223-500-9)
 * Nessen, Ron. The First Lady
 * Nessen, Ron. The Hour
 * Nessen, Ron and Neuman, Johanna. Death with Honors
 * Nessen, Ron and Neuman, Johanna. Press Corpse
 * Nessen, Ron and Neuman, Johanna. Knight and Day

Saturday Night Live
On April 17, 1976, Nessen was the first political figure to host Saturday Night Live. His episode is also known for having Gerald Ford open the show with the "Live from New York, it's Saturday night!" tagline.

On a previous episode, Ron Nessen had been portrayed by Buck Henry.

title: Ron Nessen


text:
Michalina Wisłocka

Michalina Anna Wisłocka (née Braun; 1 July 1921 – 5 February 2005) was a Polish gynecologist, sexologist, and author of Sztuka kochania (verbatim: The Art of Loving, English edition A Practical Guide to Marital Bliss, 1978), the first guide to sexual life in a communist country. Her book became a bestseller, with a total circulation of 7 million copies, and started greater openness about matters of sex and sex life in Poland.

Life
She was born to father Jan Tymoteusz Braun, a teacher and mother Anna (née Żylińska) of the Ciołek coat of arms. She had two younger brothers: Andrzej (a writer) and Jan (a sumerologist). Her niece was Ewa Braun, an Academy Award-winning set decorator and costume designer.

She was a co-founder of the Society of Sensible Maternity, in which she worked on infertility treatment and birth control. She was chief of first in Poland Dispensary of Sensible Maternity in Institute of Mother and Child in Warsaw. During the 1970s, she was chief of Cytodiagnostic Laboratory of Family Planning Society.

Wisłocka died in the Solski Hospital in Warsaw due to complications from a heart attack. On 11 February 2005, she was interred at the Evangelical Cemetery of the Augsburg Confession in Warsaw.

Commemorations
On 9 September 1997, she was awarded the Knight's Cross of the Order of Polonia Restituta.

The Park of Love in Lubniewice and the square in Łódź are dedicated to her memory.

Cultural depictions
Wisłocka's life is depicted in the 2017 biopic Sztuka kochania. Historia Michaliny Wisłockiej ("The Art of Loving: The Story of Michalina Wisłocka") directed by Maria Sadowska. Wisłocka was played by Magdalena Boczarska.

Publications

 * Technique of pregnancy prevention (1959)
 * Methods of preventing pregnancy (1976)
 * The Art of Love (1978), ISBN 83-207-0488-X
 * Culture of Love (1980)
 * Kaleidoscope sex (1986), ISBN 83-03-01447-1
 * The Art of Love: twenty years later (1988), ISBN 83-207-1371-4
 * Art of Loving: vitamin "M" (1991), ISBN 83-207-1376-5
 * Success in Love (1993), ISBN 83-85249-24-9
 * Malinka, Pansy and Hansel (1998), ISBN 83-7180-862-3
 * Love for life: memories of carefree (2002), ISBN 83-7311-201-4

title: Michalina Wisłocka


text: File:AM MacOSX Panther.png

title: File:AM MacOSX Panther.png


text:
Template talk:Temperature/De/int

I hadn't seen this one yet, when I said that Template:Rankine conversion is one of the more asinine and useless uses of a template I have seen. This is far worse; at least some people might have reason to convert to degrees Rankine, and I cannot imagine why anybody would need formulas to convert to degrees Delisle. Gene Nygaard 22:51, 14 Feb 2005 (UTC)
 * Well, the formulas were already given in temperature conversion formulas. I just thought it made sense, to have them in the article on the unit/scale, too, and therefore put them into a template to keep them in sync. I agree that it's of very limited use to know how to convert between degrees Rankine and Delisle for example, but it's a matter of consistency IMO. In the German Wikipedia I put them all together into one clumsy template: de:Vorlage:Temperaturumrechnung, but I'm not happy with that one either, because it needs so much space; it's also not yet harmonized with de:Vorlage:Krafteinheiten (base of Template:Units of force), de:Vorlage:Energieeinheiten or de:Vorlage:Druckeinheiten. Christoph Päper 11:55, 15 Feb 2005 (UTC)

title: Template talk:Temperature/De/int


text:
Royal Museum for Central Africa

The Royal Museum for Central Africa (RMCA) (Koninklijk Museum voor Midden-Afrika (KMMA); Musée royal de l'Afrique centrale (MRAC); Königliches Museum für Zentralafrika (KMZA)), communicating under the name AfricaMuseum since 2018, is an ethnography and natural history museum situated in Tervuren in Flemish Brabant, Belgium, just outside Brussels. It was originally built to showcase King Leopold II's Congo Free State in the International Exposition of 1897.

The museum focuses on the Congo, a former Belgian colony. The sphere of interest, however, especially in biological research, extends to the whole Congo Basin, Central Africa, East Africa, and West Africa, attempting to integrate "Africa" as a whole. Intended originally as a colonial museum, from 1960 onwards it has focused more on ethnography and anthropology. Like most museums, it houses a research department in addition to its public exhibit department. Not all research pertains to Africa (e.g. research on the archaeozoology of Sagalassos, Turkey). Some researchers have strong ties with the Royal Belgian Institute of Natural Sciences.

In November 2013, the museum closed for extensive renovation work, including the construction of new exhibition space, and re-opened in December 2018.

International Exposition (1897)
After the Congo Free State was recognised by the Berlin Conference of 1884–85, King Leopold II wanted to publicise the civilising mission and the economic opportunities available in his private colony to a wider public, both in Belgium and internationally. After considering other places, the king decided to have a temporary exhibition in his royal estate in Tervuren, just east of Brussels, in today's province of Flemish Brabant.

When the 1897 International Exposition was held in Brussels, a colonial section was built in Tervuren, connected to the city centre by the monumental Avenue de Tervueren/Tervurenlaan. The Brussels–Tervuren tram line 44 was built at the same time as the original museum by Leopold II to bring the visitors from the city centre to the colonial exhibition. The colonial section was hosted in the Palace of the Colonies. The building was designed by the French architect Alfred-Philibert Aldrophe and the classical gardens by the French landscape architect Elie Lainé. In the main hall, known as the Hall of the Great Cultures (Salon des Grandes Cultures), the architect and decorator designed a distinctive wooden Art Nouveau structure to evoke a Congolese forest, using Bilinga wood, an African tree. The exhibition displayed ethnographic objects, stuffed animals and Congolese export products (e.g. coffee, cacao and tobacco). In the park, a temporary "human zoo"—a copy of an African village—was built, in which 60 Congolese people lived for the duration of the exhibition. Seven of them, however, did not survive their forced stay in Belgium.

Development of the museum
The exhibition's success led to the permanent establishment, in 1898, of the Museum of the Congo (Musée du Congo, Museum van Kongo), a museum and a scientific institution for the dissemination of colonial propaganda and support for Belgium's colonial activities, and a permanent exhibition was installed in the Palace of the Colonies. A decade later, in 1912, a small, similar museum—the African Museum of Namur—was opened in Namur. The museum began to support academic research, but due to the avid collecting of the scientists, the collection soon grew too large for the museum and enlargement was needed. Tervuren, which had become a rich suburb of Brussels, was once again chosen as the location of the enlarged museum. The new museum started construction in 1904 and was designed by the French architect Charles Girault in neoclassical "palace" architecture, reminiscent of the Petit Palais in Paris, with large gardens extending into the Tervuren Forest (a part of the Sonian Forest). It was officially opened in 1910, a year after the death of Leopold II, by his successor, King Albert I, and named the Museum of the Belgian Congo (Musée du Congo Belge, Museum van Belgisch-Kongo).

