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Angeles Crest Highway

The Angeles Crest Highway is a two-lane (one lane of travel in each direction) highway over the San Gabriel Mountains, in Los Angeles County, California. Its route is to/through the San Gabriel Mountains National Monument and the Angeles National Forest. With the exception of a 1000 ft-long section in La Cañada Flintridge, the entire route is part of California State Route 2.

The road is 66 mi in length, with its western terminus at the intersection at Foothill Boulevard in La Cañada Flintridge and its eastern terminus at the Pearblossom Highway (State Route 138) northeast of Wrightwood. The majority of the route passes through the San Gabriel Mountains located north of the Greater Los Angeles Area. Segments of the road reach elevations above 7000 ft, with a summit of 7903 ft at the Dawson Saddle, which makes this road one of the highest in Southern California.

The segment from La Cañada Flintridge to the Los Angeles–San Bernardino county line is known as the Angeles Crest Scenic Byway, which is both a National Forest Scenic Byway and an officially designated California Scenic Highway.

Route description

The route is best described as mountain-rural. Because the route passes through the protected San Gabriel Mountains National Monument and Angeles National Forest, development is very limited. There are not many buildings between La Cañada Flintridge and Wrightwood save for Newcomb's Ranch, and forest service campgrounds and visitor centers. Other points of interest along the route include the Mountain High and Mt. Waterman ski areas.

Mount Wilson and its Mount Wilson Observatory and various radio/television transmitters are about 4.5 miles from the junction of Mount Wilson Road and Angeles Crest Highway. Depending on visibility conditions, impressive views of the Los Angeles Basin are possible from the vicinity of Mount Wilson. The most frequent hindrances of what can be seen are the smog and/or a marine layer covering the basin below.

The westernmost segment of the highway, combined with Angeles Forest Highway to/from State Route 14, is heavily travelled by southbound traffic in the morning (and corresponding northbound traffic in the afternoon) that comprises commuters who live in the Antelope Valley and work in the Greater Los Angeles Area. The route is a convenient alternative to the Antelope Valley Freeway (State Route 14) and the Golden State Freeway (Interstate 5), both located to the west, for reaching the Foothill Freeway (Interstate 210) and San Gabriel Valley. Because the road is a two-lane highway, its vehicle capacity is significantly lower than either of the two freeways.

In contrast, the remainder of the Angeles Crest Highway is lightly traveled. Typically, this traffic is composed of vacationers, sightseers, and locals. The three areas comprising Mountain High ski resort are just west of Wrightwood.

History

Construction of Angeles Crest Highway began in 1929. It was originally intended to be a fire access road. In 1941 construction stopped because of World War II. In 1946, after the war, construction resumed; the completed highway eventually opened in 1956. The road was constructed by prison labor from Camp 37, which has since been razed. Division of Highways (now known as CalTrans) staff lived at a site called Cedar Springs. The staff is now located at Chilao Flats. Children of the staff attended Chilao Mountain School, a one-room school; the school has been closed for several years.

Angeles Crest Highway was originally planned to be upgraded to a freeway in the 1950s, but was later considered geographically improbable and the plans were abandoned.

Roads in the San Gabriel Mountains have a high number of single-vehicle auto and motorcycle accidents. As an example, in the predawn hours of December 8, 2004, a van plunged off the side of Angeles Forest Highway at about 1 mi north of its junction with the Angeles Crest Highway, killing 3 of the 10 people in the van. The van was a carpool carrying workers of the Jet Propulsion Laboratory from the Antelope Valley to work in Pasadena. It was determined upon investigation by the CHP that the driver fell asleep at the wheel of the van. The Angeles Crest Highway and Angeles Forest Highway have figured in various murders, not as scenes of the murders but as drop-off points for the bodies of the victims, including that of Linda Sobek, a model kidnapped and found dead in the area in 1995.

The motion picture Donnie Darko, released in 2001, was partially filmed on Angeles Crest Highway. In the opening scene with Donnie waking up in the middle of the road, next to his bike, the camera zooms in on Donnie, then loops around and shows a view of the valley seen from Angeles Crest Highway. The highway is also used later in the movie for other scenes. The Angeles Crest Highway is also used extensively in the motion picture The Love Bug for racing scenes, as well as in the sequel film Herbie Goes to Monte Carlo, where the highway doubles for "The French Alps".

Access and closures

Intersections with other roads are few, which can be problematic in the event of road closures due to acts of nature such as landslides and fires. At about the midpoint of the highway is the junction with the north terminus of State Route 39. However, access to State Route 39 is not possible as it is closed indefinitely to automobile traffic because of persistent landslides along its route. Therefore, travelers to the Angeles National Forest preferring the Angeles Crest Highway corridor should expect to be on the Angeles Crest Highway throughout much of its length, use available alternate routing where possible, or be willing to turn around and retrace their trip at any point along its route if necessary.

The Angeles Crest Highway is normally closed in the winter from Islip Saddle to Vincent Gap due to rockfall and avalanche hazards.

The winter storms of 2004/05 caused several landslides and significant damage to the highway. Thus, the highway never reopened in the summer of 2005. Damage to the highway was estimated to be over $4 million as of November 2005. Terri Kasinga, a spokeswoman for the California Department of Transportation, stated in November 2005 "It is definitely not going to open until next spring (of 2006)". However, a March 2006 storm caused even more extensive damage to the highway, including a complete washout of a large section of roadway, further delaying the reopening of the highway. The long closure caused concern for the United States Forest Service and other emergency services agencies because it hindered access, particularly with firefighting efforts, and it hurt business in Wrightwood. After a four-and-a-half year closure, the highway reopened on May 20, 2009. Repairs included the construction of a new bridge intended to allow landslides to pass underneath without damaging the road. The work cost $10.5 million.

A moratorium on three-axles trucks was imposed in 2009 following the deaths of two people when a tractor trailer lost control and crashed into a La Cañada Flintridge business (other California highways have similar truck bans such as I-580 and SR 85 but have been implemented for different reasons).

Cell phone reception is sporadic and signal strength and clarity are poor, due to the terrain and distance from cellular communication antennas.

The Federal Lands Recreation Enhancement Act passed in December 2004, protects the Angeles National Forest. Although anyone can park at the side of the road and access the wilderness along the side of the road, doing so for extended periods of time, such as camping or hiking, requires a National Forest Adventure Pass available for a $5.00 fee.

2009 Station Fire closure
During the 2009 wildfire season the large fire known as the "Station Fire" burned the mountains through which Route 2 travels. The fire damaged the signs, guardrails, and lane striping, as well as leaving large boulders and other debris all over the road. As a result, the highway was closed by Caltrans until November 30, 2009. It was briefly re-opened until mud and rock slides in early 2010 forced a portion of the highway to be closed again from 2 miles east of the I-210 junction to 14 miles east of La Cañada Flintridge. It reopened on June 3, 2011.

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

title: Angeles Crest Highway


text:
Cyriacus II of Constantinople

Cyriacus II (Greek: Κυριακός; died 29 October 606) was the thirtieth Ecumenical Patriarch of Constantinople (595–606).

He was previously presbyter and steward, oikonomos, of the great church at Constantinople (Chronicon Paschale, p. 378). Gregory the Great received the legates bearing the synodal letters which announced his consecration, partly from a desire not to disturb the peace of the church, and partly from the personal respect which he entertained for Cyriac; but in his reply he warned him against the sin of causing divisions in the church, clearly alluding to the use of the term oecumenical bishop, which Gregory interpreted as meaning "universal" or even "exclusive" bishop (Gregory, Ep. lib. vii. 4, Patrologia Latina lxxvii. 853). The personal feelings of Gregory towards Cyriac appear most friendly.

Cyriacus did not attend to Gregory's entreaties that he abstain from using the title, for Gregory wrote afterwards both to him and to the emperor Maurice, declaring that he could not allow his legates to remain in communion with Cyriac as long as he retained it. In the latter of these letters he compares the assumption of the title to the sin of Antichrist, since both exhibit a spirit of lawless pride. "Quisquis se universalem sacerdotem vocat, vel vocari desiderat, in elatione sua Antichristum praecurrit" (whosoever calls himself universal priest, or desires to be called so, is the forerunner of the Antichrist) (Gregory Ep. 28, 30). In a letter to Anastasius I of Antioch, who had written to him to remonstrate against disturbing the peace of the church, Gregory defends his conduct on the ground of the injury which Cyriac had done to all other patriarchs by the assumption of the title, and reminds Anastasius that not only heretics but heresiarchs had before this been patriarchs of Constantinople. He also deprecates the use of the term on more general grounds (Ep. 24). In spite of all this Cyriacus was firm in his retention of the title, and appears to have summoned, or to have meditated summoning, a council to authorize its use. For in 599 Gregory wrote to Eusebius of Thessalonica and some other bishops, stating that he had heard they were about to be summoned to a council at Constantinople, and most urgently entreating them to yield neither to force nor to persuasion, but to be steadfast in their refusal to recognize the offensive title (ib. lib. ix. 68 in Patr. Lat.).

