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Modern Sounds in Country and Western Music

Modern Sounds in Country and Western Music is a studio album by American singer and pianist Ray Charles. It was recorded in February 1962 at Capitol Studios in New York City and United Western Recorders in Hollywood, and released in April of that year by ABC-Paramount Records.

The album departed further stylistically from the rhythm and blues music Charles had recorded for Atlantic Records in the 1950s. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. Charles produced the album with Sid Feller, who helped the singer select songs to record, and performed alongside saxophonist Hank Crawford, a string section conducted by Marty Paich, and a big band arranged by Gil Fuller and Gerald Wilson.

Modern Sounds in Country and Western Music was an immediate critical and commercial success. The album and its four hit singles brought Charles greater mainstream notice and recognition in the pop market, as well as airplay on both R&B and country radio stations. The album and its lead single, "I Can't Stop Loving You", were both certified gold by the Recording Industry Association of America in 1962, as each record had sold at least 500,000 copies in the United States.

The album's integration of soul and country challenged racial barriers in popular music at the height of the Civil Rights Movement. In the process of recording the album, Charles became one of the first African-American musicians to exercise complete artistic control over his own recording career. In retrospect, it has been considered by critics as his best studio record and a landmark recording in American music. According to Robert Christgau, the album "transfigured pop, prefigured soul, and defined modern country & western music." It has been called one of the greatest albums of all time by publications such as Rolling Stone and Time.

Background
After his Atlantic Records contract ended, Ray Charles signed with ABC-Paramount Records in November 1959, obtaining a much more generous contract than other artists had at the time. Following his commercial and pop crossover breakthrough with the hit single "What'd I Say" earlier that year, ABC offered Charles a $50,000 annual advance, higher royalties than previously offered and eventual ownership of his masters—a very valuable and lucrative deal at the time. Composed by Charles himself, the single furthered Charles's mainstream appeal, while becoming a Top 10 pop hit and selling a million copies in the United States, despite the ban placed on the record by some radio stations, in response to the song's sexually-suggestive lyrics. However, by the time of the release of the instrumental jazz LP Genius + Soul = Jazz (1960) for ABC's subsidiary label Impulse!, Charles had virtually given up on writing original material and had begun to follow his eclectic impulses as an interpreter.

Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As Charles himself noted in the liner notes of What'd I Say (1959), he was influenced by the genre in his youth, writing that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.

Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.

When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

Recording

Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year in United Studio B at United Western Recorders in Hollywood, California.

Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. Feller canvassed premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee). In doing so, he amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper:

[Feller] listened to all of them to see which one he could make a Ray Charles record with. A Ray Charles version. Not copy a country & western singer's version. So in other words, by hearing the original, he knew what he didn't want to do. So consequently, he made up his own things, and some of the things he made up, you know, the melodies themselves are interpretations. Some of the ballads, that were so beautiful, he just made it sound like Ray Charles made it up, even though he was singing the exact melody of the original. And yet when Ray Charles sings it, it sounds like a brand new song.

While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

Music and lyrics
The album's themes are about heartbreak and love, with most of the material chosen by Charles being ballads. The concept which had originally attracted the interest of Charles to this style of music was the strength he admired in writing a ballad's somber or melancholy lyrics and then performing the ballad with aesthetic and emotional stability; an element he had found to be common in even the most diverse musical genres. Writer Daniel Cooper said of Charles's adaptation of country elements, "His country forays play like a series of intricate variations or like one long meditation on the expansive qualities of music commonly described as the white man's blues." AllMusic's Stephen Cook writes that "Charles intones the sleepy-blue nuances of country crooners while still giving the songs a needed kick with his gospel outbursts."

Despite the racial and social implications of R&B and country at the time, Charles did not agree with contemporary views of race records and other genres, including pop and country, as essentially different. In an interview with Ben Fong-Torres of Rolling Stone, Charles said of the similarities between the blues and country music, "[T]he words to country songs are very earthy like the blues, see, very down. They're not as dressed up, and the people are very honest and say, 'Look, I miss you, darlin', so I went out and I got drunk in this bar.' That's the way you say it. Where in Tin Pan Alley will say, 'Oh, I missed you darling, so I went to this restaurant and I sat down and I had dinner for one.' That's cleaned up now, you see? But country songs and the blues is like it is."

In an interview with music historian Peter Guralnick, Charles further elaborated on his understanding, stating "You take country music, you take black music, you got the same goddamn thing exactly." While Modern Sounds features mostly covers of country and western music standards, its sound and musical style are marked by the heavy rhythm and blues influence of Charles's playing. A considerable amount of the material's melancholy lyrics and words are backed by piano and orchestral arrangements that are rooted in jazz, as well as West Coast and Charles's style of piano blues. Charles has said that the country album was "completely different from rhythm and blues".

"You Don't Know Me" has a string and vocal ensemble production and themes of desirous unrequited love. The song's narrator longs for a woman that views him as "just a friend/That's all I've ever been/For you don't know me." AllMusic editor Bill Janovitz writes of the song's affecting narrative, stating "The genius, the pathos, and the soul that is Charles oozes into this recording [...] No matter how many times one hears the song, it still induces chills down the spine after the narrator blows any chance he might have had and is left alone at the end."

Both composed by Hank Williams, "You Win Again" and "Hey, Good Lookin'" are derived from Williams's different emotional perspectives. The difference is further accentuated by Charles's interpretations of the songs. "I Can't Stop Loving You", a countrypolitan ballad with lush, cushioned arrangements, was placed at the 11th spot in the track listing, assumed by Sid Feller to be the album's weakest song, after which becoming the album's top-selling single. Charles was disappointed with him, as Feller was in charge of sequencing for the album.

Charles also covered the heartbreak ballads "It Makes No Difference Now" and "I Love You So Much It Hurts", both originally by honky tonk musician Floyd Tillman,. The Ted Daffan-penned "Worried Mind" and "Born to Lose" expand his take on country balladry and feature a blend of piano blues with string arrangements.

Marketing and sales
Modern Sounds in Country and Western Music was released in April 1962 and quickly became one of the best-selling albums recorded by a black musician of the time, as well as one of the best-selling country albums, shipping at least 500,000 copies in its first three months of release. This achievement was due in part to the mainstream promotional efforts Modern Sounds had received from ABC prior to and following release. The album proved to be a crossover hit as well, as distributors claimed the record had been selling in pop, R&B and country music markets; at the time, often referred to as white and black markets during the period.

Writing of the album shortly after its release, Billboard magazine claimed that, "in addition to being powerful dealer material, this package will fracture knowledgeable jockeys who will find in it a wealth of material to talk about as well as play." By mid-April, reports of the album's sales and radio airplay had started coming in from cities such as Dallas and Philadelphia. On June 23, 1962, the mono issue of Modern Sounds replaced the West Side Story soundtrack album as the number one album in the United States, knocking it off the top of the Billboard Pop Albums chart.

The album spawned four charting singles, "Born to Lose", "Careless Love", "I Can't Stop Loving You" and "You Don't Know Me", the latter two of which went number one on the Adult Contemporary chart. The hit singles quickly gained a significant amount of radio airplay on both country and R&B stations. By mid-May, the album's lead single, "I Can't Stop Loving You", had sold 700,000 copies within its first four weeks of release. Record dealers began describing the album as "equal in sales action to some of the early Presley disks" and, after moving 400,000 copies of the single, influential Atlanta record distributor Gwen Kestler told Billboard magazine that "the record is so hot in her district that people who don't even own record players are buying it." "I Can't Stop Loving You" hit number one on the Billboard Pop Singles chart on June 2, spending five consecutive weeks at the top of the chart. By the time it fell off the top, the single was reported to have reached nearly a million and a half in sales, moving over 100,000 copies per week. In July the record spent two weeks at number one in Great Britain.

As Modern Sounds in Country and Western Music and its singles were performing well in the United States, Charles toured Europe with his big band and the Raelettes. He performed both his signature R&B and jazz material at such venues as Paris Olympia and the Hot Club de France, where he was hailed as "a true jazz artist in the tradition of Louis Armstrong and Duke Ellington." Upon his return to the United States at the end of the summer, ABC-Paramount had officially recognized his achievements, presenting Charles with two gold records—one for "I Can't Stop Loving You", the other for his Modern Sounds album—during a live concert performance at the Convention Hall in Asbury Park, New Jersey. Through his ventures into country music and the European jazz scene, Charles's white audience grew significantly at concerts. The album was quickly followed by another recording of country, western and pop standards covered by Charles, and recorded in September 1962. Modern Sounds in Country and Western Music, Vol. 2 was released six months after the first volume and proved to be equally successful, while also earning a gold certification by the following year. Following his tenure with ABC-Paramount, Charles later went on to achieve more commercial success recording country music under Columbia Records throughout most of the 1980s.

Critical reception
Modern Sounds in Country and Western Music received positive reviews from critics of both rhythm and blues and country music. Billboard called it "one of the most intriguing albums in a long time" in a contemporary review, finding its musical concept "wonderful". "I Can't Stop Loving You" earned Charles a Grammy Award for Best Rhythm & Blues Recording at the 1963 Grammy Awards, while the album was nominated in the Album of the Year category.