The following years saw the consolidation and enlargement of the museum's collections. In 1934, the museum's herbarium was transferred to the National Botanic Garden of Belgium (today's Meise Botanic Garden in Meise, Flemish Brabant). In 1952, the adjective "Royal" was added to the museum's name. In preparation for the 1958 Brussels World's Fair (Expo '58), in 1957, a large building was constructed to accommodate the African personnel working in the exhibition: the Centre d'Accueil du Personnel Africain (CAPA). In 1960, following the independence of the Congo, the museum's name was changed to its current name: the Royal Museum for Central Africa (Koninklijk Museum voor Midden-Afrika or KMMA, Musée royal de l'Afrique centrale or MRAC, Königliches Museum für Zentralafrika or KMZA).

Renovation (2013–2018)
By the turn of the millennium, the museum was in need of a thorough renovation. The more than 100-year-old central building was no longer adapted to the needs of a current museum operation. Besides, the permanent exhibition was outdated and its presentation not very critical of the colonial history. A new scenography was thus urgently required.

A global master plan was drawn up in 2007 for the entire site. The Belgian Buildings Agency entrusted the plan to the Temporary Association Stéphane Beel Architects (TV SBA). In late 2013, the museum was closed to allow a major renovation of its exhibits and an extension. The Belgian Government spent €66 million on the museum's modernisation. The exhibition area was increased from 6,000 m2 to 11,000 m2, while presenting fewer pieces; 700 against 1,400 previously (out of a total of 180,000 objects preserved). The additional space allowed contemporary art from Central Africa to be displayed alongside the original colonial exhibits. Renamed AfricaMuseum, the museum was reopened on 9 December 2018. The statue of King Leopold II that once stood in the Great Rotunda was replaced with a sculpture by DRC-born artist, Aimé Mpane. Some of the colonial statues once displayed in the museum were moved in 2023 to areas where only guided tours visit.

Buildings
The current AfricaMuseum complex consists of six buildings. The centrally located main building houses the permanent exhibitions. It was built under Leopold II by the French architect Charles Girault. The building is 125 m long and 75 m wide. The facade is decorated in the style of the neoclassical French grand palaces. On the right (south-west) side of this imposing building is the Executive Pavilion, and on the left (north-east), the Stanley Pavilion, which houses the entire Stanley Archive. The former Palace of the Colonies (now the Africa Palace) has been transformed into a reception centre, media library and banquet hall. The Centre d'Accueil du Personnel Africain (CAPA) building, erected in 1957 for the African staff, houses several scientific departments.

Following the museum's complete renovation, a part of the previously scattered archives are now presented in new on-site exhibition spaces. A reception pavilion, newly built in 2016, between the management building and the Palace of Africa, functions as the entrance building. In this building are the ticket offices, cloakrooms, a shop, a restaurant, as well as a picnic area for children. An underground gallery leads from the reception building into the existing museum building. This space is also used for temporary exhibitions. In the museum's enclosed courtyard, a sunken garden with a light shaft was added, bringing light to this underground level.

Collections
The AfricaMuseum houses collections that are unique in the world, of which only a small proportion can be exhibited. According to the museum's website, the objects and animals on display in the main building make up less than 5% of the total museum's collection:
 * The Department of Zoology has over 10,000,000 specimens, including 6,000,000 insects and 1,000,000 fish.
 * The Department of Geology and Mineralogy holds more than 56,000 wood samples in its xylotheque, as well as 200,000 rock samples and 17,000 minerals.
 * The Department of Cultural Anthropology can boast of 120,000 ethnographic objects (1,600 of which are in the exhibition rooms). The ethnomusicology collection comprises 8,000 musical instruments, as well as 2,500 hours of recordings of traditional music from sub-Saharan Africa, in particular in Central Africa (Congo, Rwanda and Burundi), of which the oldest dates back to 1910 (wax Edison scrolls). Additionally, more than 500,000 films and photos are kept in the film and photo libraries.
 * Finally, the Department of History and General Scientific Services manages thousands of historical objects and 350 archives, including some of Henry Morton Stanley's journals. Some of the collections are digitally accessible.

The herbarium collection of the then-Congo Museum was transferred to that of the National Botanic Garden of Belgium in 1934.

Archives
The museum stores archives documenting its own institutional history, as well as archives of private businesses, organisations, and individuals. As of 2018, online finding aids exist for archives of Lieutenant-General, musicologist Paul Collaer, geologist , Commandant Francis Dhanis, Governor-General of the Belgian Congo Félix Fuchs, Lieutenant-General Cyriaque Gillain, General-Major Josué Henry de la Lindi, explorer Charles Lemaire, American explorer Richard Mohun, Colonel Emmanuel Muller, German explorer Paul Reichard, Captain Albert Sillye, British explorer Henry Morton Stanley, soldier and explorer Émile Storms, Vice-Governor General of the Congo Free State Alphonse van Gèle, historian Jan Vansina, territorial administrator Auguste Verbeken, historian Benoît Verhaegen, Commandant Gustave Vervloet, as well as the railway enterprises Compagnie du chemin de fer du bas-Congo au Katanga (BCK) and.

Research
The publicly accessible exhibitions only represent about 25 percent of the museum's activities. The scientific departments, which represent the bulk of the museum's academic and research facilities, together with the main collections, are housed in the former Palace of the Colonies, the Stanley Pavilion and in the CAPA building.

There are 4 departments:
 * Department of Cultural Anthropology
 * Ethnography
 * Archaeology and Prehistory
 * Linguistics and Ethnomusicology
 * Anthropology and Ethnohistory
 * Department of Geology and Mineralogy
 * General Geology
 * Mineralogy and Petrography
 * Cartography and Photo interpretation
 * Physical and Mineral chemistry
 * Department of Zoology
 * Vertebrates (Ornithology, Ichthyology, Herpetology, Osteology and Mammalogy)
 * Entomology
 * Invertebrates non-insects (Arachnology, Myriapodology, Acarology)
 * Department of History and General Scientific Services
 * History of the Colonial Period
 * Contemporary History
 * Agricultural and Forest economics (Geomorphology, Laboratory of Wood Biology)

The museum also maintains a library of some 130,000 titles. In the context of discussions about the restitution of cultural objects in museum collections of colonial origin, the AfricaMuseum started to publicly present information about the provenance of such objects in its permanent exhibition in 2021.

Controversy

There has been controversy surrounding the Royal Museum for Central Africa. It had previously been called a museum that "has remained frozen in time". No mention was made of the pillage of resources and atrocities in the Congo Free State, nor during Belgium's larger colonial era. The Guardian reported in July 2002 that, after initial outrage by Belgian historians over the popular history book King Leopold's Ghost by Adam Hochschild that gives his view of the Congo Free State in what some critics called a "tendentious diatribe", the state-funded museum would finance an investigation into Hochschild's allegations.

The resulting, more modern exhibition The Memory of Congo (February–October 2005) tried to tell the story of the Congo Free State before it became a Belgian colony and a less one-sided view of the Belgian colonial era. The exhibition was praised by the international press, with French newspaper Le Monde claiming that "the museum has done better than revisit a particularly stormy page in history...[it] has pushed the public to join it in looking into the reality of colonialism." Hochschild himself had a mixed critique of the renovated museum.

About the museum

 * in English

 * in other languages

title: Royal Museum for Central Africa


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McCord Stewart Museum

The McCord Stewart Museum, formerly known as the McCord Museum of Canadian History, is a public research and teaching museum. The Museum’s Archives, Documentary Art, Dress, Fashion and Textiles, Indigenous Cultures, Material Culture and Photography collections, containing 2.5 million images, objects, documents and works of art, position it as the custodian of a remarkable historical heritage. It is located directly across the street from McGill University, in the downtown core of Montreal, Quebec, Canada.