Cyriacus appears to have shared in that unpopularity of the emperor Maurice which caused his deposition and death (Theophanes Chronicle, A.M. 6094; Niceph. Callis. H. E. xviii. 40; Theophylact. Hist. viii. 9). He still, however, had influence enough to exact from Phocas at his coronation a confession of the orthodox faith and a pledge not to disturb the church (Theophanes Chronicle, A.M. 6094). He also nobly resisted the attempt of Phocas to drag the empress Constantina and her daughters from their sanctuary in a church of Constantinople (ibid., A.M. 6098).

Perhaps some resentment at this opposition to his will may have induced Phocas to accede more readily to the claims of Pope Boniface III that Rome should be considered to be the head of all the church, in exclusion of the claims of Constantinople to the oecumenical bishopric (Vita Bonifacii III, in Labbe, Acta Concil. t. v. 1615).

Cyriac died in 606, and was interred in the church of the Holy Apostles (Chronicon Paschale, p. 381). He appears to have been a man of remarkable piety and earnestness, able to win the esteem of all parties. He built a church dedicated to the theotokos in a street of Constantinople called Diaconissa (Theophanes Chronicle, A.M. 6090; Niceph. Callis. H. E. xviii. 42).

title: Cyriacus II of Constantinople


text:
Chandler Beach

Chandler Belden Beach (1839–1928) was an American entrepreneur and encyclopedist. He founded the publishing company C. B. Beach & Company, later renamed F. E. Compton & Co. after his associate Frank Compton took it over,

Beach also served as a captain in the American Civil War. As a sales agent in Chicago for the Encyclopædia Britannica, he soon realized there was a market demand for a more light-weight encyclopedia.

Works
Beach was the editor and publisher of Youth's Cyclopedia (2 volumes, 1892) and the Student's Cyclopaedia (2 volumes, 1893), which turned into The Student's Reference Work (1901).

The New Student's Reference Work was published by C. B. Beach & Company (1909,1911,1912), then by F. E. Compton & Co. from 1912.

Legacy
Frank Compton was his associate since 1894, and became the general manager of C. B. Beach & Company in 1905. Compton took over the publishing firm when Beach retired in 1907, and the name of the company later changed to F. E. Compton & Co..

F. E. Compton & Co. went on to produce Compton's Pictured Encyclopedia in 1922.

Publishing rights to the F.E. Compton & Company products were acquired by Encyclopædia Britannica, Inc. in 1961, and the encyclopedia is still in print as Compton's by Britannica.

title: Chandler Beach


text:
Bages (disambiguation)

Bages is a comarca (county) in Catalonia, Spain.

Bages may also refer to:
 * Bages, Aude, a commune of the Aude département in France
 * Bages, Pyrénées-Orientales, a commune of the Pyrénées-Orientales département in France

title: Bages (disambiguation)


text:
Ghorbanali Dorri-Najafabadi

Ghorbanali Dorri-Najafabadi (born 3 December 1950) is an Iranian politician and cleric. He is currently a member of the Assembly of Experts and also a member of the Expediency Discernment Council. He was previously the Minister of Intelligence of Islamic Republic of Iran.

Career
Dorri-Najafabadi was the minister of intelligence in the cabinet of then president Mohammad Khatami. During his term of ministership, some journalists and reformist politicians were murdered by security agents, for which the Iranian government later charged his deputy, Saeed Emami, with orchestrating, claiming he had organized them independently. Dorri-Najafabadi resigned and was succeeded by Ali Younessi. The events were later named the "Chained Murders" by the reformist cabinet of President Mohammad Khatami.

After Mohammad Ismaeil Shooshtari, in 2005, he was the attorney-general of the Islamic Republic of Iran. He was succeeded by Jamal Karimi-Rad in the post.

In 2008, he said that toys such as the Barbie doll are "destructive culturally and social danger."

Compulsory hijab
Dorri-Najafabadi is a fierce advocate of compulsory hijab in Iran. At a Friday prayer sermon, he said, "Holocaust has been as a pretext to fight hijab."

title: Ghorbanali Dorri-Najafabadi


text:
MS Mega Victoria

MS Mega Victoria is a cruiseferry owned by Corsica Ferries. She was formerly owned by Viking Line as MS Amorella and operated on the route Turku–Mariehamn–Stockholm and from 2022 Helsinki-Mariehamn-Stockholm. She was built in 1988 by Brodosplit in Croatia, then Yugoslavia.

Amorella has three sister ships: Gabriella in the Viking Line fleet, Isabelle operated by Tallink and Crown Seaways, operated by DFDS Seaways.

History
Amorella was ordered in 1986 by SF Line, one of the partners in Viking Line consortium. Although Brodosplit outbid other shipyards, the Finnish State offered to subsidise construction of the ship if she was built at a Finnish shipyard. This was a common practice in the 1980s to bring more jobs to Finland, but this time SF Line declined and had the ship built in Croatia. The original planned delivery date for Amorella was in March 1988, but due to delays in construction she was not completed until September, which meant SF Line was forced to operate the lucrative summer season with old tonnage.

Except for short periods of time in 1997, 1998 and 2002, Amorella has always served on the Turku–Mariehamn/Långnäs–Stockholm route, making her the longest-lasting ship on that route. Originally she only called in Mariehamn during day crossing, but in July 1999 she had to start calling at the Åland Islands in both directions to maintain tax free sales on board, and as a result a call at Långnäs was added to the night crossing.

Like all ships, Amorella has suffered occasional misfortune. In 1993 the ship ran aground near Stockholm. She was able to come off by her own power, but her bottom was damaged in the process; she started taking in water and diesel oil leaked from a damaged fuel tank. The ship continued to Stockholm, and after unloading passengers and cargo she sailed to Turku Repair Yard, Naantali for repairs. In 1995, and again in 2001, there was a fire in one of the cabins but the ship's own firefighters managed to put it out. In May 2005 there was a fire in a car parked on the cardeck on Deck 5, but that too was put out by the ship's crew. In March 2010, the ship had to be rescued by ice breakers after becoming stranded in thick ice along with several other vessels. During this stranding, Amorella collided with the Finnlines ship Finnfellow which resulted in a large dent on the port side hull. Nobody was injured in the collision.

On 14 December 2013, MS Amorella lost her steering due to a blackout and ran aground with about 2,000 passengers on board. The only hull damage that occurred was a breach into a bow ballast tank. Therefore, no environmental damage occurred and there was no leak into the vessel. After being stuck for about twelve hours she was able continue her journey to Mariehamn under her own power.

On 20 September 2020, MS Amorella contacted the bottom with 207 and 74 crew aboard. The ship was intentionally run aground to stabilize the vessel.

In January 2017, Viking Line announced that they will put Amorella for sale when their new ship, Viking Glory is delivered. The Viking Glory replaced Amorella on the Turku-Stockholm route in 2022. Since no buyers emerged, Viking Line announced on 26 January 2022 that Amorella instead would join her sister Gabriella on the Helsinki-Stockholm route. Amorella started this service on April 1, 2022.

In August 2022 the ship was sold to Corsica Ferries for an undisclosed amount and was renamed Mega Victoria. Mega Victoria has been subjected to extensive renovations starting in October 2022 and has taken service in 2023. It's the second ship that Corsica Ferries buys from Viking Line, the first being MS Mega Regina bought in 2021.

title: MS Mega Victoria


text:
Magnetostatics

Magnetostatics is the study of magnetic fields in systems where the currents are steady (not changing with time). It is the magnetic analogue of electrostatics, where the charges are stationary. The magnetization need not be static; the equations of magnetostatics can be used to predict fast magnetic switching events that occur on time scales of nanoseconds or less. Magnetostatics is even a good approximation when the currents are not static – as long as the currents do not alternate rapidly. Magnetostatics is widely used in applications of micromagnetics such as models of magnetic storage devices as in computer memory.

Magnetostatics as a special case of Maxwell's equations
Starting from Maxwell's equations and assuming that charges are either fixed or move as a steady current $$\mathbf{J}$$, the equations separate into two equations for the electric field (see electrostatics) and two for the magnetic field. The fields are independent of time and each other. The magnetostatic equations, in both differential and integral forms, are shown in the table below.