Since its initial reception, the album has been praised by critics for Charles's style and manner of interpreting country music into his R&B musical language. Robert Hilburn of the Los Angeles Times wrote that the "masterful interpretation of several country standards ... opened a lot of pop ears to country music and showed Nashville much about the proper use of orchestration." AllMusic editor Stephen Cook called the album a "fine store of inimitable interpretations", and stated, "Less modern for its country-R&B blend and lushly produced C&W tone than for its place as a high-profile crossover hit, Modern Sounds in Country and Western fit right in with Ray Charles's expansive musical ways while on the Atlantic label in the '50s". Chris Neal of Country Weekly commented that Charles "recast 12 country favorites in big-band and orchestrated settings with a visionary's easy grace", adding that he "gets to the heart of each [song] in a way that remains thoroughly modern." John Morthland of the Oxford American called it a "landmark LP of transcendent vocals set against kitschy orchestrations that (along with early rock 'n' roll) illuminated black-white roots connections for a popular audience."

Accolades
In 1999, the album was inducted into the Grammy Hall of Fame, as was "I Can't Stop Loving You" in 2001. Modern Sounds in Country and Western Music was cited by The Recording Academy as a recording of "historical significance". "I Can't Stop Loving You" was ranked number 49 on Country Music Television's list of the 100 Greatest Songs of Country Music. In November 2003, Rolling Stone ranked the album number 104 on its list of the 500 Greatest Albums of All Time, and 105 in a 2012 revised list, and 127 in a 2020 revised list. The album was also included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in Christgau's Record Guide: Rock Albums of the Seventies (1981).

Country music
In the wake of Modern Sounds in Country and Western Music and its success, country music experienced an immediate increase in popularity. According to music writer Daniel Cooper, "the album raised the genre's profile", specifically Nashville sound, which Charles had covered. Benefiting from this were songwriters, music publishers, and country singers who covered the subgenre's material. As noted by Cooper, by the end of 1962, Nashville country publishers were being held as "the hottest source of music material in the record business these days." Charles's success with the stylistic fusion of country and soul on Modern Sounds led to similar efforts from artists such as Candi Staton and Solomon Burke, who were greatly influenced by the album. Many country music artists such as Willie Nelson and Buck Owens have cited Charles's take on the genre with the album as a major influence. In an interview for Country Music Television (CMT), Nelson said that the album "did more for country music than any one artist has ever done." Doug Freeman of the Austin Chronicle wrote of Charles's influence through the album, stating:

Country and soul have always had a tenuous connection, undoubtedly exacerbated by the racial identifications of their respective fanbases. Yet despite the perceived disconnect between the two genres, the populist formats of both have always been more fluid and contiguous than is traditionally recognized. Elvis' melding of country and R&B may even arguably be considered the genesis of rock & roll, though that middle ground has largely only served to allow soul and country to remain segregated. With his 1962 Modern Sounds in Country and Western Music, Ray Charles created the benchmark for crossing the line, highlighting the similarities in sentiment often overshadowed by sound.

Summing up on the impact Modern Sounds had on country music and listeners, writer Daniel Cooper states, "There is no telling how many people, who perhaps never paid much attention to country music or even had professed to dislike it, listened anew based on the impact of having heard what Ray Charles was capable of doing with that music." Charles eventually earned a country music repertoire and reputation following the success of the Modern Sounds records, later country hit singles for Warner Bros. Records, and various appearances at country music events, including The Johnny Cash Show in 1970 and the Grand Ole Opry's 58th anniversary in 1983, the program to which he listened as a youth.

Social impact
Following the album's release, Charles quickly earned an influx of white listeners and audiences at concert venues, without experiencing any fall-out from his predominantly black audience. Writer Daniel Cooper later said of the album's effect, "It's an idea as corny as any country song you can think of, and one that Charles knew to be true; music unites people. It just really does." Throughout the years following its initial reception, Modern Sounds gained further acknowledgment of its impact on the music industry and society. Through conceiving and recording the album, Charles became one of the first African-American musicians to receive and practice artistic control bestowed upon by a mainstream record company. In a 1998 interview, country musician Raul Malo acknowledged the album's influence, calling it "one of the most important records of our time, not only because of its content, but also due to its social and political ramifications." In a July 8, 2004 article for Rolling Stone magazine, music journalist Robert Christgau praised the impact and influence that the Modern Sounds recordings had on music, stating "In the world it created, not only could a black person sing the American songbook Ella Fitzgerald owned by then, but a country black person could take it over. Soon Charles's down-home diction, cotton-field grit, corn-pone humor and overstated shows of emotion were standard operating procedure in American music, black and white."

In addition to its social implications, the musical integration of soul and country into popular format by Charles changed and revolutionized racial boundaries and restraints in music, and contributed to the historical Civil Rights Movement. Robert Fontenot of About.com was one of several writers to praise the album's musical and social implications, stating "Arguably one of the most brilliant interpretive albums ever released, it did more to integrate modern American music than almost any other LP in history." In paying tribute to the magazine's selection of the 100 Greatest Singers of All Time, which had selected Charles at #2, singer-songwriter Billy Joel noted the album's racial and social impact in an article for Rolling Stone, stating "here is a black man giving you the whitest possible music in the blackest possible way, while all hell is breaking loose with the civil rights movement." Another article for Rolling Stone, written in honor of Charles and his achievements, later stated that through his Modern Sounds recordings, Ray Charles "made it acceptable for black people to sing country & western music, in the process doing almost as much to break down racial barriers as did the civil-rights movement."

Subsequent work by Charles
In addition to the album's legacy as one of the most influential recordings of all time, Modern Sounds also had an effect on Charles's later work. According to writer Nate Guidry, the recording marked the zenith of Charles's popularity and success. By the mid-1960s and continuing into the 1970s and 1980s, the majority of his musical output was focused onto more middle of the road and pop releases, featuring less of his recognizable, trademark soul and R&B, and more of the crossover and fusion tendencies of Modern Sounds in Country and Western Music. On the album's influence, columnist Spencer Leigh of The Independent stated that "Numerous artists followed Charles's lead, but it must be said that Charles himself repeated the trick much too often." The period of releases following Modern Sounds has been recognized by writers as a "critical slide" and the weakest in his recording career. Several of the LP albums from this period have yet to be reissued and have remained rare among record collectors, if not out of print. Charles's final studio album Genius Loves Company (2004) would later be released shortly after his death, and proved to be a comeback success, in terms of sales and critical response, as it quickly became Charles's first top-10 album in forty years and the best-selling record of his career.

On October 27, 1998, Rhino Entertainment issued a four-disc box set entitled The Complete Country & Western Recordings: 1959–1986, which chronicles Charles's country and western recordings. The collection features the two volumes of Modern Sounds, as well as his later country singles for Warner Bros. Included in the set is a hardcover booklet of essays by producer Sid Feller, writer Daniel Cooper, and Ray Charles, along with liner photography by Howard Morehead and Les Leverett. On June 2, 2009, both volumes of Modern Sounds in Country and Western Music were reissued as a single package by Concord Music.

Track listing
All tracks were produced by Ray Charles and Sid Feller.

 * In October 1988, the album was reissued on compact disc by the specialty record label Rhino Entertainment, accompanied by three bonus tracks.

Musicians

 * Ray Charles – piano, vocals, producer
 * Hank Crawford – alto saxophone
 * Gil Fuller, Gerald Wilson – arrangements (big band)
 * Marty Paich – arrangements (strings)

Additional personnel

 * Frank Abbey – engineering (tracks 1, 3, 5, 8, 10, 12)
 * Joe Adams – production (track 14)
 * Bob Arnold – engineering (track 15)
 * Hugh Bell – photography
 * Johnny Cue – engineering (track 13)
 * Todd Everett – liner notes
 * Sid Feller – production
 * Bill Inglot– remastering
 * Michael Ochs Archives – photography
 * Ken Perry – remastering
 * Bill Putnam – engineering (tracks 2, 4, 6, 7, 9, 11, 15)
 * Gene Thompson – engineering (tracks 1, 3, 5, 8, 10, 12)


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Conformable matrix

In mathematics, a matrix is conformable if its dimensions are suitable for defining some operation (e.g. addition, multiplication, etc.).

Examples

 * If two matrices have the same dimensions (number of rows and number of columns), they are conformable for addition.
 * Multiplication of two matrices is defined if and only if the number of columns of the left matrix is the same as the number of rows of the right matrix. That is, if $A$ is an $m × n$ matrix and $B$ is an $s × p$ matrix, then $n$ needs to be equal to $s$ for the matrix product $AB$ to be defined. In this case, we say that $A$ and $B$ are conformable for multiplication (in that sequence).
 * Since squaring a matrix involves multiplying it by itself ($A^{2} = AA$) a matrix must be $m × m$ (that is, it must be a square matrix) to be conformable for squaring. Thus for example only a square matrix can be idempotent.
 * Only a square matrix is conformable for matrix inversion. However, the Moore–Penrose pseudoinverse and other generalized inverses do not have this requirement.
 * Only a square matrix is conformable for matrix exponentiation.

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

title: Conformable matrix


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Kinugawa Onsen

Kinugawa Onsen (鬼怒川温泉) is a hot spring resort in the city of Nikkō, Tochigi, Japan. The place is named after the Kinugawa River (literally "angry demon river"), which flows through it.

History
Two hours by train from Tokyo, hot springs were first found in the area in the early Meiji period.

The area was extensively developed for tourism in the 1970s, but has since experienced severe economic difficulties after a downturn caused by the 1990s recession, exacerbated by troubles at the insolvent Ashikaga Bank, a major local lender. In 2005, Waseda University urban planning professor Shigeru Itoh's (ja:伊藤滋) Ugly Japan (悪い景観100景) listed Kinugawa Onsen as the third-ugliest place in the country.