History
On October 13, 1921, the McCord National Museum, as it was then called, moved to the former McGill Union building, designed by Percy Erskine Nobbs in the Arts and Crafts tradition. The collection was based on the McCord family collection. Since 1878, David Ross McCord had been adding to the already considerable collection assembled by his family since their arrival in Canada. Over the years, he developed the plan of founding a national history museum in Montreal, at that time Canada's metropolis.

The building that now houses the museum was administered by McGill University for over sixty years, when it was the seat of the student government. After riots targeted at SSMU led to the building's storming and several executives being taken hostage, McGill University set out to build a more secure building, University Centre, the current seat of SSMU. Leading members of the community lent their support to the museum over the years. Today, the McCord Museum is supported by the governments of Canada, Quebec and Montreal, and by a large network of members, donors and sponsors.

Collection
The museum was founded in 1921 by David Ross McCord, based on his own family collection of objects. Since then, the museum's holdings have increased substantially.

Indigenous Cultures
This collection of more than 16,000 objects that documents many aspects of the ways of life, arts, cultures and traditions of the Indigenous Cultures in Quebec. It also includes a number of objects from communities living in Alaska and the northern United States.

In this collection, there are more than 7,300 historical indigenous objects, dating from the early 1800s to 1945 (clothing, accessories, headgear, domestic tools, baskets, hunting weaponry, etc.) and more than 8,500 archaeological objects dating from about 10,000 years ago to the 16th century (stone tools, potsherds).

Dress, Fashion and Textiles
This collection of 27,000 garments and accessories consists of women's dresses, parasols, hats, fans and footwear, many created by some of Montreal's greatest 20th century designers. The menswear in the collection includes suits, coats and accessories. There is also an important selection of embroidered samplers, quilts and other textiles, including North America's oldest known patchwork quilt (1726).

Photography
This collection of more than 2,15 million images consists vintage Canadian photographs including prints and glass negatives, stereograms, composites, painted photographs, daguerreotypes and other types of early photographic processes, family albums, vernacular photographs, documentary photographs, artist portfolios, cameras and photographic equipment from 1840 to the present day.

Notman Photographic Archives
This collection includes 400,000 photographs and various items of early photographic equipment and accessories. It provides a visual history of Montreal and Canada from the 1840s to the present.

The collection contains the William Notman & Son Photographic Studio fond constituting more than 400,000 photographic images (including 200,000 glass negatives) dating mostly from 1840 to 1935. The collection also includes approximately 700,000 images taken by other photographers.

Documentary Art
This collection of 92,000 iconographical pieces illustrates the personalities, places and events that made the history of Montreal, Quebec and Canada, from the 18th to the 21st centuries.

It includes paintings (oils, acrylics and watercolours, mostly from the 19th century), miniatures, silhouettes, prints (maps, plans, portraits, mostly from 1751 to 1900) and caricatures from the 19th, 20th and 21st centuries (John Collins, Serge Chapleau and Terry Mosher alias Aislin).

Material Culture
The 18,860 objects included in this collection documents the material environment within which Montrealers, Quebeckers and Canadians lived in past centuries.

This collection consists of furniture, glassware, ceramics, ironware, sculpture, hunting equipment, sports equipment, items of folk art and a major collection of 19th century toys.

Archives
This collection, which total 340 linear meters, and 3,500 rare books includes manuscripts, correspondence, personal journals and other documents showing the history of Canada from the 18th century to the present.

The documents come from families (the Dessaulles, McCord, Armstrong-Deligny-Philips and Bacon families); from well-known individuals (Sir George-Étienne Cartier, Maurice-Régis Blondeau, Hélène Baillargeon Côté); from companies and associations (Women's Art Society of Montreal, Victoria Rifles of Canada, Gibb & Co.); and from collections (New France, British Empire, Concert and Theatre Programs, Valentines).

The museum's exterior features the sculpture Totem urbain / histoire en dentelle, an allegorical representation of Montreal history, by Pierre Granche.

Affiliations
The museum is affiliated with the CMA, CHIN, and Virtual Museum of Canada.

title: McCord Stewart Museum


text:
User:PET

Name: PET

Location: Timişoara, 🇷🇴 România

Birthday: December 16, 1986

Race: Human (I try to be a good one)

Mood: Lazy and Sleepy

Email: [mailto:pet@gamerPET.com pet@gamerPET.com]

WWW: GamerPET.com - Honest Game Reviews

Hobbies: Bass guitar, Aquariums, Programming, Photography, Drawing, Board games/PC Games

Ocupation: UX Designer / Game Designer

Wikipedian Since: 14.February.2005

Articles Work
... and some many other edits...
 * Finished article for Mihai Iordache some long time ago but I forgot to add it here :P
 * Just finished adding the article for Sarmalele Reci
 * Just finished adding info about Florin Barbu.
 * More info about Infectious Grooves.
 * Created article about Horatiu Nastase.
 * Added more info about Negură Bunget.

Albums Work

 * Control Denied : The Fragile Art of Existence (1999)
 * Days of the New : Days of the New (1997), Days Of The New II (1999), Days of the New III (2001)
 * Dead Kennedys : Fresh Fruit for Rotting Vegetables (1980), In God We Trust, Inc. (1981), Plastic Surgery Disasters (1982), Frankenchrist (1985), Bedtime for Democracy (1986), Give Me Convenience or Give Me Death (1987), Live At The Deaf Club (2004)
 * Death : Scream Bloody Gore (1987), Leprosy (1988), Spiritual Healing (1990), Human (1991), Fate: The Best Of Death (1992), Individual Thought Patterns (1993), Symbolic (1995), Sound of Perseverance (1998), Live in L.A.: Death & Raw (2001), Live in Eindhoven (2001)
 * Hypocrisy : Penetralia (1992), Pleasure of Molestation (1993), Inferior Devoties (1994), Fourth Dimension (1994), Abducted (1996), Maximum Abduction (1997), Final Chapter (1997), Hypocrisy Destroys Wacken 1998 (1998), Hypocrisy (1999), Into the Abyss (2000), 10 Years of Chaos and Confusion (2001), Catch 22 (2002), The Arrival (2004), Virus (2005)
 * Infectious Grooves : Sarsippius' Ark (1993), Groove Family Cyco (1994), Mas Borracho (2000)
 * Jello Biafra : Prairie Home Invasion (1994)
 * Napalm Death : From Enslavement To Obliteration (1988), Diatribes (1996), The Code Is Red...Long Live The Code (2005)
 * Negură Bunget : From Transilvanian Forests (1995), Zîrnindu-să (1996), Sala Molksa (1998), Măiastru Sfetnic (2000), 'N Crugu Bradului (2002), Negura Bunget Box (2004), Inarborat Kosmos (2005), OM (2006)
 * Pantera : Official Live: 101 Proof (1997)
 * Pixies : Come on Pilgrim (1987)
 * Sepultura : Bestial Devastation (1985), Morbid Visions (1986), Schizophrenia (1987), Beneath the Remains (1989), Roots (1996), Against (1998), Nation (2001), Revolusongs (2002), Roorback (2003)
 * Ştefan Popa : Coram Deo (2006)
 * Testament : The Legacy (1987), Live at Eindhoven (1987), Practice What You Preach (1989), Souls of Black (1990), The Ritual (1992), Return to Apocalyptic City (1993), Low (1994), Live at the Fillmore (1995), The Best of Testament (1996), Demonic (1997), Signs Of Chaos (1997), The Gathering (1999), The Very Best of Testament (2001), First Strike Still Deadly (2001)
 * Violent Femmes : Hallowed Ground (1984), The Blind Leading the Naked (1986), 3 (1988), Debacle: The First Decade (1990), Add It Up (1981-1993) (1993), New Times (1994), Rock!!!!! (1995), Viva Wisconsin (1999), Freak Magnet (2000)

Total of 85 new/updated albums.

title: User:PET


text:
Nobody's Heroes (album)

Nobody's Heroes is the second album by Irish punk rock band Stiff Little Fingers, released in 1980.