Where ∇ with the dot denotes divergence, and B is the magnetic flux density, the first integral is over a surface $$ S$$ with oriented surface element $$ d\mathbf{S}$$. Where ∇ with the cross denotes curl, J is the current density and $H$ is the magnetic field intensity, the second integral is a line integral around a closed loop $$ C$$ with line element $$\mathbf{l}$$. The current going through the loop is $$ I_\text{enc}$$.

The quality of this approximation may be guessed by comparing the above equations with the full version of Maxwell's equations and considering the importance of the terms that have been removed. Of particular significance is the comparison of the $$ \mathbf{J}$$ term against the $$ \partial \mathbf{D} / \partial t$$ term. If the $$\mathbf{J}$$ term is substantially larger, then the smaller term may be ignored without significant loss of accuracy.

Re-introducing Faraday's law
A common technique is to solve a series of magnetostatic problems at incremental time steps and then use these solutions to approximate the term $$ \partial \mathbf{B} / \partial t$$. Plugging this result into Faraday's Law finds a value for $$ \mathbf{E}$$ (which had previously been ignored). This method is not a true solution of Maxwell's equations but can provide a good approximation for slowly changing fields.

Current sources
If all currents in a system are known (i.e., if a complete description of the current density $$ \mathbf{J}(\mathbf{r})$$ is available) then the magnetic field can be determined, at a position r, from the currents by the Biot–Savart equation: $$\mathbf{B}(\mathbf{r}) = \frac{\mu_0}{4\pi} \int{\frac{\mathbf{J}(\mathbf{r}') \times \left(\mathbf{r} - \mathbf{r}'\right)}{|\mathbf{r} - \mathbf{r}'|^3} \mathrm{d}^3\mathbf{r}'}$$

This technique works well for problems where the medium is a vacuum or air or some similar material with a relative permeability of 1. This includes air-core inductors and air-core transformers. One advantage of this technique is that, if a coil has a complex geometry, it can be divided into sections and the integral evaluated for each section. Since this equation is primarily used to solve linear problems, the contributions can be added. For a very difficult geometry, numerical integration may be used.

For problems where the dominant magnetic material is a highly permeable magnetic core with relatively small air gaps, a magnetic circuit approach is useful. When the air gaps are large in comparison to the magnetic circuit length, fringing becomes significant and usually requires a finite element calculation. The finite element calculation uses a modified form of the magnetostatic equations above in order to calculate magnetic potential. The value of $$ \mathbf{B}$$ can be found from the magnetic potential.

The magnetic field can be derived from the vector potential. Since the divergence of the magnetic flux density is always zero, $$ \mathbf{B} = \nabla \times \mathbf{A}, $$ and the relation of the vector potential to current is: $$ \mathbf{A}(\mathbf{r}) = \frac{\mu_{0}}{4\pi} \int{ \frac{\mathbf{J(\mathbf{r}')} } {|\mathbf{r}-\mathbf{r}'|} \mathrm{d}^3\mathbf{r}'}. $$

Magnetization
Strongly magnetic materials (i.e., ferromagnetic, ferrimagnetic or paramagnetic) have a magnetization that is primarily due to electron spin. In such materials the magnetization must be explicitly included using the relation $$ \mathbf{B} = \mu_0(\mathbf{M}+\mathbf{H}).$$

Except in the case of conductors, electric currents can be ignored. Then Ampère's law is simply $$ \nabla\times\mathbf{H} = 0.$$

This has the general solution $$ \mathbf{H} = -\nabla \Phi_M, $$ where $$\Phi_M$$ is a scalar potential. Substituting this in Gauss's law gives $$ \nabla^2 \Phi_M = \nabla\cdot\mathbf{M}.$$

Thus, the divergence of the magnetization, $$ \nabla\cdot\mathbf{M},$$ has a role analogous to the electric charge in electrostatics and is often referred to as an effective charge density $$\rho_M$$.

The vector potential method can also be employed with an effective current density $$ \mathbf{J_M} = \nabla \times \mathbf{M}. $$

title: Magnetostatics


text:
User:Femto/isotopes begin

Most stable isotopes iso NA half-life DM DE MeV DP

title: User:Femto/isotopes begin


text:
User:Femto/elem isotopes stable

 * undefined
 * colspan="4" | is stable with  neutrons
 * colspan="4" | is stable with  neutrons
 * colspan="4" | is stable with  neutrons

title: User:Femto/elem isotopes stable


text: User:Femto/isotopes end

title: User:Femto/isotopes end


text: User talk:212.179.220.228

title: User talk:212.179.220.228


text:
Genius Loves Company

Genius Loves Company is the final studio album by rhythm and blues and soul musician Ray Charles, posthumously released August 31, 2004, on Concord Records. Recording sessions for the album took place between June 2003 and March 2004. The album consists of rhythm and blues, soul, country, blues, jazz and pop standards performed by Charles and several guest musicians, such as Natalie Cole, Elton John, James Taylor, Norah Jones, B.B. King, Gladys Knight, Diana Krall, Van Morrison, Willie Nelson and Bonnie Raitt. Genius Loves Company was the last album recorded and completed by Charles before his death in June 2004.

The album was produced by Concord A&R man, John Burk, who approached Charles with the concept of a duets album for a collaboration of Concord Records and Hear Music, the record label owned by the coffee chain Starbucks. It served as the first original non-compilation release by Hear Music, as well as one of Ray Charles' most commercially successful albums. On February 2, 2005, Genius Loves Company was certified triple-platinum in sales by the Recording Industry Association of America following sales of over three million copies in the United States. It also became Charles' second to reach number one on the Billboard 200, after Modern Sounds in Country and Western Music (1962). On February 13, 2005, the album was awarded eight Grammy Awards including Album of the Year and Record of the Year.

Commercial performance
Genius Loves Company proved to be a comeback success for Ray Charles, in terms of sales and critical response, quickly becoming his first top-10 album in forty years and the best-selling record of his career. The release of Genius Loves Company served as Charles' two-hundred fiftieth of his recording career, and was his last recording before his death on June 10, 2004.

Within its first week of release, the album sold over 200,000 copies in the United States alone, while it debuted at #2 on the Billboard 200 chart, eventually ascending to #1 on March 5, 2005, becoming Charles' first #1 album since Modern Sounds In Country And Western Music in 1962. Genius Loves Company also received a significant amount of airplay on jazz, blues, R&B, urban contemporary and country radio stations, as well as critical praise from well-known publications and music outlets. By the first month of its release, the album had shipped over two million copies in the United States and shipped more than three million worldwide, receiving gold, silver and platinum certifications across North America, Europe and several other regions. The massive commercial success of the album (over 5.5 million copies were sold worldwide up to 2007) was attributed in part to it being distributed and promoted via Starbucks coffeehouses, as well as the distribution and marketing relationship between Concord Records and the Starbucks Hear Music label. The Starbucks Coffee Company proved to be singularly responsible for nearly thirty-percent of the total domestic sales of the album. Following several certifications of gold, platinum and multi-platinum in the United States during the fall of 2004, Genius Loves Company earned a triple-platinum sales certification by the Recording Industry Association of America (RIAA) on February 2, 2005.

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the Billboard 200. This was Charles' highest charting album in over 40 years and represented an opening week record for a duets album (since Nielsen SoundScan began tracking such statistics in 1991). Frank Sinatra's 1993 Duets sold 339,000 during the Christmas week, eight weeks after its 173,500-unit opening. The initial shipment of 733,000 units was an all-time record for the 31-year history of Concord Records and the sales represented a Soundscan record for the company. In addition, the album placed at number five on the Top R&B/Hip-Hop Albums for Charles' highest placement since A Portrait of Ray peaked at fifth in 1968. These albums sales occurred despite digital singles sales that saw 12 of the 13 tracks on the album make the Hot Digital Tracks Top 50 chart. The previous record for most tracks from the same album was 9 by Neil Young & Crazy Horse with their 2003 Greendale album. "Here We Go Again" was the download sales leader among the album's tracks, but the 12 tracks totaled 52,000 digital downloads.