However, in 2008 the city's tourism industry received a boost as high car and airplane fuel costs have caused travelers to seek tourist destinations more easily reachable by train, such as the Kinugawa Onsen.

Local attractions
Close by is Edo Wonderland Nikko Edomura, a traditionally themed culture and amusement park containing theatres, workshops, games, ninja and oiran shows. It is populated with samurai, ninja, geisha and common folk. Within 8-minute walking distance from Kinugawa is the Tobu World Square which boasts 102 exquisitely crafted 1:25 scale models of the most famous, UNESCO-designated World Cultural and Heritage Sites, complete with 140,000 1:25 miniature people.

Transportation
Both train lines run in parallel and stop at Kinugawa Onsen Station
 * Tōbu Kinugawa Line
 * Yagan Railway Aizu Kinugawa Line

title: Kinugawa Onsen


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Talk:Soviet Union men's national ice hockey team

Untitled
The following sentence appeared not long ago, with a claim that this is a NPOV: Professioanlly however, they were only able to win one Canada Cup in 1981, a tournament that allowed professional hockey players to play.

However, in the article Ice Hockey World Championships is stated, that in 1977 a new president of the IIHF finally allowed professionals on all teams. See also this fact mentioned in the Ice Hockey History on the official IIHF website and here. The similar statement I found in the 1988 Guinness Book of World Records: since 1977 professionals allowed to play in IIHF competitions, including World Championships and Olympics. So, professionally the Soviet national ice hockey team won also World Ice Hockey Championships in 1978-1983, 1986, 1989, 1990 and Winter Olympics Ice Hockey Tournament in 1984, 1988, 1992

Next time, please, don't claim that your addition is NPOV until you get your facts straight. Cmapm 13:24, 12 Feb 2005 (UTC)

I think you should add to this that these tournaments were played during the NHL playoffs wich means that Canada, USA, Sweden and Finland never boasted all their best players in these tournaments. God, with this kind of censorship you must be a commie. —Preceding unsigned comment added by 83.248.136.187 (talk) 19:08, August 29, 2007 (UTC)

Excuses for Canada
In general, I think, that all excuses and explanations of Canada's loses in World Championships and Olympic tournaments should be placed in the article Canadian national men's ice hockey team, all it's "unprofessionalism" during 1920-1977 should also be mentioned there. This is an article about Soviet national ice hockey team. Cmapm 17:37, 12 Feb 2005 (UTC) True. Canada could have made social clubs for hockey too but their players went for money. I agree the excuses don't belong here. — Preceding unsigned comment added by 142.116.244.88 (talk) 00:35, 7 April 2018 (UTC)

The Challenge Cup
should be probably added to Summit Series. May be even Randevous also. Or at least mentioned uder a separate category "Other tournaments". Gaidash 6 July 2005 18:00 (UTC)

1980 Olympics
The Soviet team won silver in 1980 —Preceding unsigned comment added by 67.173.44.130 (talk • contribs)

 * Yeah, pasting "bronze in 1980" into Soviet squad-related pages is a widespread error. The source for "silver in 1980" is, e.g. official website of the IOC: . The point is that the competition system in the medal round was round-robin, not play-offs. More links on this old question are available at Talk:Ice hockey at the 1980 Winter Olympics. Cmapm 01:25, 9 December 2006 (UTC)

"Advantage"
I removed the following sentence: "Soviet players never played in the NHL prior to the late 1980s, giving them an advantage in these tournaments."

Well, guys, have you noticed, that NHL players had a similar "advantage", as they never played in the Soviet League? Cmapm 09:20, 30 March 2007 (UTC)

Were we talking about the soviet domination in the World Championships and Olympics? If so, in what way does the Canadians have an advantage since they not with full force could participate in the aforementioned tournamnets? —Preceding unsigned comment added by 83.248.136.187 (talk) 19:02, August 29, 2007 (UTC)

Soviet's dominance
"The Soviets were one of the most dominant teams of all time in international play." - This comes across as an understatement really. They earned a medal in every Olympics or World Cup they participated, most of the medals being gold. Second best at earning medals in WC is according to Ice Hockey World Championships Canada - with comparably mere 72%. Lejman 00:50, 7 October 2007 (UTC)

Unified team
I want to learn the situation in 1992 games. As far as I know, there wasn't a country named Soviet Union back in 1992 so how could it win the games? A team under the name of Unified Team played in the games not the USSR team. I mean at least legally, you have to exist before you win something. Deliogul (talk) 14:41, 7 March 2008 (UTC)
 * Thanks for mentioning that. It appears to have been an oversight. The Unified Team at the 1992 Winter Olympics has been mentioned. Flibirigit (talk) 15:25, 7 March 2008 (UTC)

 * Of course, the Unified Team was, for all intents and purposes, the Soviet Union. It consisted of what had been the USSR just two months earlier and the exact same team was the Soviet national team at that time.  Same for the "C.I.S." team that competed at the 1992 World Championships in Czechoslovakia.  It wasn't until the 1992-93 hockey season that its successor states competed separately.213.210.157.14 (talk) 13:02, 26 February 2009 (UTC)

This page needs an infobox facelift
This page should be converted to my template, Template:Infobox_national_hockey_team. I also suggest a simple coat of arms instead of the jersey picture for the usual hockey federation logo.--Lvivske (talk) 04:31, 8 May 2009 (UTC)

The Logo
The logo on this page is simply wrong! It is/was(?) the logo of CSKA Moscow, aka the Central Red Army team. You did not see that logo on the jerseys of the Soviet national team. The general misconception is that the Red Army team and the Soviet national team were the same thing, but they weren't; about 50 percent of the players on the Soviet national team played also for the Red Army team, the other players were from Dynamo Moscow, Spartak Moscow etc. — Preceding unsigned comment added by 137.163.19.99 (talk) 09:58, 3 August 2015 (UTC)

Red Army doping.
I've heard accusations that the Soviets were doping during they 1950s-1980s dynasty. However I don't see anything on the page not have I been able to fine anything. Might be an interesting to look into discussiing — Preceding unsigned comment added by 142.116.244.88 (talk) 00:37, 7 April 2018 (UTC)
 * If you can find a reliable source that discusses the accusations, then it could be added. Otherwise it will have to be deleted as speculation. Kaiser matias (talk) 12:38, 7 April 2018 (UTC)

"Controversy"
Turns out the whole "controversy" thing was started by an account that was later blocked indefinitely. And here we have admins fighting to keep this info, clearly violating numerous policies? need proof? here it is https://en.wikipedia.org/w/index.php?title=Soviet_Union_national_ice_hockey_team&diff=785257037&oldid=785256374 — Preceding unsigned comment added by Gekeperi (talk • contribs) 15:39, 23 February 2020 (UTC)
 * The controversy is a very well written about topic with plenty of sources. In order to have neutral point of view articles good things and controversies have to be in the article if they can be sourced. Just because an editor was latter banned doesn't automatically make all their edits bad. -DJSasso (talk) 15:47, 23 February 2020 (UTC)
 * I'm 100% sure that people who write positive things about Russia and then get banned have all their edits immediately reverted — Preceding unsigned comment added by Gekeperi (talk • contribs) 15:52, 23 February 2020 (UTC)
 * Would you please sign your posts. GoodDay (talk) 15:57, 23 February 2020 (UTC)
 * The controversy section underwent several changes to remove material that was not directly supportable by the sources given. Being controversial does not make it negative or positive, it is simply a discussion about what caused a real controversy in the world of international hockey.  If you wish to 'balance' things, perhaps investigate and source how it was that GB brought amateur hockey players from Canada for 1936 if they were not moving there to be employed for hockey.  Just a thought.18abruce (talk) 15:59, 23 February 2020 (UTC)


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Radnor Township

Radnor Township may refer to:

Canada

 * Radnor Township, Quebec

United States

 * Radnor Township, Peoria County, Illinois
 * Radnor Township, Delaware County, Ohio
 * Radnor Township, Delaware County, Pennsylvania

title: Radnor Township


text:
NLC Workers Progressive Union

Thozhilalar Munnetra Sangam, Padaithurai Udaithozhirsalai (OCF Avadi) represents the working class of OCF Avadi working under Ministry of Defence is affiliated with National Progressive Defence Employees Federation (NPDEF) & Labour Progressive Federation (LPF). It is recognised by Ministry of Defence, Government of India and represents at Various forums like Joint Consultative Machinary (JCM ), Works Committee Local Productivity Council ( LPC), Central Safety Council (CSC) and Estate Coordination Committee ( ECC)etc.

title: NLC Workers Progressive Union


text:
Thomas De Witt Talmage

Thomas De Witt Talmage (January 7, 1832 – April 12, 1902) was a preacher, clergyman and divine in the United States who held pastorates in the Reformed Church in America and Presbyterian Church. He was one of the most prominent religious leaders in the United States during the mid- to late-19th century, equaled as a pulpit orator perhaps only by Henry Ward Beecher. He also preached to crowds in England. During the 1860s and 70s, Talmage was a well-known reformer in New York City and was often involved in crusades against vice and crime.

During the last years of his life, Dr. Talmage ceased preaching and devoted himself to editing, writing, and lecturing. At different periods he was editor of the Christian at Work (1873–76), New York; the Advance (1877–79), Chicago; Frank Leslie's Sunday Magazine (1879–89), New York; and the Christian Herald (1890–1902), New York. Each week he was said to have preached to audiences of 8,000 people, and for many years his sermons were published regularly in more than 3,000 journals, through which he was said to reach 25,000,000 readers.