"Doesn't Make It All Right" is a cover of a song from the Specials' debut album, Specials.

Track listing
All tracks composed by Fingers and Gordon Ogilvie; except where noted.
 * 1) "Gotta Gettaway" – 3:37
 * 2) "Wait and See" (Jake Burns, Gordon Ogilvie) – 4:28
 * 3) "Fly the Flag" – 3:46
 * 4) "At the Edge" (Fingers) – 2:59
 * 5) "Nobody's Hero" (Jake Burns, Gordon Ogilvie) – 4:11
 * 6) "Bloody Dub" (Fingers) – 3:47
 * 7) "Doesn't Make It All Right" (Dave Goldberg, Jerry Dammers, Mark Harrison) – 5:50
 * 8) "I Don't Like You" – 2:44
 * 9) "No Change" – 1:56
 * 10) "Tin Soldiers" – 4:46

The 2001 EMI CD reissue added the following tracks:

The reissue also includes the second part of an interview of Jake Burns by Alan Parker (the first part is included in the reissue of Inflammable Material).

Personnel

 * Stiff Little Fingers
 * Jake Burns – vocals, guitar
 * Jim Reilly – drums
 * Henry Cluney – guitar, backing vocals
 * Ali McMordie – bass
 * Technical
 * Doug Bennett – producer
 * Laurence Burrage – engineer
 * Nigel Brooke-Harte – engineer
 * Andi Banks – tour manager
 * Shaun Bradley – equipment
 * Agency – cowbell
 * Geoff Halpin – cover lettering
 * Brian Cooke – photography
 * Chris Gabrin – photography
 * Mats Lundgren – photography
 * Barry Plummer – photography

title: Nobody's Heroes (album)


text:
Talk:Western Hemisphere

What is the population?
What is the population of the Western Hemisphere, and any is it not included? 99.164.108.120 (talk) 05:01, 26 September 2010 (UTC) can the western hemisphere be defined through one country that has a philosophical opposition to universal health care? — Preceding unsigned comment added by 114.198.82.50 (talk) 12:15, 4 December 2019 (UTC)

Ban the use of “Western Hemisphere” altogether
It’s clear from the state of this talk page, that at best “Western hemisphere” is a highly confusing and ambiguous term; and at worst a term that is either unknown or positively disliked - especially by non-Americans. I personally wasn’t aware of it, until I came across an article about a plant species that was native to North and South America, and the Caribbean countries. Now whatever that is, it certainly is not “the Western Hemisphere”; and that term should never have been used. There is a very easy solution - don’t use it at all. If we are talking about specific regions such as the Americas, say “the Americas”. In the unlikely event we really are talking about the actual hemisphere of the globe that starts at Greenwich, London, and ends somewhere in the Pacific Ocean - then specify it. But you will also have to specify which west African, north European, Pacific countries it does or doesn’t include.

“Western Hemisphere” is a meaningless, useless term which, I suspect, has been erected purely for political purposes. Darorcilmir (talk) 15:59, 11 October 2019 (UTC)

 * Are you from Mars? Western Hemisphere is a geographic term, not a political term like the Americas, you've just said the opposite. Every geographic atlas divides the world into Northern, Southern, Eastern, and Western Hemispheres. There is a movement to modify the dividing line between Eastern and Western Hemispheres so the whole of Africa and Europe can be part of the Eastern Hemisphere (which means New Zealand and some Pacific Island countries will be part of the Western Hemisphere). Nevertheless, Western Hemisphere has always been a valid and pretty technical term in geography. 2001:8003:9008:1301:7061:6A95:DED0:758C (talk) 07:55, 31 May 2020 (UTC)

The definition used by Wikipedia is incongruent with the primary definition used in most English language dictionaries. They generally define the western hemisphere as the Americas with surrounding islands and waters. It is cultural and broad geographic concept, not a mathematical one. As such it is silly to imagine that points in the UK, Europe, or Africa that lie west of London are sharply distinguished from those that lie to the east. To the extent that longitude is used as a rough boundary, dictionaries usually suggested 20 degrees west to 160 degrees east, an offset of 20 degrees from the Prime Meridian. — Preceding unsigned comment added by 2601:980:C000:2E30:D532:5A98:A79C:C92A (talk) 14:36, 5 April 2024 (UTC)

I observe that while Northern and Southern Hemisphere definitions are based on physical attributes, the equator is a demarcation with some intrinsic validity, the division of western and eastern hemisphere is arbitrary, and by convention, as alluded to in the article. Drsruli (talk) 22:06, 7 April 2024 (UTC)

Population
Please include the population information. (We could also mention the land area, and contrast with Eastern Hemisphere.) Drsruli (talk) 22:03, 7 April 2024 (UTC)

title: Talk:Western Hemisphere


text: User talk:65.96.70.27

title: User talk:65.96.70.27


text:
Talk:Black populism

Untitled
Excellent addition to Wikipedia. Hope my edits are acceptable.--Cberlet 22:55, 14 Feb 2005 (UTC)

title: Talk:Black populism


text:
Magnetoreception

Magnetoreception is a sense which allows an organism to detect the Earth's magnetic field. Animals with this sense include some arthropods, molluscs, and vertebrates (fish, amphibians, reptiles, birds, and mammals). The sense is mainly used for orientation and navigation, but it may help some animals to form regional maps. Experiments on migratory birds provide evidence that they make use of a cryptochrome protein in the eye, relying on the quantum radical pair mechanism to perceive magnetic fields. This effect is extremely sensitive to weak magnetic fields, and readily disturbed by radio-frequency interference, unlike a conventional iron compass.

Birds have iron-containing materials in their upper beaks. There is some evidence that this provides a magnetic sense, mediated by the trigeminal nerve, but the mechanism is unknown.

Cartilaginous fish including sharks and stingrays can detect small variations in electric potential with their electroreceptive organs, the ampullae of Lorenzini. These appear to be able to detect magnetic fields by induction. There is some evidence that these fish use magnetic fields in navigation.

History
Biologists have long wondered whether migrating animals such as birds and sea turtles have an inbuilt magnetic compass, enabling them to navigate using the Earth's magnetic field. Until late in the 20th century, evidence for this was essentially only behavioural: many experiments demonstrated that animals could indeed derive information from the magnetic field around them, but gave no indication of the mechanism. In 1972, Roswitha and Wolfgang Wiltschko showed that migratory birds responded to the direction and inclination (dip) of the magnetic field. In 1977, M. M. Walker and colleagues identified iron-based (magnetite) magnetoreceptors in the snouts of rainbow trout. In 2003, G. Fleissner and colleagues found iron-based receptors in the upper beaks of homing pigeons, both seemingly connected to the animal's trigeminal nerve. Research took a different direction in 2000, however, when Thorsten Ritz and colleagues suggested that a photoreceptor protein in the eye, cryptochrome, was a magnetoreceptor, working at a molecular scale by quantum entanglement.

In animals
In animals, the mechanism for magnetoreception is still under investigation. Two main hypotheses are currently being discussed: one proposing a quantum compass based on a radical pair mechanism, the other postulating a more conventional iron-based magnetic compass with magnetite particles.