Grammy Awards
In December 2004, announcements were made that the album had earned ten Grammy Award nominations. At the 47th Grammy Awards on February 13, 2005, Genius Loves Company led the annual ceremony with a total of nine awards, including Album of the Year, while its hit single "Here We Go Again" won a Grammy Award for Record of the Year. Awards won are as listed below:

The Album of the Year award was presented to coproducer John Burk, who accepted on behalf of himself and coproducer Phil Ramone, who was unable to make the trip to Los Angeles for the Grammy ceremony. The cover featured an iconic image by photographer Norman Seeff.
 * Grammy Award for Album of the Year: John Burk, Phil Ramone, Herbert Waltl, Don Mizell (producers), Terry Howard (producer & engineer/mixer), Robert Fernandez, John Harris, Pete Karam, Joel Moss, Seth Presant, Al Schmitt, Ed Thacker (engineers/mixers), Robert Hadley, Doug Sax (mastering engineers)
 * Grammy Award for Best Pop Vocal Album: Ray Charles and various artists
 * Grammy Award for Best Engineered Album, Non-Classical: Robert Fernandez, John Harris, Terry Howard, Pete Karam, Joel Moss, Seth Presant, Al Schmitt & Ed Thacker (engineers)
 * Grammy Award for Best Surround Sound Album: John Burk (Producer), Al Schmitt (surround mix engineer), Robert Hadley & Doug Sax (surround mastering)
 * Grammy Award for Record of the Year: John Burk (producer), Terry Howard, Al Schmitt (engineers/mixers), Ray Charles & Norah Jones for "Here We Go Again"
 * Grammy Award for Best Pop Collaboration with Vocals: Ray Charles and Norah Jones for "Here We Go Again"
 * Grammy Award for Best Pop Collaboration with Vocals: Ray Charles and Elton John for "Sorry Seems To Be The Hardest Word" (nominated)
 * Grammy Award for Best Gospel Performance: Ray Charles & Gladys Knight for "Heaven Help Us All"
 * Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s): Victor Vanacore (arranger) for "Over the Rainbow" performed by Ray Charles & Johnny Mathis

Track listing
In UK, this album was also published as LP record, where track 1 to 7 were on side A and the rest of tracks were on side B.

Personnel

 * Ray Charles – piano, keyboards, vocals, song-writer

Guest appearances

 * Natalie Cole – author, guest appearance
 * Elton John – author, guest appearance
 * Norah Jones – piano, author, guest appearance
 * B.B. King – guitar, author, guest appearance
 * Gladys Knight – author, guest appearance
 * Diana Krall – author, guest appearance
 * Johnny Mathis – author, guest appearance
 * Michael McDonald – keyboards, author, guest appearance
 * Van Morrison – author, guest appearance
 * Willie Nelson – guitar, author, guest appearance
 * Bonnie Raitt – slide guitar, author, guest appearance
 * James Taylor – author, guest appearance

Musicians

 * Ray Brinker – drums (1–3;6–8;11)
 * Michael Bearden – keyboards (12)
 * Tim Christensen – double bass (7)
 * Tom Fowler – bass (1–9)
 * Mark Converse – percussion (7–8;11)
 * George Doering – guitar (3;5)
 * Charles Fearing – guitar (10)
 * James Gadson – drums (10)
 * David Hayes – bass (12)
 * Trey Henry – bass, double bass (11)
 * Scott Higgins – timpani (11)
 * Danny Jacob – guitar (10)
 * Bashiri Johnson – percussion (12)
 * Jim Keltner – Drums (9)
 * Irvin "Magic" Kramer – guitar (1–3;5;7–9)
 * Abraham Laboriel – bass (10)
 * Michael Landau – guitar (2)
 * George Marinelli – guitar (6), photography
 * Jeff Mironov – guitar (12)
 * Clarence McDonald – piano (10), arranger
 * Alan Pasqua – piano (4)
 * Shawn Pelton – drums (12)
 * Billy Preston – Hammond B3 organ (1;9–10)
 * John "4 Daddman" Robinson – drums (4)
 * Richard Shaw – double bass (7)
 * Wally Snow – percussion (7–8;11)
 * Dave Stone – double bass (11)
 * Michael Thompson – guitar (4)
 * Karl Vincent – double bass (11)
 * Randy Waldman – piano (3;6–8;11), keyboards (2–3;5), arranger, rhythm arrangements
 * Ken Wild – double bass (11)

Horn section

 * Rick Baptist – trumpet (8;11)
 * Leanne Becknell- Oboe (7–8;11)
 * Wayne Bergeron – trumpet (8;10–11)
 * Charles Boito – Clarinet (7–8;11)
 * Reverend Dave Boruff – Saxophone (2;10)
 * Charlie Davis – trumpet (2)
 * Dennis Farias – trumpet (8;11)
 * Brandon Fields – Baritone Saxophone (10)
 * Bruce Fowler – trombone (2)
 * Walt Fowler – trumpet (2)
 * Gary Grant – trumpet (10)
 * Larry Hall – trumpet (8;11)
 * Matt Holland – trumpet (11)
 * Greg Huckins – flute (7–8;11)
 * Alexander Isles – trombone (8;11)
 * Tony Kadleck – trumpet (12)
 * Jeff Kievit – trumpet (12)
 * Steve Kujala – Flute (7–8;11)
 * Don Markese – clarinet (7–8;11)
 * Andrew Martin – trombone (8;11)
 * Bob McChesney – trombone (2;10)
 * Joe Meyer – French horn (7)
 * John Mitchell – bassoon (7–8;11)
 * Suzette Moriarty – French horn (8;11)
 * Charlie Morillas – trombone (8;11)
 * Charles Pillow – tenor saxophone (12)
 * David Riddles – bassoon (7–8;11)
 * Robert Sanders – trombone (8;11)
 * Tom Saviano – saxophone (10)
 * Kenny Scharf – trumpet (8)
 * Bob Shepard – saxophone (2)
 * Patricia Skye – French horn (7)
 * Kurt Snyder – French horn (7–8;11)
 * Richard Todd – French horn (7)
 * Martin Winning – tenor saxophone (12)
 * Phil Yao – French horn (8;11)

String section

 * John Acevedo – viola
 * John Acosta – cello
 * Sai Ly Acosta – violin
 * Miguel Atwood – Ferguson viola
 * Briana Bandy – viola
 * Brian Benning – violin
 * Robert Berg – viola
 * Leslie Brown – violin
 * Daphne Chen – violin
 * Elenore Choate – harp
 * Ronald Clark – violin
 * Reginald Clews – violin
 * Larry Corbett – cello
 * Franklyn d'Antonio – violin
 * Joel Derouin – violin
 * Alan Ellsworth – violin
 * Alicia Engley – violin
 * Charles Everett – violin
 * Kirstin Fife – violin
 * Stefanie Fife – cello
 * Ronald Folsom – violin
 * Samuel Formicola – viola
 * Armen Garabedian – violin
 * Berj Garabedian – violin
 * Suzanna Giordono – viola
 * Nick Grant – violin
 * Amy Wickman Guerra – violin
 * Trevor Handy – cello
 * Xiao Niu He – violin
 * Gerry Hilera – violin
 * Suzie Katayama – cello
 * Leslie Brown Katz – violin
 * Jaroslav Kettner – violin
 * David Kilbride – violin
 * Raymond Kobler – violin
 * Johana Krejci – violin
 * John Krovoza – cello
 * Armen Ksadjikian – cello
 * Timothy Landauer – cello
 * Songa Lee – violin
 * Tricia Lee – violin
 * Martha Lippi – cello
 * Paul Manaster – violin
 * Shawn Mann – viola
 * Edith Markman – violin
 * Michael Markman – violin
 * Robert Matsuda – violin
 * Dennis Molchan – violin
 * Horia Moroaica – violin
 * Jennifer Munday – violin
 * Maria Newman – viola
 * Igor Pandurski – violin
 * Todor Pelev – violin
 * Edward Persi – viola
 * Andrew Picken – viola
 * Vladimir Polimatidi – violin
 * Shanti Randall – viola
 * Michele Richards – violin
 * Steve Richards – cello
 * Carolyn Riley – viola
 * Kathleen Robertson – violin
 * Julie Rogers – violin
 * Anatoly Rosinsky – violin
 * Nancy Roth – violin
 * Edmund Stein- Violin
 * Rudolph Stein – cello
 * David Stenske – violin, Viola
 * Raymond Tischer – viola
 * Kevan Torfeh – cello
 * Irina Voloshina – violin
 * David F. Walther – viola
 * Jennifer Walton – violin
 * Zheng Wang – violin
 * Dynell Weber – violin
 * North Wood – violin
 * Margaret Wooten – violin
 * Alwyn Wright – violin
 * Ken Yerke – violin
 * Yang-Qin Zhao – cello