Early life and education
T. De Witt Talmage was born in what is now Franklin Township, Somerset County, New Jersey and he was a member of the Reformed Church of Bound Brook (located on Main Street in South Bound Brook) and always had a close association to South Bound Brook. His ancestors included some of the earliest Dutch families who settled in New York. His father's ancestors came from Barton Stacy, England, and included founders of Southampton and East Hampton, New York.

Talmage earned an undergraduate degree at the University of the City of New York (now New York University). Following his graduation in 1853, Talmage studied law for a time before deciding on entering the ministry. He studied theology at the Reformed Dutch Theological Seminary in New Brunswick, New Jersey.

Four of his brothers also entered the ministry, all of them earning the title Doctor of Divinity. John Van Nest Talmage was a missionary in China, while his brothers James and Goyn Talmage became noted preachers in their own right. The fifth brother Daniel Talmage was a successful merchant.

Pastoral career
Talmage began preaching in Belleville, New Jersey once he graduated in 1856. He spent two years at a pastorate in Syracuse, New York before moving in 1862 to Philadelphia to become the pastor for the Second Reformed Dutch Church. (In 1867 the denomination changed its name to the Reformed Church in America.) It was here that Talmage began to establish a reputation as a gifted orator and preacher. He also served as a chaplain for the Union Army during the American Civil War.

Philadelphia and the Reformed Dutch Church
Under his guidance, the church grew from a minor congregation to one of the most powerful and influential institutions in the city. Talmage began attracting large crowds almost from the time of his arrival. Despite his being called a "pulpit clown" and "mountebank" for his sensational sermons, Talmage attracted a growing audience. The church could no longer seat everyone who attended. Larger and wealthier congregations began to recruit him and in 1869, Talmage accepted an offer from the Central Presbyterian Church in Brooklyn, New York.

Marriage and family
His first wife, Mary R. Avery, was from Brooklyn. They had two children together before she drowned in the Schuylkill River in Philadelphia on June 7, 1861.

In May 1863, Talmage married Susan Whittemore of Greenpoint, New York, a neighborhood of Brooklyn. They had five children together. Upon Susan's death after 32 years of marriage, Talmage inherited most of her estate, estimated at $200,000.

In January 1898, about three years after his wife died, Talmage married a third time, to 40-year-old Eleanor Collier of Allegheny City, Pennsylvania. Collier was a wealthy young widow, having been married to the late Judge Charles W. Collier. She was 27 years younger than Talmage.

Brooklyn and the Central Presbyterian Church

Once settled in Brooklyn, Talmage continued his dramatic services with even greater success than before. An example of one of his colorful performances was reported by a newspaper of the era:

"One Sunday morning when the time came for him to deliver his sermon, he walked to the extreme edge on one side of his fifty-foot platform, faced about, then suddenly started as fast as he could jump for the opposite side. Just as everybody in the congregation, breathless, expected to see him pitch headlong from the further side of the platform he leaped suddenly in the air and came down with a crash, shouting, 'Young man, you are rushing towards a precipice'. And then he delivered a moving sermon upon the temptations and sins of youth in a big city."

Attending Talmage's sermons became one of the most popular religious experiences of the era. In 1870, the congregation built a tabernacle solely to accommodate the large crowds who attended his church services. The building was built over an old church structure then being used as a Sunday School. The demand for his sermons helped with the raising of funds, and construction was completed in only three months. Although the tabernacle had been built to seat large crowds, seating was free of charge and hundreds were turned away every Sunday.

The original tabernacle was destroyed in a fire in December 1872, then regarded as one of the worst in Brooklyn's history. Talmage and his congregation met at the Brooklyn Academy of Music until they built a newer and larger tabernacle in 1874. The building featured semicircular seating to provide an unobstructed view, accommodating 5,000 people. Talmage continued to preach with great success for several more years. When the second tabernacle was destroyed in a fire in 1889, the congregation became convinced there was "a fatality about the location." They built a third tabernacle at a new location at Clinton Avenue and Greene Avenue, rather than in Schermerhorn Street. After the third tabernacle was destroyed by a fire in 1894, a discouraged Talmage announced his decision to retire from holding a regular pastorate in favor of taking up an evangelist practice.

Later years
Talmage changed his mind to accept an offer to join the First Presbyterian Church in Washington, D.C. He was the associate pastor with Dr. Byron Sunderland for four years. Although he continued to attract large crowds, they did not express the same enthusiasm as that of his Philadelphia or Brooklyn congregations. This may have been due to the more conservative attitudes of Washington residents. Increasingly interested in writing about religion, Talmage resigned on March 9, 1899. His writings, published in magazines and newspapers, were estimated to have reached millions of readers.

His sermons were regularly printed in newspapers across the country. The performance aspect was lost in print, however. In addition, tastes were changing. Talmage's popularity began to wane after his resignation from the pastorate in 1899.

Death
In early 1902, Talmage vacationed in Mexico for six weeks to recover from influenza. By the time he returned to Washington, he had become seriously ill. His condition was not considered life-threatening until the first week of April. The immediate cause of his death on April 12 was inflammation of the brain.

Three days later, his body was brought to the Church of the Covenant, where a quiet funeral service was held. Those who assisted included Dr. Teunis S. Hamlin of the Church of the Covenant; Dr. Thomas Chalmers of the Eastern Presbyterian Church of Washington; St. Louis preacher and lifelong friend Dr. Samuel J. Nicols; and former classmates Dr. E.P. Terhune, Dr. Howard Suydam and Dr. James Demarest. His death received international attention, and condolence messages were sent to the family from England, Russia and other countries. Talmage was buried in the family plot at Green-Wood Cemetery in Brooklyn.

Works

 * |The Earth Girdled:The World as Seen Today. Hunt and Eaton Publishing, H.S. Smith Publishing, C. F. Beezley And Co., 1896.
 * The Masque Torn Off. Chicago: Fairbanks, Palmer & Co., 1883.
 * Social Dynamite; or the Wickedness of Modern Society. 3rd ed. (1889)
 * Introduction to Rev. A. Stewart Walsh, D.D., Mary: The Queen of the House of David and Mother of Jesus. (1889)
 * Night Scenes of City Life. (1891) Accessed January 2, 2013.
 * Talmage in the Holy Land. Chicago: Rhodes & McClure Publishing Co., 1890
 * Pathway of Life. Historical Publishing Company, 1894
 * Crumbs Swept Up by T Dewitt Talmage published by William B. Evans & Co. 1870
 * Old Wells Dug Out: Being a Third Series of Sermons, Harper & Brothers (US), 1874
 * Sin: A Series of Popular Discourses. Chicago: Rhodes & McClure Publishing Co., 1897
 * From Manger to Throne. Philadelphia: Historical Publishing Company, 1893

title: Thomas De Witt Talmage


text:
Amenmesse

Amenmesse (also Amenmesses or Amenmose) was the fifth pharaoh of the Nineteenth Dynasty in Ancient Egypt, possibly the son of Merneptah and Queen Takhat. Others consider him to be one of the innumerable sons of Ramesses II. Very little is known about this pharaoh, who ruled Egypt for only three to four years. Various Egyptologists date his reign between 1202 BC–1199 BC or 1203 BC–1200 BC with others giving an accession date of 1200 BC. Amenmesse means "born of or fashioned by Amun" in Egyptian. Additionally, his nomen can be found with the epithet Heqa-waset, which means "Ruler of Thebes". His royal name was Menmire Setepenre.

Usurper
It is likely that he was not Merneptah's intended heir. Scholars Kenneth Kitchen and Jürgen von Beckerath have theorized that Amenmesse usurped the throne from Seti-Merneptah, who was Merneptah's son and crown prince and who should have been next in the line of royal succession. It is unclear how this would have happened. Kitchen has written that Amenmesse may have taken advantage of a momentary weakness of Seti-Merneptah or seized power while the crown prince was away in Asia. Seti-Merneptah was most likely the same man as king Seti II, whose reign was traditionally thought to have followed upon Amenmesse's reign. The cartouches of Seti II's tomb in Upper Egypt were deliberately erased and then repainted, suggesting that Seti's rule in Upper Egypt was temporarily interrupted by agents of his half-brother. Confusion generally clouds Amenmesse's reign and its correct position within the succession sequence of the rulers of the Egyptian 19th Dynasty. However, an increasing number of Egyptologists today such as Rolf Krauss and Aidan Dodson maintain that Seti II was in fact the immediate successor of Merneptah "without any intervening rule by Amenmesse." Under this scenario, Amenmesse did not succeed Merneptah on the throne of Egypt and was rather a rival king who usurped power sometime during Years 2 to 4 of Seti II's reign in Upper Egypt and Nubia where his authority is monumentally attested. Amenmesse was documented in power at Thebes during his third and fourth year (and perhaps earlier in Nubia) where Seti II's Year 3 and Year 4 are noticeably unaccounted for. The treatment of Amenmesse as a rival king also best explains the pattern of destruction to Seti II's tomb which was initially ransacked and later restored again by Seti II's officials. This implies that the respective reigns of Amenmesse and Seti II were parallel to one another; Seti II must have initially controlled Thebes in his first and second years during which time his tomb was excavated and partly decorated. Then Seti was ousted from power in Upper Egypt by Amenmesse whose agents desecrated Seti II's tomb. Seti would finally defeat his rival Amenmesse and return to Thebes in triumph whereupon he ordered the restoration of his damaged tomb.