Cryptochrome

According to the first model, magnetoreception is possible via the radical pair mechanism, which is well-established in spin chemistry. The mechanism requires two molecules, each with unpaired electrons, at a suitable distance from each other. When these can exist in states either with their spin axes in the same direction, or in opposite directions, the molecules oscillate rapidly between the two states. That oscillation is extremely sensitive to magnetic fields. Because the Earth's magnetic field is extremely weak, at 0.5 gauss, the radical pair mechanism is currently the only credible way that the Earth's magnetic field could cause chemical changes (as opposed to the mechanical forces which would be detected via magnetic crystals acting like a compass needle).

In 1978, Schulten and colleagues proposed that this was the mechanism of magnetoreception. In 2000, scientists proposed that cryptochrome – a flavoprotein in the rod cells in the eyes of birds – was the "magnetic molecule" behind this effect. It is the only protein known to form photoinduced radical-pairs in animals. The function of cryptochrome varies by species, but its mechanism is always the same: exposure to blue light excites an electron in a chromophore, which causes the formation of a radical-pair whose electrons are quantum entangled, enabling the precision needed for magnetoreception.

Many lines of evidence point to cryptochrome and radical pairs as the mechanism of magnetoreception in birds:

 * Despite 20 years of searching, no biomolecule other than cryptochrome has been identified capable of supporting radical pairs.
 * In cryptochrome, a yellow molecule flavin adenine dinucleotide (FAD) can absorb a photon of blue light, putting the cryptochrome into an activated state: an electron is transferred from a tryptophan amino acid to the FAD molecule, forming a radical pair.
 * Of the six types of cryptochrome in birds, cryptochrome-4a (Cry4a) binds FAD much more tightly than the rest.
 * Cry4a levels in migratory birds, which rely on navigation for their survival, are highest during the spring and autumn migration periods, when navigation is most critical.
 * The Cry4a protein from the European robin, a migratory bird, is much more sensitive to magnetic fields than similar but not identical Cry4a from pigeons and chickens, which are non-migratory.

These findings together suggest that the Cry4a of migratory birds has been selected for its magnetic sensitivity.

Behavioral experiments on migratory birds also support this theory. Caged migratory birds such as robins display migratory restlessness, known by ethologists as Zugunruhe, in spring and autumn: they often orient themselves in the direction in which they would migrate. In 2004, Thorsten Ritz showed that a weak radio-frequency electromagnetic field, chosen to be at the same frequency as the singlet-triplet oscillation of cryptochrome radical pairs, effectively interfered with the birds' orientation. The field would not have interfered with an iron-based compass. Further, birds are unable to detect a 180 degree reversal of the magnetic field, something they would straightforwardly detect with an iron-based compass.

From 2007 onwards, Henrik Mouritsen attempted to replicate this experiment. Instead, he found that robins were unable to orient themselves in the wooden huts he used. Suspecting extremely weak radio-frequency interference from other electrical equipment on the campus, he tried shielding the huts with aluminium sheeting, which blocks electrical noise but not magnetic fields. When he earthed the sheeting, the robins oriented correctly; when the earthing was removed, the robins oriented at random. Finally, when the robins were tested in a hut far from electrical equipment, the birds oriented correctly. These effects imply a radical-pair compass, not an iron one.

In 2016, Wiltschko and colleagues showed that cryptochrome can be activated in the dark, removing the objection that the blue light-activated mechanism would not work when birds were migrating at night. A different radical pair is formed by re-oxidation of fully-reduced FADH−. Experiments with European robins, using flickering light and a magnetic field switched off when the light was on, showed that the birds detected the field without light. The birds were unaffected by local anaesthesia of the upper beak, showing that in these test conditions orientation was not from iron-based receptors in the beak. In their view, cryptochrome and its radical pairs provide the only model that can explain the avian magnetic compass. A scheme with three radicals rather than two has been proposed as more resistant to spin relaxation and explaining the observed behaviour better.

Iron-based
The second proposed model for magnetoreception relies on clusters composed of iron, a natural mineral with strong magnetism, used by magnetotactic bacteria. Iron clusters have been observed in the upper beak of homing pigeons, and other taxa. Iron-based systems could form a magnetoreceptive basis for many species including turtles. Both the exact location and ultrastructure of birds' iron-containing magnetoreceptors remain unknown; they are believed to be in the upper beak, and to be connected to the brain by the trigeminal nerve. This system is in addition to the cryptochrome system in the retina of birds. Iron-based systems of unknown function might also exist in other vertebrates.

Electromagnetic induction

Another possible mechanism of magnetoreception in animals is electromagnetic induction in cartilaginous fish, namely sharks, stingrays, and chimaeras. These fish have electroreceptive organs, the ampullae of Lorenzini, which can detect small variations in electric potential. The organs are mucus-filled and consist of canals that connect pores in the skin of the mouth and nose to small sacs within the animal's flesh. They are used to sense the weak electric fields of prey and predators. These organs have been predicted to sense magnetic fields, by means of Faraday's law of induction: as a conductor moves through a magnetic field an electric potential is generated. In this case the conductor is the animal moving through a magnetic field, and the potential induced (Vind) depends on the time (t)-varying rate of magnetic flux (Φ) through the conductor according to $$V_{ind}=-\frac{d\phi}{dt}$$

The ampullae of Lorenzini detect very small fluctuations in the potential difference between the pore and the base of the electroreceptor sac. An increase in potential results in a decrease in the rate of nerve activity. This is analogous to the behavior of a current-carrying conductor. Sandbar sharks, Carcharinus plumbeus, have been shown to be able to detect magnetic fields; the experiments provided non-definitive evidence that the animals had a magnetoreceptor, rather than relying on induction and electroreceptors. Electromagnetic induction has not been studied in non-aquatic animals.

The yellow stingray, Urobatis jamaicensis, is able to distinguish between the intensity and inclination angle of a magnetic field in the laboratory. This suggests that cartilaginous fishes may use the Earth's magnetic field for navigation.

Passive alignment in bacteria

Magnetotactic bacteria of multiple taxa contain sufficient magnetic material in the form of magnetosomes, nanometer-sized particles of magnetite, that the Earth's magnetic field passively aligns them, just as it does with a compass needle. The bacteria are thus not actually sensing the magnetic field.

A possible but unexplored mechanism of magnetoreception in animals is through endosymbiosis with magnetotactic bacteria, whose DNA is widespread in animals. This would involve having these bacteria living inside an animal, and their magnetic alignment being used as part of a magnetoreceptive system.

Unanswered questions
It remains likely that two or more complementary mechanisms play a role in magnetic field detection in animals. Of course, this potential dual mechanism theory raises the questions of to what degree each method is responsible for the stimulus, and how they produce a signal in response to the weak magnetic field of the Earth.

In addition, it is possible that magnetic senses may be different for different species. Some species may only be able to detect north and south, while others may only be able to differentiate between the equator and the poles. Although the ability to sense direction is important in migratory navigation, many animals have the ability to sense small fluctuations in earth's magnetic field to map their position to within a few kilometers.

Taxonomic range
Magnetoreception is widely distributed taxonomically. It is present in many of the animals so far investigated. These include arthropods, molluscs, and among vertebrates in fish, amphibians, reptiles, birds, and mammals. Its status in other groups remains unknown.

The ability to detect and respond to magnetic fields may exist in plants, possibly as in animals mediated by cryptochrome. Experiments by different scientists have identified multiple effects, including changes to growth rate, seed germination, mitochondrial structure, and responses to gravity (geotropism). The results have sometimes been controversial, and no mechanism has been definitely identified. The ability may be widely distributed, but its taxonomic range in plants is unknown.