Vocals

 * Tawatha Agee – vocals, singer
 * James Chip Burney – choir, chorus
 * Rosemary Butler – choir, chorus
 * Janey Clewer – choir, chorus
 * Kevin Dorsey – choir, chorus
 * DeAnte Duckett – choir, chorus
 * Clydene Jackson Edwards – choir, chorus
 * Jim Gilstrap – choir, chorus
 * Irene Madison – choir, chorus
 * Fred Martin & the Levite Camp – choir, chorus
 * Alethea Mills – choir, chorus
 * Chavonne Morris – choir, chorus
 * Seven Morris – choir, chorus
 * Aminah Ofumbi – choir, chorus
 * Darryl Phinnessee – choir, chorus
 * Vaneese Thomas – vocals, singer
 * Fonzi Thornton – vocals, singer
 * John West – choir, chorus
 * Terry Woods – choir, chorus
 * Clarissa Watkins – choir, chorus

Recording personnel

 * Brian Bennison – Copyist
 * Abbey Anna – Design, Design Consultant
 * David Blumberg – Arranger, String Arrangements
 * John Burk – Producer, Liner Notes, Executive Producer
 * Kristy Cameron – Design
 * Jill Dell'Abate – Production Coordination
 * Greg Dennon – Assistant Engineer
 * Ken Desantis – Assistant Engineer
 * Steve Deutsch – Digital Editing
 * Assa Dori – Concert Master
 * Assa Drori – Concert Master
 * Chris Dunn – A&R
 * Michael Eleopoulos – Assistant Engineer
 * Andrew Felluss – Assistant Engineer
 * Robert Fernandez – Engineer
 * Mark Fleming – Engineer
 * Steve Genewick – Assistant Engineer
 * Keith Gretlein – Assistant Engineer
 * Ken Gruberman – Copyist
 * Robert Hadley – Mastering
 * John Harris – Engineer
 * Mary Hogan – A&R
 * Terry Howard – Producer, Engineer
 * John Jennings – Photography
 * Hardi Kamsani – Assistant Engineer
 * Pete Karam – Engineer
 * Bill Kaylor – Assistant Engineer
 * Lisa Laarman – Creative Director
 * David R. Legry – Liner Notes
 * Rob Mathes – Conductor
 * Don Mizell – Producer
 * Joel Moss – Engineer
 * Vitaliano Napolitano – Photography
 * Casey Phariss – Assistant Engineer
 * Robert Peterson – Concert Master
 * Seth Presant – Digital Editing
 * Phil Ramone – Producer
 * Doug Sax – Mastering
 * Al Schmitt – Engineer, Mixing, String Engineer
 * Jaime Sickora – Assistant Engineer
 * Norman Seeff – Photography
 * Dennis Shirley – Photography
 * Joel Singer – Assistant Engineer
 * Joe Soldo – Contractor
 * Jamie Siskkora – Assistant Engineer
 * Bill Airey Smith – Assistant
 * Jay Spears – Assistant Engineer
 * Ed Thacker – Engineer
 * Darrell Thorp – Assistant Engineer
 * Mike Vaccaro – Contractor
 * David Vanacore – Score Assistance
 * Victor Vanacore – Arranger, Score Assistance
 * Herbert Waltl – Producer

title: Genius Loves Company


text:
User:Femto/elem isotopes decay

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title: User:Femto/elem isotopes decay


text:
Doris Ling-Cohan

Doris Ling-Cohan is a justice of the New York State Supreme Court, to which she was elected in 2002. In 2014, Justice Ling-Cohan was appointed to the Appellate Term, First Department. She is the first woman of Asian descent to be appointed to an appellate panel in New York state. Ling-Cohan was born in Chinatown, Manhattan, the daughter of Chinese immigrants.

Education
She received a degree in psychology (summa cum laude) from Brooklyn College, in 1976. She was admitted into New York University's School of Law on a full scholarship, from which she graduated in 1979.

Professional life
Judge Ling-Cohan began her career as an attorney working for several New York Legal Services agencies, representing indigent clients, before she joined the New York State Attorney General's consumer fraud protection unit. Additionally, she taught classes in law and Asian American studies at CUNY School of Law, New York University, City College, and Queens College. In 1995 Judge Ling-Cohan was elected to the Civil Court of the City of New York from the Second Municipal Court District. At this time, Judge Ling-Cohan decided to seek elected positions rather than appointed ones, believing that judges who are continually tested by public opinion have a greater chance of later being elected to the State Supreme Court. In 2002, after being nominated by the Manhattan Democratic party for election to the New York State Supreme Court, she received the support of the state Republican, Democratic, Liberal, and Working Family parties. Ling-Cohan was elected to that post, receiving more than 230,000 votes. Judge Ling-Cohan is a member of several professional and humanitarian associations; she is a founding member of the Asian American Bar Association and the New York Asian Women's Center—which is the first group dedicated to the prevention of domestic violence in New York City's Asian communities. Additionally, she is a member of the Jade Council, an organization for Asian court employees.

Brooklyn College has honored Judge Ling-Cohan with its Distinguished Alumna Award, in recognition of her service to New York city as well as her advocacy for immigrants and non-English speakers' rights.

Same-sex marriage
Judge Ling-Cohan made national news when she handed down a ruling in Hernandez v. Robles, a case in which five gay and lesbian couples had sued New York, arguing that denying them marriage rights violated the state constitution. Ling-Cohan sided with the plaintiffs, and as of February 15, 2005, the ruling was on hold pending the outcome of an appeal filed by the state. See Judge Ling-Cohan's ruling in Hernandez v. Robles (PDF file) The decision was subsequently reversed by two appellate courts; however, same-sex marriage in the state of New York became legal on July 24, 2011, under the Marriage Equality Act, which was passed by the New York State Legislature on June 24, 2011 and signed by Governor Andrew Cuomo on the same day.

title: Doris Ling-Cohan


text:
Kitahama Station

Kitahama Station is the name of two Japanese railway stations:

 * Kitahama Station (Hokkaidō), JR Hokkaido's station in Abashiri
 * Kitahama Station (Osaka), Keihan Line and Osaka Subway's station in Osaka

title: Kitahama Station


text:
George IV of Georgia

George IV (გიორგი IV), also known as Lasha Giorgi (ლაშა გიორგი) (1191–1223), of the Bagrationi dynasty, was the king (mepe) of the Kingdom of Georgia from 1213 to 1223.

Early life
George was the son of Queen Tamar of Georgia and her consort David Soslan, George was declared as a coregent by his mother in 1207. According to the Georgian chronicles the second name Lasha meant 'illuminator of the world' in the language of Apsar (cf. a-lasha meaning light in Abkhaz language).

He had princely domain in Javakheti, centered at Alastani, for which he was known by the title of javakht' up'ali, i.e., "the Lord of the Javakhians" as suggested by a type of silver coins struck in his name.

Reign
After Tamar's death, George IV became the ruler of Kingdom of Georgia, George continued Tamar's policy of strengthening of the feudal Georgian state.

The feudal lords supporting George were Sargis Tmogveli, Shalva and Ivane Akhaltsikheli, Sula Surameli, Botso and Memna Jaqeli. Lasha's opponents were Ivane I Mkhargrdzeli and Varam Gageli. At Tamar's death, the atabeg of Ganja stopped to pay tribute, King George called Darbazi – the supreme royal council – where he proposed punishing the atabeg of Ganja immediately. The nobles approved a campaign and with an ample army George IV set out to ravage Ganja. The Georgian army under Ivane Mkhargrdzeli immediately sent troops to Ganja and enforced Georgian suzerainty by besieging, instead of storming the city. George lost patience with his generals’ decision, detached 4,000 men from the siege force and circled Ganja. The Ganja garrison realized George’s vulnerability: 10,000 well-armed men left the citadel and attacked. The ensuing fighting, although the Georgians won, caused heavy casualties, but the atabeg of Ganja agreed to pay tribute again.

The economy of Georgia's vassal states suffered from inflation in the 1210s. The nineteen lines inscribed on the stone block of the new ruined church of Ani record the head of the Georgian Church, Catholicos Epiphanes, a condyophysite layman. The fees for baptism, marriage and burial increased three times and reached 100 Tbilisi's drams, priests also demanded a banquet or a whole cow hide. The clergy refused to accept less, the laity boycotted the church. Epiphanes ordered the fess to be reduced by two-thirds: any extra should be within the layman's means. If this inflation was general, it explains the reluctance of Armenian cities to pay taxes to Tbilisi. Unlike in the east, where the Khwarazmians blocked Georgia from action, in the south the Georgian army could enforce its will.