Rolf Krauss, followed by Aidan Dodson, suggests that Amenmesse was once a Kushite Viceroy called Messuy. In particular, two representations of Messuy on the temple of Amida allegedly show that a royal uraeus had been added to his brows in a way consistent with other pharaohs such as Horemheb, Merneptah and some of the sons of Rameses III. An inscription at the temple of Amada also calls him "the king's son himself" but this may be merely a figure of speech to emphasize Messuy's high stature as Viceroy under Merneptah. However, Frank Yurco notes that various depictions of Messuy in several Nubian temples were never deliberately defaced by Seti II's agents compared to the damnatio memoriae meted out to all depictions of another Viceroy of Kush, Khaemtir, who had served as Amenmesse's Vizier. This strongly implies that Seti II held no grudge against Messuy, which would be improbable if Messuy was indeed Amenmesse. Yurco also observes that the only objects from Messuy's tomb which identified a Pharaoh all named only Merneptah, Seti II's father, which leads to the conclusion that Messuy died and was buried in his tomb at Aniba, Nubia, during Merneptah's reign, and could not be Amenmesse.

There has also been a suggestion that the narrative of the "Tale of Two Brothers", first attested during the reign of Seti II, may contain a veiled reference to the struggle between Amenmesse and Seti II.

The records of a court case early in the reign of Seti II also throw some light on the matter. Papyrus Salt 124 records that Neferhotep, one of the two chief workmen of the Deir el-Medina necropolis, had been killed during the reign of Amenmesse (the king's name is written as Msy in the document). Neferhotep was replaced by Paneb his adopted son, against whom many crimes were alleged by Neferhotep's brother Amennakhte in a strongly-worded indictment preserved on a papyrus in the British Museum. If Amennakhte's allegations can be trusted, Paneb had stolen stone for the embellishment of his own tomb from that of Seti II in the course of its completion, besides purloining or damaging other property belonging to that monarch. Also he had allegedly tried to kill Neferhotep in spite of having been educated by him, and after the chief workman had been killed by "the enemy" had bribed the vizier Pra'emhab in order to usurp his place. Whatever the truth of these accusations, it is clear that Thebes was going through very troubled times. There are references elsewhere to a "war" that had occurred during these years, but it is obscure to what this word alludes—perhaps to no more than internal disturbances and discontent. Neferhotep had complained of the attacks upon himself to the vizier Amenmose, presumably a predecessor of Pra'emhab, whereupon Amenmose had Paneb punished. Paneb, however, then successfully brought a complaint before 'Mose'/'Msy' whereupon the latter decided to dismiss Amenmose from office. Evidently this 'Mose'/'Msy' was a person of the highest importance who most probably should be identified with king Amenmesse himself.

Family
His mother is known to be Queen Takhat, but who she is exactly is a matter of interpretation complicated by inscriptions being revised by Seti II and Amenmesse. Among her titles are "King's Daughter", which would make her a daughter of Merneptah or Ramesses II or possibly a granddaughter of Ramesses. The name Takhat appears in a list of princesses dated to Year 53 of Ramesses II (Louvre 666). If this is the same Takhat, she would be about the same age as Seti II.

A monument from Karnak, carved while Amenmesse was in control of the area, includes the relief of a woman titled "King's Daughter" and "King's Mother". The monument was reinscribed from 'Mother' to 'Wife'. Another statue of Seti II (Cairo CG1198) bears Seti's name surcharged over someone else's while the names of Takhat were left alone. This suggests that Takhat was married to Seti as well as mother to Amenmesse. Others such as Frank Yurco believe Takhat was wife to Merneptah making the rivals Seti II and Amenmesse half-brothers.

Some assume that Twosret, wife of Seti II, was his sister. Amenmesse's wife was thought to be a woman named Baktwerel since she was buried in the same tomb as Amenmesse, KV10. Three mummies were initially present in this tomb, two women and one man. It is uncertain if any of these remains belong to Amenmesse, Takhat, or Baketwerel. The two females Baketwerel and Takhat could have been buried later. Some people believe that Seti II broke into the tomb and had Amenmesse's remains desecrated since his mummy was never found.

Six quartzite statues originally placed along the axis of the hypostyle hall in the Amun Temple at Karnak are thought to be his, although these were defaced and overwritten with the name of Seti II. One of these statues, with the inscription, "the Great Royal Wife Takhat", lends credence to the argument that a Takhat was Amenmesse's wife. Amenmesse was also responsible for restoring a shrine dating from Thutmose III that stands before a temple at El-Tod.

There is confusion about the events surrounding his death. His mummy was not amongst those found in the cache at Deir el Bahri, and from the destruction of his tomb in the Valley of the Kings, it is assumed that Seti II took revenge upon his usurping half-brother.

Aftermath
Amenmesse was buried in a rock-cut tomb in the Valley of the Kings which is now identified as Tomb KV10. However, almost all of its texts and scenes were either erased or usurped by Seti II's agents. No mention of Amenmesse was spared. A number of officials associated with Amenmesse were also attacked or replaced, chief among them being the Theban High Priest of Amun, Roma called Roy, and Khaemtir, a former viceroy of Kush, who may have supported Amenmesse's usurpation.

Amenmesse's tomb was looted in antiquity. However the remains of three mummies were found in this tomb, two women and one man, it is uncertain if any of these remains belong to Amenmesse, Takhat or the later Baketwerel without further testing or whether they were later intrusions. It seems more likely, however, that Seti II had Amenmesse's remains desecrated since his mummy was never found "in either of the two great caches of royal mummies found in 1881 and 1901". Surviving inscriptions mentioning Takhat's name along with the wall inscriptions suggest she was buried in Amenmesse's tomb. Artifacts from the tombs of Seti I and Rameses VI were also found in the KV10 tomb adding to the uncertainty. After his death, Seti II also conducted a damnatio memoriae campaign against the memory of Amenmesse's Vizier, Khaemtir. Egyptologist Frank Yurco notes that Seti II's agents erased all of Khaemtir's depictions and inscriptions—even those that were inscribed when Khaemtir served as a Viceroy in Nubia.

It is possible that Siptah, the Pharaoh who succeeded Seti II, was the son of Amenmesse and not of Seti II. A statue of Siptah in Munich shows the Pharaoh seated in the lap of another, clearly his father. The statue of the father, however, has been destroyed. Dodson writes: "The only ruler of the period who could have promoted such destruction was Amenmesse, and likewise he is the only king whose offspring required such explicit promotion. The destruction of this figure is likely to have closely followed the fall of Bay or the death of Siptah himself, when any short-lived rehabilitation of Amenmesse will have ended."

M. Georg and Rolf Krauss find that there are a number of parallels between the story of Amenmesse and the biblical story of Moses in Egypt.

title: Amenmesse


text:
Wikipedia:Featured article candidates/Genghis Khan/archive1

Genghis Khan
I think this is a good article on Genghis Khan, clearing a lot of elusive understanding of Genghis Khan on the web. Also this article ranks 4th on Google if you search "Genghis Khan." I think it covers a lot of information and is quite cohesive in terms of many ways. - User:168.253.16.87 18:54, 12 Feb 2005
 * Object.: Good article, but: 1) The four web-based references should be formatted according to the formatting guidelines found here: Cite sources. 2) The article is pretty long and exhibits a strange structure: it begins with an account of his early life, followed by Values of Genghis Kahn, a moral portrait that should be more extensively sourced because it contains a lot of strong statements about his personal beliefs. Next is a section called Mongols before Genghis Kahn, a section I think could be disposed of. There is already a separate article, and the information in it is only remotely related to Genghis Kahn himself. Uniting the tribes and the two next sections continue Gengis Kahn's biography started 2 sections before, this time concentrating on military achievements. The structure then completely spins out of control with Political achievements, a rather shallow section with some overlap with the self-confessed stub subsection Politics in the Organization section. Perceptions of Genghis Kahn and Legacy should be merged somehow and moved to the end, as the perceptions covers modern-day perceptions more than contemporary ones. 3) I would like to see this article copy-edited. The tone and language is acceptable, but it could easily be made more fitting for an encyclopedia article if someone was willing to spend some time on it. Phils 18:43, 12 Feb 2005 (UTC)


text:
Theodor Gottlieb von Hippel the Elder

Theodor Gottlieb von Hippel (31 January 1741 – 23 April 1796) was a German satirical and humorous writer.

Hippel was born at Gerdauen in the Kingdom of Prussia, where his father was rector of a school. He enjoyed an excellent education at home, and in his sixteenth year he entered the University of Königsberg as a student of theology. Among his instructors was the philosopher Immanuel Kant, and the two became close friends. Interrupting his studies, he went, on the invitation of a friend, to St Petersburg, where he was introduced at the court of the empress Catherine II. Returning to Königsberg he became a tutor in a private family; but, falling in love with a young lady of high position, his ambition was aroused, and giving up his tutorship he devoted himself with enthusiasm to legal studies. He was successful in his profession, and in 1780 was appointed chief burgomaster in Königsberg, and in 1786 privy councillor of war and president of the town. As he rose in the world, however, his inclination for matrimony vanished, and the lady who had stimulated his ambition was forgotten. He died at Königsberg on 23 April 1796, leaving a considerable fortune.