In molluscs
The giant sea slug Tochuina gigantea (formerly T. tetraquetra), a mollusc, orients its body between north and east prior to a full moon. A 1991 experiment offered a right turn to geomagnetic south and a left turn to geomagnetic east (a Y-shaped maze). 80% of Tochuina made a turn to magnetic east. When the field was reversed, the animals displayed no preference for either turn. Tochuina's nervous system is composed of individually identifiable neurons, four of which are stimulated by changes in the applied magnetic field, and two which are inhibited by such changes. The tracks of the similar species Tritonia exsulans become more variable in direction when close to strong rare-earth magnets placed in their natural habitat, suggesting that the animal uses its magnetic sense continuously to help it travel in a straight line.

In insects
The fruit fly Drosophila melanogaster may be able to orient to magnetic fields. In one choice test, flies were loaded into an apparatus with two arms that were surrounded by electric coils. Current was run through each of the coils, but only one was configured to produce a 5-Gauss magnetic field (about ten times stronger than the Earth's magnetic field) at a time. The flies were trained to associate the magnetic field with a sucrose reward. Flies with an altered cryptochrome, such as with an antisense mutation, were not sensitive to magnetic fields.

Magnetoreception has been studied in detail in insects including honey bees, ants and termites. Ants and bees navigate using their magnetic sense both locally (near their nests) and when migrating. In particular, the Brazilian stingless bee Schwarziana quadripunctata is able to detect magnetic fields using the thousands of hair-like sensilla on its antennae.

In fish
Studies of magnetoreception in bony fish have been conducted mainly with salmon. Both sockeye salmon (Oncorhynchus nerka) and Chinook salmon (Oncorhynchus tschawytscha) have a compass sense. This was demonstrated in experiments in the 1980s by changing the axis of a magnetic field around a circular tank of young fish; they reoriented themselves in line with the field.

In amphibians
Some of the earliest studies of amphibian magnetoreception were conducted with cave salamanders (Eurycea lucifuga). Researchers housed groups of cave salamanders in corridors aligned with either magnetic north–south, or magnetic east–west. In tests, the magnetic field was experimentally rotated by 90°, and salamanders were placed in cross-shaped structures (one corridor along the new north–south axis, one along the new east–west axis). The salamanders responded to the field's rotation.

Red-spotted newts (Notophthalmus viridescens) respond to drastic increases in water temperature by heading for land. The behaviour is disrupted if the magnetic field is experimentally altered, showing that the newts use the field for orientation.

Both European toads (Bufo bufo) and natterjack toads (Epidalea calamita) toads rely on vision and olfaction when migrating to breeding sites, but magnetic fields may also play a role. When randomly displaced 150 m from their breeding sites, these toads can navigate their way back, but this ability can be disrupted by fitting them with small magnets.

In reptiles

The majority of study on magnetoreception in reptiles involves turtles. Early support for magnetoreception in turtles was provided in a 1991 study on hatchling loggerhead turtles which demonstrated that loggerheads can use the magnetic field as a compass to determine direction. Subsequent studies have demonstrated that loggerhead and green turtles can also use the magnetic field of the earth as a map, because different parameters of the Earth's magnetic field vary with geographic location. The map in sea turtles was the first ever described though similar abilities have now been reported in lobsters, fish, and birds. Magnetoreception by land turtles was shown in a 2010 experiment on Terrapene carolina, a box turtle. After teaching a group of these box turtles to swim to either the east or west end of an experimental tank, a strong magnet disrupted the learned routes.

Orientation toward the sea, as seen in turtle hatchlings, may rely partly on magnetoreception. In loggerhead and leatherback turtles, breeding takes place on beaches, and, after hatching, offspring crawl rapidly to the sea. Although differences in light density seem to drive this behaviour, magnetic alignment appears to play a part. For instance, the natural directional preferences held by these hatchlings (which lead them from beaches to the sea) reverse upon experimental inversion of the magnetic poles.

In birds
Homing pigeons use magnetic fields as part of their complex navigation system. William Keeton showed that time-shifted homing pigeons (acclimatised in the laboratory to a different time-zone) are unable to orient themselves correctly on a clear, sunny day; this is attributed to time-shifted pigeons being unable to compensate accurately for the movement of the sun during the day. Conversely, time-shifted pigeons released on overcast days navigate correctly, suggesting that pigeons can use magnetic fields to orient themselves; this ability can be disrupted with magnets attached to the birds' backs. Pigeons can detect magnetic anomalies as weak as 1.86 gauss.

For a long time the trigeminal system was the suggested location for a magnetite-based magnetoreceptor in the pigeon. This was based on two findings: First, magnetite-containing cells were reported in specific locations in the upper beak. However, the cells proved to be immune system macrophages, not neurons able to detect magnetic fields. Second, pigeon magnetic field detection is impaired by sectioning the trigeminal nerve and by application of lidocaine, an anaesthetic, to the olfactory mucosa. However, lidocaine treatment might lead to unspecific effects and not represent a direct interference with potential magnetoreceptors. As a result, an involvement of the trigeminal system is still debated. In the search for magnetite receptors, a large iron-containing organelle (the cuticulosome) of unknown function was found in the inner ear of pigeons. Areas of the pigeon brain that respond with increased activity to magnetic fields are the posterior vestibular nuclei, dorsal thalamus, hippocampus, and visual hyperpallium.

Domestic hens have iron mineral deposits in the sensory dendrites in the upper beak and are capable of magnetoreception. Beak trimming causes loss of the magnetic sense.

In mammals
Some mammals are capable of magnetoreception. When woodmice are removed from their home area and deprived of visual and olfactory cues, they orient towards their homes until an inverted magnetic field is applied to their cage. When the same mice are allowed access to visual cues, they are able to orient themselves towards home despite the presence of inverted magnetic fields. This indicates that woodmice use magnetic fields to orient themselves when no other cues are available. The magnetic sense of woodmice is likely based on a radical-pair mechanism.

The Zambian mole-rat, a subterranean mammal, uses magnetic fields to aid in nest orientation. In contrast to woodmice, Zambian mole-rats do not rely on radical-pair based magnetoreception, perhaps due to their subterranean lifestyle. Experimental exposure to magnetic fields leads to an increase in neural activity within the superior colliculus, as measured by immediate gene expression. The activity level of neurons within two levels of the superior colliculus, the outer sublayer of the intermediate gray layer and the deep gray layer, were elevated in a non-specific manner when exposed to various magnetic fields. However, within the inner sublayer of the intermediate gray layer (InGi) there were two or three clusters of cells that respond in a more specific manner. The more time the mole rats were exposed to a magnetic field, the greater the immediate early gene expression within the InGi.

Magnetic fields appear to play a role in bat orientation. They use echolocation to orient themselves over short distances, typically ranging from a few centimetres up to 50 metres. When non-migratory big brown bats (Eptesicus fuscus) are taken from their home roosts and exposed to magnetic fields rotated 90 degrees from magnetic north, they become disoriented; it is unclear whether they use the magnetic sense as a map, a compass, or a compass calibrator. Another bat species, the greater mouse-eared bat (Myotis myotis), appears to use the Earth's magnetic field in its home range as a compass, but needs to calibrate this at sunset or dusk. In migratory soprano pipistrelles (Pipistrellus pygmaeus), experiments using mirrors and Helmholtz coils show that they calibrate the magnetic field using the position of the solar disk at sunset.

Red foxes (Vulpes vulpes) may be influenced by the Earth's magnetic field when predating small rodents like mice and voles. They attack these prey using a specific high-jump, preferring a north-eastern compass direction. Successful attacks are tightly clustered to the north.