In 1219 George campaigned against Erzurum, Nakhchivan and Ahlat and forced them to pay annual tribute, George once again confirmed the Georgian dominance in Anatolia and Iran. Innocent III had managed to secure the participation of the Kingdom of Georgia in the Crusade. In the late 1210s, according to the Georgian chronicles, George began making preparations for a campaign in the Holy Land to support the Franks. The first Mongol expedition defeated two Georgian armies in 1221–1222 and left through the Inner Caucasus. Georgians suffered heavy losses in this war, and the King himself was severely wounded, His plans for the Fifth Crusade were cut by the invasion of the Mongols.

King George IV went to Bagavan, Armenia, to secure his sister's marriage to the Shah of Shirvan and ensure her succession. But at the age of 31, he died prematurely due to complications from his wound in Bagavan. He was succeeded by his sister Rusudan. George was buried at Gelati monastery.

Family
While George IV was relaxing in Kakheti, in the village of Velistsikhe, he spotted a pretty young woman, a freeman's daughter; he seduced her, and, although she was married, installed her at royal court. In 1215, she had a son with him (the future king David VII Ulugh), whom the king gave to his sister Rusudan to bring up. This upset the Georgian Orthodox Church and deputation of bishops, and the Catholicos and ministers came to remonstrate with the king: the woman was a commoner as well as another man’s wife. George IV was forced to let nuns escort his mistress back to her husband. But he adamantly deemed the woman from Velistsikhe his wife and refused any marriage which his court might negotiate for him. The king would not beget a legitimate heir.

 * David VII Ulugh, King of Georgia.

title: George IV of Georgia


text:
Talk:Power supply

Error(?) in diagram
The diagram in section AC-to-DC supply has "120Hz" on the right hand side. Is "120V" meant? 109.158.3.120 (talk) 09:41, 19 February 2021 (UTC)

title: Talk:Power supply


text:
Jeanine Tesori

Jeanine Tesori, known earlier in her career as Jeanine Levenson, (born November 10, 1961) is an American composer and musical arranger best known for her work in the theater. She is the most prolific and honored female theatrical composer in history, with five Broadway musicals and six Tony Award nominations. She won the 1999 Drama Desk Award for Outstanding Music in a Play for Nicholas Hytner's production of Twelfth Night at Lincoln Center, the 2004 Drama Desk Award for Outstanding Music for Caroline, or Change, the 2015 Tony Award for Best Original Score for Fun Home (shared with Lisa Kron), making them the first female writing team to win that award, and the 2023 Tony Award for Best Original Score for Kimberly Akimbo (shared with David Lindsay-Abaire). She was named a Pulitzer Prize for Drama finalist twice for Fun Home and Soft Power.

Her major works include Kimberly Akimbo; Fun Home; Caroline, or Change; Shrek The Musical; Thoroughly Modern Millie; and Violet.

Early life and education
Tesori saw her first Off-Broadway production, Godspell at the Promenade, when she was fourteen. She said of the experience that she felt the sense of "I'm someplace where there's something happening, and I don't want to be anywhere else."

She attended Paul D. Schreiber High School in Port Washington, New York. She is a graduate of Barnard College of Columbia University, where she initially was pre-med but changed her major to music.

Career
Tesori made her Broadway debut when she arranged the dance music for the 1995 revival of How to Succeed in Business Without Really Trying. In 1997 she composed the score for the Off-Broadway musical Violet, for which she won an Obie Award, the New York Drama Critics Circle Award for Best Musical, and the Lucille Lortel Award for Outstanding Musical, and arranged the music for the Johnny Mercer revue Dream, which she repeated with the 1998 revival of The Sound of Music and the 1999 revue Swing! She also served as associate conductor for the Broadway productions of The Secret Garden and The Who's Tommy.

In 2000, Tesori joined forces with lyricist Dick Scanlan to write eleven new songs for a stage adaptation of Thoroughly Modern Millie. A successful run at the La Jolla Playhouse in San Diego resulted in a transfer to Broadway in 2002, and Tesori was nominated for the Tony Award for Best Original Score and the Drama Desk Award for Outstanding Music.

Tesori has collaborated with Tony Kushner four times. In 2004 she supplied music for the sung-through musical Caroline, or Change, which garnered her a third Tony nomination for Best Original Score. In 2006 she wrote incidental music for Kushner's new translation of Bertolt Brecht's Mother Courage and Her Children, which was produced as part of the 2006 Shakespeare in the Park season staged at the Delacorte Theater by The Public Theater. In the summer of 2011, their opera A Blizzard on Marblehead Neck premiered at Glimmerglass. In 2019, Tesori was credited as voice coach on the new Steven Spielberg film of West Side Story for which Kushner wrote the screenplay based largely on the original stage musical. Filmed over two months in and around New York City, the film saw its 2020 release rescheduled to December 2021 due to the COVID-19 pandemic.

Tesori has composed music for the films Nights in Rodanthe, The Loss of a Teardrop Diamond, The Little Mermaid: Ariel's Beginning, Shrek the Third, Mulan II, and The Emperor's New Groove 2: Kronk's New Groove.

Tesori wrote the music for Shrek The Musical, which opened on Broadway in 2008 and for which she earned both Tony and Drama Desk Award nominations for her music.

In 2011, she wrote the music to Fun Home with a book and lyrics by Lisa Kron, a musical based on the memoir by Alison Bechdel. The show was overseen by Philip Himberg while being workshopped at the Sundance Institute's 2011 Theatre Lab at White Oaks Lab in Yulee, Florida. It was previously developed during the 2009 Ojai Playwrights Conference. Fun Home opened Off-Broadway at The Public Theater on October 17, 2013, and sold out through November 4, 2013, with numerous extensions until it closed there on January 12, 2014. Here, it also won the 2014 Obie Award for Musical Theatre. Following the successful Off-Broadway run, the show transferred to Broadway at Circle in the Square Theatre, with previews beginning on March 27, 2015, and an official opening on April 19, 2015. Tesori and Kron won Tony Awards for Best Musical and Best Original Score for Fun Home, marking the first time an all-female composing team won either category. The musical was named a 2014 Pulitzer Prize for Drama finalist.

Tesori was the artistic director of a concert series of Off-Broadway musicals, "Encores! Off-Center". The July 2013 season included The Cradle Will Rock, I'm Getting My Act Together and Taking It on the Road, and Violet. It was also in this role that Tesori recruited Jake Gyllenhaal to play Seymour in the 2015 Encores! production of Little Shop of Horrors.

Tesori's opera The Lion, The Unicorn, and Me premiered with the Washington National Opera at the Kennedy Center in December 2013. The libretto is by J. D. McClatchy, based on the children's book by Jeanette Winterson and was directed by Francesca Zambello.

The English version of three songs in the 2016 Tokyo DisneySea stage show Out of Shadowland were written by Tesori. They were sung in Japanese by pop singer Angela Aki.

With book and lyrics by David Henry Hwang, Tesori's new musical Soft Power began performances at the Ahmanson Theatre in Los Angeles in May 2018 and at San Francisco's Curran Theatre in June. The musical opened Off-Broadway at the Public Theater on September 14, 2019, directed by Leigh Silverman. The musical was named a 2020 Pulitzer Prize for Drama finalist.

In July 2019, she premiered her opera Blue, with libretto by Tazewell Thompson, at the Glimmerglass Festival in Cooperstown, New York. The opera concerns the issue of African American boys having become a prime target of police brutality in the United States.

In December 2021, her new musical, Kimberly Akimbo, with book and lyrics by David Lindsay-Abaire opened at the Linda Gross Theater in Manhattan. It won Best Musical at the Drama Desk Awards, Lucille Lortel Awards, and Outer Critics Circle Awards. It transferred to Broadway in fall 2022, with previews beginning on October 12, and an official opening on November 10. She and Lindsay-Abaire won the Tony Award for Best Original Score (making Tesori the first female composer to win that award twice) and the show itself won Best Musical.

In October 2023, Tesori's new opera Grounded opened at the Kennedy Center in Washington DC. The Kennedy Center's publicity summarizes the opera as "Jess is a hot shot F-16 fighter pilot, an elite warrior trained for the sky. When an unexpected pregnancy grounds her, she’s reassigned to the “chair force” to control drones in Afghanistan from the comfort of a trailer in Las Vegas. Mezzo-soprano Emily D'Angelo stars as a pilot and mother shaken into a downward spiral as her separation between career and home crumbles. What price is inflicted upon the operator of a lone drone in a blue sky?" The libretto is by George Brant, based on his play. The premier is a co-production with the Metropolitan Opera who originally commissioned the piece, and it will start their 2024-2025 season.

Personal life
She lives with her child, Siena, in Manhattan. Tesori is divorced from Siena’s father, Michael Rafter, an arranger and conductor.