Hippel had extraordinary talents, rich in wit and fancy, but his was a character full of contrasts and contradictions. Cautiousness and ardent passion, dry pedantry and piety, morality and sensuality; simplicity and ostentation composed his nature and, hence, his literary productions never attained artistic finish. In his Lebenslaufe nach aufsteigender Linie (1778–81) he intended to describe the lives of his father and grandfather, but he eventually confined himself to his own. It is an autobiography, in which persons well known to him are introduced, together with a mass of heterogeneous reflections on life and philosophy. Kreuz- and Querzüge des Ritters A bis Z (1793–94) is a satire levelled against the follies of the age: ancestral pride and the thirst for orders, decoration and the like.

Among others of his better known works were Über die Ehe (1774) and Über die bürgerliche Verbesserung der Weiber (1792). In the latter essay, Hippel argued that the natural traits of women make them superior for many tasks, especially education. According to Jane Kneller, Hippel's "central claim" in this essay is that "excluding women from the public square is a travesty of justice that prevents the advancement of humanity toward genuine civilization." Timothy F. Sellner has produced an English translation of this work under the title On Improving the Status of Women. Hippel was once called the fore-runner of Jean Paul, and had some resemblance to this author, in his constant digressions and in the interweaving of scientific matter in his narrative. Like Richter he was strongly influenced by Laurence Sterne. He never married.

In 1827–38 a collected edition of Hippel's works in 14 volumes was issued at Berlin. Über die Ehe was edited by Emil Brenning (Leipzig, 1872) and Gustav Moldenhauer (Leipzig, n.d. [c. 1905]), and the Lebenslaufe nach aufsteigender Linie, in a modernized edition by Alexander von Oettingen (1878), went through several editions. See J Czerny, Sterne, Hippel and Jean Paul (Berlin, 1904).

title: Theodor Gottlieb von Hippel the Elder


text:
Pedestal

A pedestal or plinth is a support at the bottom of a statue, vase, column, or certain altars. Smaller pedestals, especially if round in shape, may be called socles. In civil engineering, it is also called basement. The minimum height of the plinth is usually kept as 45 cm (for buildings). It transmits loads from superstructure to the substructure and acts as the retaining wall for the filling inside the plinth or raised floor.

In sculpting, the terms base, plinth, and pedestal are defined according to their subtle differences. A base is defined as a large mass that supports the sculpture from below. A plinth is defined as a flat and planar support which separates the sculpture from the environment. A pedestal, on the other hand, is defined as a shaft-like form that raises the sculpture and separates it from the base.

An elevated pedestal or plinth that bears a statue, and which is raised from the substructure supporting it (typically roofs or corniches), is sometimes called an acropodium. The term is from Greek ἄκρος ákros 'topmost' and πούς poús (root ποδ- pod-) 'foot'.

Architecture
Although in Syria, Asia Minor and Tunisia the Romans occasionally raised the columns of their temples or propylaea on square pedestals, in Rome itself they were employed only to give greater importance to isolated columns, such as those of Trajan and Antoninus, or as a podium to the columns employed decoratively in the Roman triumphal arches.

The architects of the Italian Renaissance, however, conceived the idea that no order was complete without a pedestal, and as the orders were by them employed to divide up and decorate a building in several stories, the cornice of the pedestal was carried through and formed the sills of their windows, or, in open arcades, round a court, the balustrade of the arcade. They also would seem to have considered that the height of the pedestal should correspond in its proportion with that of the column or pilaster it supported; thus in the church of Saint John Lateran, where the applied order is of considerable dimensions, the pedestal is 13 ft high instead of the ordinary height of 3 to 5 ft.

Asia
In Asian art a lotus throne is a stylized lotus flower used as the seat or base for a figure. It is the normal pedestal for divine figures in Buddhist art and Hindu art, and often seen in Jain art. Originating in Indian art, it followed Indian religions to East Asia in particular.

In imperial China, a stone tortoise called bixi was traditionally used as the pedestal for important stele, especially those associated with emperors. According to the 1396 version of the regulations issued by the Ming Dynasty founder, the Hongwu Emperor, the highest nobility (those of the gong and hou ranks) and the officials of the top 3 ranks were eligible for bixi-based funerary tablets, while lower-level mandarins' steles were to stand on simple rectangular pedestals.

title: Pedestal


text:
Talk:Varaždin

first section
Mel Etits, thanks for proofreading and corrections!--Mestric 13:35, 12 Feb 2005 (UTC)

Fino! -- Lonax 23:25, 31 January 2007 (UTC)

Theater
Worth particular mention is Varaždin's Croatian National Theatre, built in 1873 and designed by the famous Viennese architects Herman Helmer and Ferdinand Fellner. Is it certain that the theater was designed by both architects? Helmer and Fellner associated in 1873. My sources (like this one) just mention Helmer, not Fellner. Fransvannes (talk) 12:12, 8 May 2008 (UTC)

Monastery or convent?
Is the Ursuline "monastery" not in fact a convent? The Ursulines are a female order, aren't they? I am doubly interested because I am translating something on the subject at the moment and am in two minds. Markowe (talk) 23:15, 18 November 2008 (UTC)

Image copyright problem with File:Jagic.JPG
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This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --09:38, 5 January 2009 (UTC)

External links modified
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Boulevard of Broken Dreams

Boulevard of Broken Dreams or The Boulevard of Broken Dreams may refer to:

Film and television

 * Boulevard of Broken Dreams (film), a 1988 Australian film
 * Boulevard of Broken Dreams (TV series), a 2007 American documentary series

Music

 * "Boulevard of Broken Dreams" (Al Dubin and Harry Warren song), a 1933 song by Al Dubin and Harry Warren
 * Boulevard of Broken Dreams (album), a 1989 album by Smokie
 * "Boulevard of Broken Dreams" (Smokie song), 1989
 * "Boulevard of Broken Dreams" (Green Day song), 2004
 * "Boulevard of Broken Dreams", a 1984 song by Hanoi Rocks, from Two Steps from the Move
 * "Boulevard of Broken Dreams", a 1986 song by Brian Setzer from the album The Knife Feels Like Justice
 * "Boulevard of Broken Dreams", a 1990 song by David Cassidy from the album David Cassidy
 * "Boulevard of Broken Dreams", a 1991 song by Beatmasters from the album Life & Soul

Literature

 * The Boulevard of Broken Dreams (comics), by Kim Deitch
 * "The Boulevard of Broken Dreams", a story from Harlan Ellison's 1978 short story collection Strange Wine

Other

 * Boulevard of Broken Dreams, a painting by Gottfried Helnwein
 * Boulevard of Broken Dreams, a game path in the 1996 PC game The Pandora Directive

title: Boulevard of Broken Dreams


text:
Talk:Coins of the Indian rupee

info

 * I'm still trying to find out when the first 5 Rupee coin came into circulation. Amahabal has put a date of 1985. Just want to make sure if that is circulated or uncirculated. --Viren 13:40, Feb 12, 2005 (UTC)
 * Circulated. The coin had Indira Gandhi on it, and did not have the date printed. According to the KM catalogue, 59.2 million were minted, so it must be circulated. The currently common 5 Rupee coin started in 1992. Amahabal 15:38, 13 Feb 2005 (UTC)
 * I guess the same holds for this 10 Rs coin ? http://colnect.com/en/coins/coin/2229-10_Rupees-India-Republic . Says issued in 1969 Anish7 (talk) 22:51, 4 August 2010 (UTC)

Controversy over new 2-rupee coin

 * There really should be a photograph of the new 2-rupee coin so that the reader can compare it to the mediaeval Christian coin shown. To me, the cross on the 2-rupee coin doesn't look much like a Christian cross because instead of two bars crossing each other there are four, that is, two pairs of parallel bars crossing each other, like a tic-tac-toe board but with closer spacing.Bill 19:36, 17 April 2007 (UTC)
 * I will try to get one when I travel to India soon. Actually, the pairs of bars are really close together; it really does look like a single bar. And they meet and merge in the centre. I doubt the symbol is intended to represent a Christian cross, but whoever designed it was really careless to ignore the religious implications. I mean, if the American mints wanted to design a coin with the theme of astronomy, would a coin with a crescent moon enclosing a star be allowed to get into production? I'm really shocked that India's coin designers seemingly thought that no one would see a cross in that symbol ... whatever it is.--SohanDsouza 18:38, 18 April 2007 (UTC)
 * Personally, the bars don't seem to me to be so close that it looks like a Christian cross, but I have to say that the interpretation that the Reserve Bank says is intended doesn't exactly leap out at me either. In any case, the previous design, with a map of India, is much more attractive in my opinion. I don't know why they didn't stick with that.Bill 19:27, 22 April 2007 (UTC)
 * There is actually a new one rupee coin that matches the cross on the mediaeval Christian coin. I have seen a lesser number of such coins in circulation.  The controversy if any, should actually center around this coin.  It also appears that these coins were minted way back.  I have the new controversial one rupee and two rupee coins minted with year 2005 though these were seen in circulation only during early 2007.  It is possible that the Indian Government anticipated this backlash and hence withheld their release till 2007.  The two rupee coins were released first, probably as a test case, followed by the one rupee coin.--Narsi68 (talk) 05:44, 1 January 2008 (UTC)

Ferratic Stainless Steel
I have never heard of this type of steel, it should be 'Ferritic Stainless Steel' also, there are quite a few problems with this article, which I was hoping I can fix, unless someone has an issue with this. Thanks SiegerKranzMeer 02:27, 5 April 2011 (UTC)

Fair use rationale for Image:IndianCoinAshokStambha.jpg
Image:IndianCoinAshokStambha.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 07:01, 1 January 2008 (UTC)