It is unknown whether humans can sense magnetic fields. The ethmoid bone in the nose contains magnetic materials. Magnetosensitive cryptochrome 2 (cry2) is present in the human retina. Human alpha brain waves are affected by magnetic fields, but it is not known whether behaviour is affected.

title: Magnetoreception


text:
Friedrich Kuhlau

Friedrich Daniel Rudolf Kuhlau (German; Danish sometimes Frederick Kulav) (11 September 1786 – 12 March 1832) was a Danish pianist and composer during the late Classical and early Romantic periods. He was a central figure of the Danish Golden Age and is immortalized in Danish cultural history through his music for Elves' Hill, the first true work of Danish National Romanticism and a concealed tribute to the absolute monarchy. To this day it is his version of this melody which is the definitive arrangement.

During his lifetime, Kuhlau was known primarily as a concert pianist and composer of Danish opera, but was responsible for introducing many of Beethoven's works, which he greatly admired, to Copenhagen audiences. Kuhlau was a prolific composer, as evidenced by the fact that although his house burned down, destroying all of his unpublished manuscripts, he still left a legacy of more than 200 published works in most genres.

Early life and education
Kuhlau was born on 11 September 1786 just south of Lüneburg in the Uelzen district of Lower Saxony (Germany). At the age of seven, he lost his right eye when he slipped on ice and fell. His father, grandfather, and uncle were military oboists. Even though Kuhlau was born to a poor family, his parents managed to pay for piano lessons. In 1802 he moved to Hamburg where he began learning the piano with scholar C.F.G Schwencke.

Career
In 1804, Kuhlau made his debut and began working as a concert pianist. It was around this time that he began composing songs and chamber music to earn money. Many of Kuhlau's compositions throughout his life were for the flute, though he himself did not play the instrument. In 1810, he fled to Copenhagen to avoid conscription in the Napoleonic Army, which overwhelmed the many small principalities and duchies of northern Germany. In the same year, Kuhlau published his first piano and flute compositions. Kuhlau made a living in Copenhagen as a piano teacher and composer in 1811. He was later appointed as a non-salaried musician in the Danish Court in 1812. Kuhlau eventually became a Danish citizen in 1813. Following the success of his singspiel, The Robber's Castle, Kuhlau achieved a high-paying position as a singing teacher at the Royal Theater in 1816. Kuhlau's works between 1817 and 1820 failed to gain much prominence. His opera, The Magic Harp, was said to have failed due to a controversial libretto. In 1821 and 1825, Kuhlau travelled to Vienna where he befriended Ludwig van Beethoven. Beethoven's influence is evidential in Kuhlau's later works such as his singspiel, Elverhøj or Elves' Hill, a work widely regarded as a tribute to the Danish Monarchy and an inspiring piece from the Danish Golden Age. In 1828, Kuhlau was awarded an honorary professorship.

Operatic works
Kuhlau had his breakthrough in 1814 at the Royal Danish Theatre with Røverborgen ("The Robbers' Castle"), a singspiel with a libretto by Adam Oehlenschläger.

His next dramatic works, including Trylleharpen (1817), Elisa (1820) and Hugo og Adelheid (1827), lacking drama, failed miserably. With Lulu from 1824 he finally once again experienced success with one of his singspiels. He also wrote music for performances of William Shakespeare's plays.

In 1828 he achieved his greatest success when he wrote the music for Elverhøj. It won immediate popularity, especially for its overture and the final royal anthem, his setting of Kong Christian stod ved høien Mast (King Christian Stood by the Towering Mast). In the music, Kuhlau made very effective use of Danish and Swedish folk tunes. In 1976 the overture was rearranged by Danish composer Bent Fabricius-Bjerre and used as the soundtrack in a scene in the film The Olsen Gang Sees Red. The scene depicts the Olsen Gang breaking into The Royal Theater of Copenhagen, making their way through bricked up walls using explosives and other means. The whole break-in is choreographed so it corresponds directly to the music. The scene is one of the most – if not the most – recognized in the history of Danish film.

Other works
Alongside his dramatic works, Kuhlau wrote several compositions for flute and a large number of works for piano. Particularly his short pieces, sonatinas, for piano, enjoyed great popularity both in Denmark and abroad.

Beethoven, whom Kuhlau knew personally, exerted the greatest influence upon his music. Kuhlau's C major Piano Concerto, Op. 7 from 1810 displays a strong influence from Beethoven's Piano Concerto No. 1 in C major, written 14 years earlier. All three movements of the work are strongly reminiscent of the corresponding movements in Beethoven's work, making it a musical pastiche.

In addition to the above-mentioned piano concerto were a string quartet and several works for piano that included all the current genres of the day: sonatas, sonatinas, waltzes, rondos and variations. He also created several works for strings with piano (three quartets and two quintets, and several violin sonatas), works of incidental music and several operas. However, his most-often recorded and played works are several piano sonatinas and numerous works for flute. It is because of these flute works that he was nicknamed "the Beethoven of the flute" during his lifetime.

title: Friedrich Kuhlau


text: User:Sermet

title: User:Sermet


text:
Talk:Henry Hudson Bridge

Photos
To view PHOTOS of the bridge, go to: http://thebassguy.com/henryhudsonbridge
 * these pics are cool and artistic and all, (Some are VERY pretty, it is a pretty bridge) but this is apparently a commercial site, so I'd say this link is fine here but not a good link for the main article? ++Lar: t/c 22:35, 13 January 2006 (UTC)
 * I think the photos are great, lots of different perspectives of the bridge. I don't the the commercial status of the site makes it reason for excluding (structurae & google maps are for profit also).  It would make a good addition.  Cacophony 22:56, 13 January 2006 (UTC)
 * You're right! Added. ++Lar: t/c 23:34, 13 January 2006 (UTC)

main article?
I don't see how Transportation in New York City is the main article for Henry Hudson Bridge. The main article for Henry Hudson Bridge is Henry Hudson Bridge. If Henry Hudson Bridge should be in a transportation in NYC category or something, then it would be more appropriate to add it to the category. It is inappropriate to start the article about a particular bridge with a link to a transportation article. Maybe a see also seciton or something. Just not at the top of the article. Cacophony 22:22, 13 January 2006 (UTC)
 * Agreed. Not opposed to a see also section reference but it's not a main IMHO. This was an anonymous edit IIRC. ++Lar: t/c 22:27, 13 January 2006 (UTC)

Maint
Not to count how many angels dance on the head of a pin but should the maint field in the box say TBTA or MTA or both? TBTA is a sub of the other one. Giving the name of one and linking to the other may be confusing. Maybe not the most earth shattering distinction...  + + Lar: t/c 13:04, 1 May 2006 (UTC)

External links modified
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title: Talk:Henry Hudson Bridge


text:
User:Daveulmer

Daveulmer: aka: David J. Ulmer inventor of Geocaching and Data physics among other things. You may contact me at beyondinformation@gmail.com.

Enjoy Your Life !!

Dave...

title: User:Daveulmer


text:
Crazy Legs (album)

Crazy Legs is a studio album by Jeff Beck and the Big Town Playboys, released on 29 June 1993. The recording is an album of Gene Vincent songs. The album is considered to be a tribute to Gene Vincent and His Blue Caps, and in particular to Vincent's early guitarist Cliff Gallup, who Beck recognized as his biggest influence.

The album peaked at No. 171 on the Billboard 200 chart.