Stage

 * Violet (1997)
 * Twelfth Night (1998)
 * Thoroughly Modern Millie (2000)
 * Caroline, or Change (2003)
 * Mother Courage and Her Children (2006)
 * Shrek The Musical (2008)
 * A Blizzard on Marblehead Neck (2011)
 * Fun Home (2013)
 * The Lion, The Unicorn, and Me (2013)
 * Soft Power (2018)
 * Blue (2019)
 * Kimberly Akimbo (2021)
 * Grounded (2023)

title: Jeanine Tesori


text:
Close Quarters Battle Receiver

The Close Quarter Battle Receiver (CQBR) is a replacement upper receiver for the M4A1 carbine developed by the US Navy.

The CQBR features a 10.3 in length barrel (similar to the Colt Commando short-barreled M16 variants of the past) which makes the weapon significantly more compact, thus making it easier to use in, and around, vehicles and in tight, confined spaces. The overall length of the upper receiver is 19.25 in. With the stock collapsed, the overall length of the weapon is 26.75 in. Those created as complete rifles (rather than only upper receivers) are type designated as Mk 18 MOD 0/1.

Special forces units utilize the CQBR for scenarios such as VIP protection, urban warfare, and other close quarters battle (CQB) situations.

Its former preliminary National Stock Number (NSN) had been 1005-LL-L99-5996. A complete CQBR-equipped carbine now has the NSN 1005-01-527-2288.

Background
The M4 carbine and M16 are not ideally suited for all missions due to their relatively long barrels, but the modularity of AR pattern rifles allows the operator to easily replace the upper receiver. One of two proposed special mission receivers that were planned for inclusion into the SOPMOD Block II kit, the CQBR has taken off on its own. Like the proposed Special Purpose Receiver, the Close Quarters Battle Receiver has been more or less taken on by the Naval Surface Warfare Center Crane Division (often referred to as NSWC-Crane or just "Crane") as its own project following the CQBR's removal from the SOPMOD program. Just as the Special Purpose Receiver morphed into the Special Purpose Rifle, and was type-classified as Mk 12 MOD 0/1, the complete CQBR-equipped carbine has been type-classified as the Mk 18 MOD 0, or the Mk 18 MOD 1 with a sightless gas block and full-length accessory rail kit.

The purpose of the CQBR is to provide operators with a weapon of submachine gun size, but firing an intermediate cartridge, for scenarios such as VIP protection, urban warfare, and other close quarters battle (CQB) situations. The CQBR is designed to provide improvement over previous AR-15/M16-type weapons in this category. The CQBR is usually issued as a complete weapon system, and not just an upper receiver. The CQBR was once only available to Naval Special Warfare units (and by extension, other US Special Operations Forces units), but the Mk 18 MOD 0 has become general issue for Visit, Board, Search, and Seizure (VBSS) missions and, as of 2006, for NCIS agents deploying to active combat zones. The Mk 18 is also used by the Coast Guard's Deployable Specialized Forces and Tactical Law Enforcement Teams and the United States Navy's Explosive Ordnance Disposal (EOD) Operators. It is also used by both Marine Force Recon Teams and Critical Skills operators from MARSOC, and is in most cases the standard weapons of choice for said operators where the range of an M4 is not necessary.

The short 10.3 in (262mm) barrel length requires special modifications to function reliably. The gas port is opened from 0.062 to 0.070 in (1.6 to 1.8mm). A one-piece McFarland gas ring replaces the three-piece gas ring set. The standard four-coil extractor spring is replaced with a commercial off-the-shelf (COTS) five-coil spring. An O-ring surrounds the extractor spring. The standard M4 flash hider has been replaced with the M4QD flash hider for suppressor compatibility.

Ballistic performance
Shortening the barrel by 50% from the original 20 in pattern has a dramatic effect on the velocity of 5.56x45mm NATO ammunition. This has been demonstrated in studies using a Remington 700 bolt-action rifle, progressively shortened in barrel length and chronographed. With a 20" barrel, the bullet is moving at 3071 ft/s, but this drops to 2489 ft/s at 10".

Evolution

 * CQBR type 1: Made from M4A1 uppers by shortening the barrels and opening gas ports, no longer produced, STD carbine buffer in use in host lowers at time of fielding.
 * CQBR type 2: NSWC assembled with contracted and /or overhauled parts complete with all accessories to current standards at time of build, will work with H, H2 or H3 balanced to ammo requirements:
 * H works with M193 and M855.
 * H2 needed for MK 262, MK 255 R2LP, or MK 311 R2LP; will still reliably feed and fire M193/M855.
 * H3 may be needed for an extreme case, or when the gas port is eroded but the barrel still groups.
 * CQBR type 2A: NSWC assembled with contracted and/or overhauled parts, naked without any accessories or buffer. The buffer in the host carbine would be used or upgraded as necessary via the supply system same as type 2.
 * CQBR type 3: Colt-contracted upper, complete with all accessories. NO buffer supplied. The buffer in the host carbine would be used or upgraded as necessary via the supply system same as type 2.
 * CQBR type 3A: Colt-contracted upper, naked without any accessories or buffer supplied. The buffer in the host carbine would be used or upgraded as necessary via the supply system same as type 2.
 * MK18 type 1: NSWC assembled carbine with contracted and/or overhauled parts complete with all accessories to current standards at time of build; will work with H or H2 and could have shipped with either. Units will balance buffer to ammo requirements:
 * H okay with M193 and M855. (All shipboard MK 18s should have H buffers as this was the standard at the time of assembly.)
 * H2 needed for MK 262, MK255 R2LP, or MK 311 R2LP; will still reliably run M193/M855.
 * H3 may be needed for an extreme cases or when the gas port is eroded but the barrel still groups.
 * MK18 type 2: Colt-contracted carbine complete with all accessories (H buffer supplied). Units will balance buffer to ammo requirements same as Mk 18 type 1.
 * MK18 MOD 0 (MK18 MOD O): Designation given to the full rifle, consisting of CQBR upper receiver and M16A1 lower receiver
 * MK18 MOD 1: Similar to the changes found in the SOPMOD Block II kit, the MOD 1 features a gas block end without a front sight and a railed handguard, by Daniel Defense, that extends all the way to the base of the flash hider to provide more accessory rail space for the user.
 * MK18 URG-I: The Upper Receiver Group - Improved (URG-I) features a gas block end without a front sight and a railed M-LOK handguard, by Geissele Automatics. The URG-I also replaces the MK18 MOD 1's heavier SOCOM barrel with a standard "government" profile cold hammer forged barrel with a longer gas system. Primarily used by AFSOC.

Specifications

 * Upper and lower receivers: The lower receiver is a standard M4A1 lower receiver, sometimes modified with the addition of a CQD RSM sling adapter plate. However, many CQBR rifles also use surplus M16A1 lower receivers. Internally, the CQBR also takes advantage of a larger gas port and modified bolt carrier and buffer assembly. The gas port has been opened to 0.070 in (1.8 mm). A number of Lewis Machine & Tool 10.5" (266.7 mm) upper receivers have also been reported to have been purchased for the CQBR program. These upper receivers feature a gas system optimized for short barrel use. The MOD 1 makes use of a forward sight delete and full-length handguard to provide more rail space for the user.
 * Sights: Initially, detachable carrying handles cut down so that only the rear sight assembly were used. However, most of these have been replaced with the similar, commercially-made Lewis Machine & Tool fixed rear sight, as well as adjustable sights from LMT, Matech and Knights Armament. Front sight posts are typically the standard Colt FSP. Also used are several types of reflex and magnified optics. Most commonly seen is the Aimpoint CompM2 in a Wilcox Industries Corp. Picatinny (MIL-STD-1913) mount; however holographic sights such as the Eotech 553/SU-231, Eotech EXPS3-0/SU-231a, and magnified sights such as the Elcan SpecterDR 1-4/SU-230 FDE w/ L3 MRDS/Docter or the addition of an Eotech G33 Anodized magnifier to the aforementioned sights are common. On the MOD 1, the front sight is deleted and a full-length accessory rail is used; flip up iron sights may be mounted per user preferences.
 * Stock: A variety of M4 retractable buttstocks are used on a standard 4-position receiver extension, including the standard "CAR" stock. The SOPMOD stock, often referred to as the "Crane stock", created by Dave Armstrong of NSWC-Crane is commonly used. The angled stock offers better cheekweld and provides two storage compartments for spare batteries. The stock must be removed from the weapon to access the storage compartments. The initial run of stocks was made by NSWC-Crane from glass fiber polymer. Because of this, they were somewhat fragile and did not always properly lock into the receiver extension. A rubber band was used to secure the latch so it would not slide out of the desired position. The current L7LA2B SOPMOD stocks are made by Lewis Machine & Tools and have none of these problems.,
 * Barrel: The CQBR uses a 1:7 in (178 mm) twist M4 barrel that has been modified in length to 10.3 in (262 mm). The diameter of the barrel under the handguards is 1.17 in (29.7 mm). The KAC M4-QD flash suppressor is fitted, allowing use of the KAC QDSS-NT4 suppressor (National Stock Number 1005-01-437-0324). Although it has a bayonet lug, the CQBR is not meant to be fitted with a bayonet.
 * Handguards: The standard handguard for the CQBR is the Knight's Armament Company Rail Interface System (M4 Carbine RIS; National Stock Number 1005-01-416-1089), which is designed for a variety of barrel profiles and allows for the use of any MIL-STD-1913 tactical accessories such as the AN/PEQ-2, SureFire flashlights, or a vertical forward grip. MOD 1/Block II changes incorporated the Daniel Defense's MK18 RIS, NSN # 1005-01-548-1385. The current standard handguard on URG-I improved variants is a Geissele Automatics M-LOK railed system for greater compatibility with modern accessory mounting solutions at a lighter weight than previous iterations.