Controversy over 2006 two-rupee coin: Notable?
Is this "controversy" notable? All I can find is articles by "V Sundaram" on non-mainstream (mainly right-wing Hindu nationalist) websites. I don't think there is a need to devote an entire section to this stuff. utcursch | talk 17:55, 2 April 2012 (UTC)

Completeness of article
The section called "contemporary" coins should be renamed "Current coin Issues". There are no date ranges for these periods either. This data needs including. — Preceding unsigned comment added by 80.176.89.230 (talk) 20:32, 28 October 2013 (UTC)

Effects of Inflation
Visiting India recently, I noticed that lack of small change was a constant problem. I had the impression that there was a hoarding atmosphere, with coins worth more as scrap metal than their face value. Given that India has had fairly rapid inflation recently, I wonder if this is an issue for the currency authorities ? Feroshki (talk) 08:20, 10 March 2015 (UTC)

Merger Discussion
Request received to merge articles: Commemorative coins of India into Modern Indian coins; dated December 2015; discussion here. GenQuest "Talk to Me" 16:57, 13 December 2015 (UTC)

Images to be added
AKS.9955 has uploaded a wonderful collection of coins to commons, many of them deserving of a place in this article. If you are interested in taking up the task, please do so. Thanks. MT TrainDiscuss 17:44, 6 November 2017 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 20:52, 29 October 2022 (UTC)
 * 1-rupees-2011-obs.png

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 12:39, 28 March 2023 (UTC)
 * 1-rupees-2011-rev.png

Someone should upload photos of series II and III coins.
It’s hard to identify them when the dates don’t match up and there are no identifying photos Starust2184 (talk) 08:25, 24 April 2023 (UTC)

Difference between Devanagari and non-Devanagari series
They seem to have launched in the same time frame and the non Devanagari coins don’t have photos Starust2184 (talk) 08:28, 24 April 2023 (UTC)

Commemorative coins
Where are the commemorative coins? 103.176.211.44 (talk) 16:11, 3 February 2024 (UTC)

title: Talk:Coins of the Indian rupee


text:
Wikipedia:Articles for deletion/A.Dellfina & T.Dellacroix

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. dbenbenn | talk 22:45, 23 Feb 2005 (UTC)

A.Dellfina & T.Dellacroix
A real issue with notability. Also seems like an advertisement. Not only this, but it has an NPOV tag with no comments on the talk page! - Ta bu shi da yu 13:39, 12 Feb 2005 (UTC)
 * Delete, not notable enough. Megan1967 01:33, 13 Feb 2005 (UTC)
 * Neutral for now, article hints at notability but doesn't really establish it. -- Jmabel | Talk 06:50, Feb 14, 2005 (UTC)
 * It is also a thinly disguised copyvio of and has now been tagged as such.  Rossami (talk) 20:51, 14 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Irlen syndrome

Irlen syndrome (or scotopic sensitivity syndrome) is a hypothetical medical condition of disordered visual processing which, it is proposed, can be treated by wearing colored lenses. The ideas of Irlen syndrome are pseudoscientific and not supported by scientific evidence, and its treatment has been described as a health fraud taking advantage of vulnerable people.

The condition was proposed in the 1980s.

Irlen method
The Irlen method uses colored overlays and tinted lenses in the form of glasses or contact lenses. The method is intended to correct visual processing problems; it is claimed the resultant retiming of visual signals in the brain improves symptoms associated with Irlen syndrome.

History
In 1980, New Zealand teacher Olive Meares described the visual distortions some individuals reported when reading from white paper. In 1983, while working under a federal research grant at the California State University of Long Beach, American psychologist Helen Irlen thought that filtering the visual information before reaching the brain through the use of either colored overlays or spectral filters (worn as glasses), could allow the brain to correctly process the visual information it received. They thought that in doing so, these colored overlays and spectral filters could eliminate symptoms associated with Irlen syndrome. Similar symptoms were separately described by Meares and Irlen, each unaware of the other's work. Irlen, who was the first to systematically define the condition, named the condition "scotopic sensitivity syndrome," though in years following, some referred to it as Meares-Irlen syndrome, Irlen syndrome, and visual stress.

Early studies investigating Irlen syndrome as a treatable condition have been criticized for having a biased and subjective approach to their research.

title: Irlen syndrome


text:
Wikipedia:Articles for deletion/Andrew Snoid

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. dbenbenn | talk 22:29, 24 Feb 2005 (UTC)

Andrew Snoid
Not noteworthy - returned no Google hits Brookie 13:41, 12 Feb 2005 (UTC)
 * I googled "Andrew Snoid" and got as #1. Nateji77 14:12, 12 Feb 2005 (UTC)
 * You're obviously better than me! - but does 1 count as noteworthy? 14:16, 12 Feb 2005 (UTC)
 * I don't know; maybe put a kiwi stub and a cleanup req on it, see what happens/ Nateji77 14:37, 12 Feb 2005 (UTC)

 * Keep. Has four valid outgoing wikilinks to bands. (Alternatively review the whole of Special:Contributions/Ross-c with a view to VfD. A piecemeal nomination of one article is pointless.) -- RWH 17:42, 2005 Feb 12 (UTC)
 * Delete, not notable - 25 Google hits. Megan1967 02:21, 13 Feb 2005 (UTC)
 * Keep, barely. Wyss 12:02, 13 Feb 2005 (UTC)
 * keep - member of four of New Zealand's top bands of the 1980s, and writer of at least one chart-topping song. The small number of Google hits may be largely because he was known as Andrew McLennan for much of his career. Grutness|hello? [[Image:Grutness.jpg|25px|]] 06:39, 14 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
User:Suebhoney

Male Harem: A gaggle of men for one woman's pleasure. Regardless of what merriam-webster and LordCrank may tell you.

Gannon Gate: Allowing a gay male prostitute to pose as a phony reporter, with a phony name, direct access into the White House Press Corps to lob softball questions to President George W. Bush.

title: User:Suebhoney


text:
Philippe Troussier

Philippe Omar Troussier, (born 21 March 1955) is a French former association football player who was most recently the manager of the Vietnam national football team.

After a modest playing career as a defender within the French leagues, he moved into management where he started out within the lower echelons of French football, however it was his move to Ivorian team ASEC Mimosas where he started to distinguish himself as a manager after winning several league titles with them. This would soon see him have a long association with African football and particularly their national teams, with Ivory Coast, Nigeria, South Africa and Burkina Faso being teams he managed. His international management career would continue with Japan where he had a successful spell with them by winning the 2000 AFC Asian Cup. Since then, he has returned to club management.

Playing career
Troussier started his career in football as a player and would go on to become a professional with French Division 2 football club Angoulême in the 1976–77 league season. The following campaign he would leave to join Red Star 93, however his stay at the club was brief and he moved to Rouen. After several seasons with Rouen, Troussier's last professional club was Stade de Reims whom he played for until 1983. After having spent his whole professional career in the second division he moved into management.

Early coaching career
Troussier soon moved into management after gaining his coaching licences and achieved his first coaching position with the French Football Federation where he was allowed to manage a National football centre football club called Institut National du Football de Vichy or more commonly known as INF Vichy. The team were allowed to participate in the third tier and given exemption from promotion or relegation so the young players could develop. In his time with the team he led them into the 1983–84 league season where they came second within their group. The following season Troussier would coach CS Alençon in the French fourth division and spent three seasons learning how to manage an amateur football club.

He would return to his former club Red Star 93 in the 1987–88 league season as their manager. In his time with the club he would guide them to second within the group and promotion to the second tier at the end of the 1988–89 league campaign. He would, however leave the club on 30 June 1989 to join second-tier club Créteil on a caretaker basis until 1 October 1989 when Bernard Maligorne took on the management position.

Move to Africa
Troussier's first move away from France started with Ivory Coast top division football club ASEC Mimosas where in his debut season he won the league championship. This would soon be followed by two further league titles and an endearment towards the country, which saw him gain citizenship with Ivory Coast. With his impressive run at club level the Ivory Coast national football team hired him as their manager in hopes that he could replicate his success with the national team. He was assigned to qualify for the 1994 FIFA World Cup, however he failed to achieve this and soon left his post to move to South African football club Kaizer Chiefs.

After a brief period with Kaizer Chiefs Troussier moved to Moroccan football club Fath Union Sport and led them to the 1995 Coupe du Trône. His time with Fath Union Sport also saw him experience relegation to the second tier with them, however he remained with the club for several seasons until he was offered a chance to return to international management with Nigeria to replace Shaibu Amodu as they attempted to qualify for the 1998 FIFA World Cup. Entering the job halfway through qualifying he led them into four games throughout the campaign as Nigeria qualified, however the Nigeria Football Federation decided to relieve Troussier of his duties and ultimately let highly experienced coach Bora Milutinović lead them into the tournament due to his experience of already managing three different nations in a World Cup at that time.

Troussier quickly found a new job managing another African nation in Burkina Faso where he was assigned to coach them in the 1998 African Cup of Nations, which they were hosting. In a short period of time he made the team genuine title contenders until they were beaten by Egypt 2–0 in the semi-finals. Burkina Faso ultimately finished fourth after losing to DR Congo in the third-place match, nevertheless the result meant it was their highest ever finish at the time. His stint at Burkina Faso would impress the South African Football Association, who offered him the job of leading South Africa to the 1998 World Cup. He would replace Jomo Sono, who, despite leading South Africa to the final of the 1998 African Cup of Nations as a caretaker manager, was not given a permanent position. Troussier, however was not able to galvanize the squad as he had done with Burkina Faso and the team were knocked-out in the group stages. After the tournament he would leave Africa, but before he did he was nicknamed as the "White Witch Doctor" for his overall successful legacy towards African football. However, his role as coach of South Africa remains a highly controversial topic, in which former defender Mark Fish, who played in the 1998 World Cup, later blamed Troussier for the failure.