Track listing

 * 1) "Race with the Devil" (Gene Vincent, Sheriff Tex Davis) – 2:00
 * 2) "Cruisin'" (Gene Vincent, Sheriff Tex Davis) – 2:22
 * 3) "Crazy Legs" (Danny Wolfe, Jerry Reed) – 2:03
 * 4) "Double Talkin' Baby" (Danny Wolfe, Jerry Reed) – 2:15
 * 5) "Woman Love" (Jack Rhodes) – 2:35
 * 6) "Lotta Lovin'" (Bernice Bedwell) – 2:04
 * 7) "Catman" (Gene Vincent, Sheriff Tex Davis) – 2:24
 * 8) "Pink Thunderbird" (Paul Peek, Sheriff Tex Davis) – 2:30
 * 9) "Baby Blue" (Gene Vincent, Bobby Jones) – 2:36
 * 10) "You Better Believe" (Cliff Gallup) – 2:09
 * 11) "Who Slapped John?" (Gene Vincent, Sheriff Tex Davis) – 1:55
 * 12) "Say Mama" (Johnny Earl, Johnny Meeks) – 2:13
 * 13) "Red Blue Jeans and a Pony Tail" (Jack Rhodes, Sheriff Tex Davis) – 2:18
 * 14) "Five Feet of Lovin'" (Buck Peddy, Mel Tillis) – 2:11
 * 15) "B-I-Bickey-Bi-Bo-Bo-Go" (Don Carter, Dub Nalls, Jack Rhodes) – 2:12
 * 16) "Blues Stay Away from Me" (Alton Delmore, Henry Glover, Rabon Delmore, Wayne Raney) – 2:24
 * 17) "Pretty Pretty Baby" (Danny Wolfe) – 2:26
 * 18) "Hold Me, Hug Me, Rock Me" (Gene Vincent, Sheriff Tex Davis) – 2:15

Personnel
with:
 * Jeff Beck -  lead guitars
 * The Big Town Playboys
 * Mike Sanchez -  vocals, piano
 * Adrian Utley -  rhythm guitar
 * Ian Jennings -  upright bass, backing vocals
 * Clive Deamer -  drums, backing vocals
 * Leo Green -  tenor saxophone on "Say Mama"
 * Nick Lunt - baritone saxophone on "Say Mama"
 * Tony Rivers - backing vocals on "Baby Blue"
 * Technical
 * Leif Mases - engineer
 * David Saunders & Lance Miles - Studio & Backline Techs
 * Stan Watts - cover illustration

Additional notes
Catalogue: (CD) Epic 53562

title: Crazy Legs (album)


text:
Musanga cecropioides

Musanga cecropioides, the African corkwood tree or umbrella tree, is found in tropical Africa from Sierra Leone south to Angola and east to Uganda. It is typical in secondary forests.

This tree is also known as parasolier, n'govoge, govwi, doe, kombo-kombo, musanga, and musanda.

Description
Musanga cecropioides can reach a height of 100 ft with a diameter of 1 - 3 ft. Its trunk has a pale whitish/yellow tone with a rough, granular texture.

Ecology
Musanga cecropioides is a pioneer species and readily springs up in newly cleared patches of forest. In Nigeria it is joined in these locations by the poison devil's-pepper (Rauvolfia vomitoria), the Ivory Coast almond (Terminalia ivorensis) and the dragon's blood tree (Harungana madagascariensis). Five years later, M. cecropioides has become dominant, with a closed canopy at 10 m

Uses
Uses of the wood from the African corkwood tree range from flotation devices, such as rafts, to toys. The wood of the African corkwood tree has a frail concreteness and has a tendency to mold and tarnish easily. The tree has traditional medical uses among the Bantu peoples of the Central African Republic, Gabon and Equatorial Guinea.

title: Musanga cecropioides


text: Wikipedia:Articles for deletion/Log/2005 February 15


text: User talk:67.83.184.135

title: User talk:67.83.184.135


text:
André Cymone

André Cymone (born Andre Simon Anderson; June 27, 1958) is an American bassist, songwriter and record producer. He was a bass guitarist for Prince's touring band, pre-Revolution. In 1981, Cymone broke from Prince's band and began a solo career. As a solo artist, he released Livin' in the New Wave, Survivin' in the '80s and A.C., all of which were well-received studio albums. The visionary fusion of new wave and funk explored on these albums spawned half a dozen hit R&B singles. His song, "The Dance Electric", was written by Prince and reached #10 on the R&B charts in 1985. Cymone later co-wrote and produced hit songs for other acts, including his then wife Jody Watley's "Looking for a New Love" and "Real Love".

With his futurist Minneapolis vision, Cymone has been credited with creating some of the most innovative music in between the late 1970s and 1980s, and is regarded as an unsung architect of Minneapolis' identity as a music capital.

Cymone's stage name comes from a variation of his middle name, Simon.

Early years
Cymone was born in Minneapolis, Minnesota. The son of Fred Anderson, a musician, and Bernadette, a social worker, Cymone was the youngest of six children. The Anderson home soon had an additional member – a young Prince who left his own home due to conflicts with his father. Prince's cousin Charles Smith started the band Grand Central and later invited Cymone. The band included Cymone's sister Linda and Morris Day — they later changed their name to Champagne due to being confused with the funk band Graham Central Station. Around this same, in 1975, Pepe Willie (the former husband of another of Prince's cousins), started the funk band 94 East, with members Cymone and Prince.

Career
In the late 1970s, after Prince released his debut album, For You, Prince recruited Cymone as bassist for his touring band. Cymone stayed with Prince until 1981, when he quit the band over tensions with Prince.

The two later resolved their issues and Cymone, managed by Owen Husney, went on to release 3 solo albums – Livin' In The New Wave (1982), Survivin' in the 80s (1983), and AC (1985). All were out of print for a long period of time, but all three of his solo records have been remastered and expanded with extra tracks. His only successful single – a song written by Prince – was "The Dance Electric" from AC.

Cymone went on to become a producer and is better known for producing Jody Watley (to whom he was married and shares a son). He has also produced and written songs for several other artists, including Evelyn "Champagne" King, Pebbles, Jermaine Stewart, The Girls, Pretty Poison and Adam Ant. In 1988, Cymone produced three tracks and co-wrote the track "Under My Skin" for Phil Thornalley's 1988 only solo album Swamp.

His song "Better Way", performed by James Ingram, featured on the Beverly Hills Cop II soundtrack released in 1987. Cymone stepped away from the spotlight in the late 1980s, to focus on raising his children while channeling his creative urges into a variety of writing projects.

In September 2012 Cymone released a digital single, titled "America", in aid of United States President Barack Obama's re-election campaign with all proceeds from the sale of the digital single being donated to the campaign. The single is available through andrecymone.bandcamp.com, via digital download. A sneak-peek at a new song titled "American Dream" was available for a limited time for everyone who donated by purchasing "America".

In 2012, Cymone confirmed he was working on a new album, bringing an end to a 27-year singing hiatus.

In May 2013 Cymone released a demo on his Twitter/Facebook page called "My Best Friend", a six-minute long acoustic track he described as a tribute to his mother Bernadette Anderson.

In late May 2013 Cymone appeared alongside former Revolution member Bobby Z on a web-based video chat forum co-hosted by celebrity blogger Dr. Funkenberry where he went into greater detail about the writing of the song and the hopes for his new album.

In November 2013, the album, titled The Stone, became available for pre-order in various exclusive packages on the site |PledgeMusic.com PledgeMusic. The packages included early MP3 downloads, signed CDs and one-off personalised items. The Stone was released on February 18, 2014.

Andre Cymone released his sixth studio album, 1969, on April 7, 2017, via Bandcamp and iTunes.

Albums

 * Livin' in the New Wave (1982)
 * Survivin' in the 80's (1983)
 * A.C. (1985)
 * The Stone (2014)
 * Black Man in America (2016)
 * 1969 (2017)

Singles

 * "Livin' in the New Wave" (1982)
 * "Kelly's Eyes" (1982)
 * "Survivin' in the 80's" (1983)
 * "Make Me Wanna Dance" (1983)
 * "What Are We Doing Here" (1983)
 * "Body Thang" (1983)
 * "The Dance Electric" (1985)
 * "Satisfaction" (1985)
 * "Lipstick Lover" (1985)

title: André Cymone