Move to Asia
In 1998 Troussier replaced Takeshi Okada to coach Japan and was assigned to improve upon the nation's previous results at the 1998 FIFA World Cup as they prepared to co-host the 2002 FIFA World Cup. Having to use a translator, he struggled to get what he wanted from the players as they were knocked out of the 1999 Copa América within the group stages. The disappointing performance within the tournament gathered a negative reaction from the Japanese media, which saw Troussier go for a more youthful approach and take the reins of the under-20 team as they participated in the 1999 FIFA World Youth Championship. The Japanese team had a successful campaign and were runners-up within the tournament. He continued to take control of Japan's youth teams when he managed the under-23 team in the 2000 Summer Olympics and led them to the quarter-finals. The majority of that team would then go on to be called up to the 2000 AFC Asian Cup and win the tournament. With this success, Troussier went into the 2002 FIFA World Cup with confidence and led Japan to the final 16, making it at the time Japan's best ever finish within the competition.

In July 2003 Troussier was appointed as the new manager of Qatar and was assigned with qualification for the 2004 AFC Asian Cup with the hope of repeating the success he previously had with Japan. Initially his reign went smoothly with a successful qualification campaign and a team selection that once again employed a youthful approach as well as several naturalized players. The tournament itself turned out to be a disappointment that saw Qatar finish bottom of their group. Along with his disappointing start to the 2006 FIFA World Cup qualification campaign, Troussier was ultimately fired from his position.

Return to France and Africa
On 27 November 2004, Troussier returned to France to manage Ligue 1 team Olympique de Marseille. His time with the club would see him have a tumultuous relationship with the senior players, particularly French international player Bixente Lizarazu. A fifth-place finish at the end of the season saw Troussier replaced by Jean Fernandez. He returned to Africa and became the head coach of the Moroccan national team, having taken over after the country's failure to qualify for the 2006 World Cup. However, he was fired after two months in charge by the Royal Moroccan Football Federation due to a difference in opinion.

Return to Asia
From 2005, after a stint with Morocco, Troussier would stay away from football and was confirmed to have converted to Islam around 2006. In March 2008, he returned to Japan to manage FC Ryūkyū a Japanese third-division team, before he was replaced by compatriot Jean Paul Rabier. On 22 February 2010, he returned to management with Chinese Super League side Shenzhen Ruby F.C. on a three-year contract. He would once again enforce a youthful team selection; however this would relegate the team, making them the first top-tier champions to be relegated since the foundation of professional football in China. He would remain with the club while they were in the second tier; however after mounting criticism he would alienate himself from the fans after the fourth-round league match versus Chongqing F.C. when in a local TV interview Troussier fired out against criticism and doubt from fans and urged them "not to come to the game or him". Shenzhen Ruby won the match, however former players who were forced to leave by Troussier in his efforts to force youth into the team Li Fei and Chris Killen scored for Chongqing F.C. in their first return to Shenzhen and physical confrontations took place after the match among fans, staffs, players and even Troussier himself. He further alienated his relationships with the squad and staff on 25 August after a defeat to Chengdu Tiancheng F.C. saw the club's hopes of promotion vanish and he provided a statement that he would take leave back to France on a "regular holiday under his contract". The club's supporters would believe the board sent him on leave hoping that the indignity would see him resign rather than compensating him the 1 million euros per year in his contract. He returned from his holiday and managed the club throughout the 2013 Chinese league season, where he was unable to gain promotion.

Troussier is widely believed to be the first-choice replacement as coach of the Malaysia national football team after the Football Association of Malaysia didn't renew former coach K. Rajagopal's contract after it expired in December 2013. He was said to have agreed a MYR5 million annual salary with the FAM. However, the deal fell through when he faced some disagreements with the Football Association of Malaysia.

On 30 June 2014, Troussier became manager of CS Sfaxien of Tunisia. On 28 September 2014, Troussier quit CS Sfaxien.

In April 2018, he was one of 77 applicants for the vacant Cameroon national team job.

Vietnam and decline
Later in 2018, he became a strategic adviser and then officially a technical director of PVF, a Vietnamese football academy. In 2019, referred by PVF, Philippe Troussier became the head coach of Vietnam U19 National Team.

On February 16, 2023, the Vietnam Football Federation (VFF) officially announced the appointment of Philippe Troussier as the next head coach of the Vietnam national football team. Troussier officially took office in February 2023, succeeding Park Hang-seo  to lead the U22, U23, Olympic and Vietnam national teams. His contract is expected to officially begin in early March 2023 and will run until the end of July 2026, for a total of 3 years and 5 months. At the 32nd Southeast Asian Games, the Vietnam U-22 team lost to Indonesia U-22 in the semi-finals with a score of 2-3, and won the bronze medal after beating Myanmar U-22 3-1.

He then led the national football team to the biggest failure in their modern history, becoming the first team failing to advance past the group stages of the 2023 AFC Asian Cup after two consecutive opening losses against Japan and Indonesia (the latter had not defeated Vietnam since 2016) and for the first time ever, Vietnam didn't advance past the group stages of an Asian Cup after having successfully doing so back in 2007 and 2019. Vietnam also lost in the last match against Iraq. Following the shock elimination, calls to fire Troussier from the job as the head coach increased. However, VFF confirmed he would not lose the job but could reconsider his contract if Vietnam perform poorly in the remaining fixtures of the 2026 World Cup qualification.

After Vietnam once again lost to Indonesia in the first leg at the 2026 FIFA World Cup qualification, criticism against Troussier continued. The loss is attributed to Troussier's lack of focus on professional areas and confrontational attitude with Vietnamese media. On 26 March 2024, Vietnam played against Indonesia for their second leg on their home stadium and lost again with the score of 0–3. During the match, Vietnamese fans carried posters calling for Troussier to resign or to be dismissed. Troussier's contract was eventually terminated by VFF shortly after the match.

Personal life
Phillipe Troussier and his wife converted to Islam in Morocco, acquiring the name Philippe Omar Troussier.

Honors
ASEC Mimosas
 * Côte d'Ivoire Premier Division: 1990, 1991, 1992

FUS Rabat
 * Coupe du Trône: 1995

Japan U20
 * FIFA U-20 World Cup: runner-up 1999

Japan
 * FIFA Confederations Cup: runner-up 2001
 * AFC Asian Cup: 2000

Vietnam U23
 * SEA Games: bronze medal 2023

Individual
 * AFC Coach of the Year: 2000
 * Japan Football Hall of Fame: Inducted in 2020

title: Philippe Troussier


text:
Leitra

Leitra is a Danish company and also the name of the velomobile it produces.

In Sweden designs for a two-person, four-wheeled velomobile called the Fantom were sold as blueprints in the 1930s and 40s. Many thousands of sets of DIY instructions were sold, but very few vehicles were actually built. The body was made of plywood.

The oil shock of 1978-9 inspired Carl Georg Rasmussen, a Danish engineer and pilot, to design and build the first practical velomobile. A tadpole recumbent tricycle with full glass-fiber fairing, it was dubbed the Leitra (Danish: Let individuel transport, meaning "light individual transport").

About the company
Carl Georg Rasmussen initially formed the company as a limited partnership with ten investors – mostly friends and intending customers. He also received some of his early funding from other customers who, while not wishing to risk a direct investment in the company, were nevertheless prepared to make an advance purchase. This enabled Rasmussen to start work on an initial run of twelve Leitras in 1983.

About the Leitra velomobile
The Leitra is a three-wheeled, non-motorized vehicle designed for commuting, shopping, distribution of light goods, recreation, and touring. The international term for this type of vehicle is a velomobile. It is fast, but not designed specifically for racing.

The primary considerations for the design of such a tricycle with full fairing were:

 * Safety in normal traffic,
 * Cycling comfort in cold, windy, and wet weather,
 * Sufficient payload for touring and shopping,
 * Reliability in daily operation – including in wintertime.

For fair weather use the fairing can be removed in moments by means of a toe-activated snap coupling. The two luggage compartments can also be removed quickly without tools.

The Leitra was approved by the Danish authorities for general use after systematic tests in 1982. Approval was given on the condition that the cyclist must be able to give unhindered arm signals for turning and stopping. This explains the characteristic open design of the fairing with soft fabric on both sides. The design of the built-in rearview mirror on top of the fairing was also approved by the Danish authorities.

The first Leitra was built in 1980. Since 1982 it has successfully participated in many tough rallies in Europe, such as Trondheim - Oslo (1983) and Paris-Brest-Paris (1987). It has proven to be a real practical vehicle for long-distance touring. Several million kilometers have been covered without personal injuries.

As of 2015, approximately 260 Leitras have been produced. Production is on an order-by-order basis, as each Leitra is built for a specific customer, and has currently slowed to about one Leitra per year, but renovation and repairs continue on velomobiles that make their way back to the company's workshop in Herlev – a suburb of Copenhagen.

In 2013 development began of the Leitra Wildcat – a detachable fairing designed to fit most any kind of recumbent trike. Currently the Steintrike Nomad, Terratrike, TW Bent, and Leitra Sport have all been adapted to use the Wildcat fairing.

title: Leitra


text: User talk:213.59.86.136

title: User talk:213.59.86.136