 * Ammunition: The CQBR is designed to use standard 5.56×45mm NATO 62-grain SS109/M855 FMJ and M856 Tracer ammunition. However, due to the short barrel, the heavier 77-grain Mk 262 cartridge is preferred. There are no plans to rechamber the weapon in any additional calibers.

title: Close Quarters Battle Receiver


text:
Impluvium

The impluvium (: impluvia) is a water-catchment pool system meant to capture rain-water flowing from the compluvium, or slanted roof. Often placed "inside", instead of "outside", a building, it is a notable feature in many architectural traditions.

Greco-Roman impluvium
In Greco-Roman architectural studies, the impluvium refers to the sunken part of the atrium in a Greek or Roman house (domus), designed to carry away the rainwater falling from the compluvium of the roof. It is usually made of marble and placed about 30 cm below the floor of the atrium, and emptied into a subfloor cistern.

Construction and use
Inspection (without excavation) of impluvia in Paestum, Pompeii and Rome indicated that the pavement surface in the impluvia was porous, or that the non-porous stone tiles were separated by gaps significant enough to allow a substantial quantity of water caught in the basin of the impluvium to filter through the cracks and, beyond, through layers of gravel and sand into a holding chamber below ground. A circular stone opening protected with a puteal allows easy access by bucket and rope to this private, filtered and naturally cooled water supply.

Similar water supplies were found elsewhere in the public spaces of the city, with their stone puteals showing the wear patterns of much use. In wet seasons, excess water that could not pass through the filter would overflow the basin and exit the building, and any sediment or debris remaining in the surface basin could be swept away. In hot weather, water could be drawn from the cistern chamber (or fetched by slaves from supplies outside the domus) and cast into the shallow pool to evaporate and provide a cooling effect to the entire atrium: as the water evaporated, air drawn in through the compluvium was cooled and moved throughout the house to cool the surrounding living spaces, a form of passive cooling. The combination of compluvium and impluvium formed an ingenious, effective and attractive manner of collecting, filtering and cooling rainwater.

West and Central African impluvium
Denyer, African Traditional Architecture, defined an impluvial style of architecture in West Africa, wherein "four buildings usually faced one another across [a] courtyard". Buildings of the "style" (really, a "clade-based" type), did not necessarily feature an impluvium to capture rain. Further complicating matters, some texts have conflated Denyer's impluvial style with impluvium itself, and thereby take impluvium to refer not to the use of mechanisms to capture water, but instead to court yard-centered house plans.

Examples
Impluvia have been observed in many West/Central-African architectural traditions, including those of the Igbo, Yoruba, Edo, Jola and Bamum. These ranged in complexity: Yoruba impluvia, referred to as akodi, sometimes only amounted to pots placed at the corners of vast rectilinear courtyards, while some in Ketu, Benin Republic, were drained into underground tanks. Commoners in the Benin kingdom usually had houses with multiple impluvia in their one or two court spaces, sometimes drained out of the house by pipes. As Nevadomsky et al. note, these impluvia were meant to remove rain water so that the open roof could be used as a light source and source of fresh air. While many previous examples have been rectilinear, the impluvia of Senegal could also be designed around round floor plans; this has become the basis for the 'Case à Impluvium" in Ziguinchor, Senegal, a centre of the arts run by the Alliance Franco-Sénégalaise.

Origins
19th and 20th century European travelers were often surprised to find parallels to classical culture in those architectural traditions that had clear ones: "In the Bamum area there is an interesting type of hut. In referring to it Ankermann says: "The men's houses (Herrenhäuser) in Bamum, in contrast to those of the women, show a most complicated structure. I was very much astonished when I entered for the first time to find myself in an actual Roman atrium with an impluvium in the middle, with the roof sloping towards the middle, and supported by columns." This resulted in a number of theories attempting to tie West and Central African impluvium to Greco-Roman, Egyptian, and Portuguese influences.  While Kalaous rejects the possibility of Portuguese influence, he writes that "The Old Mediterranean influence seems to be more plausible but did not necessarily come via Egypt... Of course, this does not prove that there were contacts between the Etruscans and the peoples of what is now Southern Nigeria, but the existence of impluvium there (and elsewhere in West Africa) is certainly not easy to explain in terms of a quite independent origin." Denyer, on the other hand, notes that "No really large settlement could have taken place in this area [Southern Nigeria] before a means of collecting water had been found", to save for the dry season and to manage erosion. Most bluntly, Nevadomsky et al. write that "One need not postulate an external source for what was in all probability an independent evolution of space and form. The impluvium house could easily have arisen in a climate of hot sunshine and heavy seasonal rainfall."

title: Impluvium


text:
2000X

2000X is a dramatic anthology series released by National Public Radio and produced by the Hollywood Theater of the Ear. There were 49 plays of various lengths in 26 one-hour programs, broadcast weekly and later released on the Internet. Plays were adaptations of futuristic stories, novels and plays by noted authors. Producer/director Yuri Rasovsky and Harlan Ellison won the 2001 Bradbury Award from the Science Fiction Writers of America for their work on this program. Ellison acted as host and consultant, and co-adapted his short story "'Repent, Harlequin!' Said the Harlequin".

title: 2000X


text:
WPEP

WPEP ( AM) was an AM radio station licensed to Taunton, Massachusetts. WPEP's format had been full-service, offering local news and talk programming, as well as music and nationally syndicated talk. The station was last owned by the Anastos Media Group.

1940s
In late 1947, Silver City Broadcasting Corp., owned by businessman John McGregor, applied for and was granted a construction permit for an AM broadcast station in Taunton. The station's callsign was originally to be WTRN, however the callsign was changed to WPEP before the station officially signed on the air December 22, 1949. When WPEP signed on, its studio was located atop the Roseland Ballroom, north of downtown Taunton. The original format is believed to have been all local programming. WPEP was a $1,000 watts$ daytime-only station from 1948 to 1969. This meant that WPEP was required to cease transmitting from sunset to sunrise. WPEP's transmitter site was 760 County Street in Taunton, Massachusetts.

1970s
On November 27, 1970, WPEP received pre-sunrise authority, allowing it to sign on at with a power of $227.4 watts$, which could be upped to the full kilowatt at sunrise (during months when sunrise occurs later than ). News Director at the time was John P. Shaw.

1980s
Daytime-only status lasted until September 1, 1986, when WPEP was granted nighttime authorization, which allowed WPEP to transmit $1 kilowatt$ of power.

1990s
WPEP was sold in 1996 by Silver City Broadcasting to J. Keating Willcox's Willow Farm Broadcasting.

2000s
This would be the final calendar decade of WPEP's existence. WPEP was sold to Anastos Media Group in 2000. Paul Giammarco was named general manager in 2001 until he left for WSAR in 2002. After Giammarco left, staffer A.J. Nicholson was promoted to general manager.

In 2003, WPEP added the Boston Red Sox Radio Network and carried the team's first World Series victory heard on radio. It was an affiliate in 2004 as well but station management had changed that March and did not air games. A May 5, 2005, article in the Taunton Daily Gazette said that the station was in jeopardy because WNSH in Beverly, Massachusetts, got approval from the Federal Communications Commission (FCC) to increase their daytime power. WNSH was owned by former WPEP owner J. Keating Wilcox. When Wilcox sold WPEP to Anastos Media, there was an informal agreement that Anastos Media would turn in the station's license to allow WNSH (on the same frequency) to up their power, contingent on the power increase being granted by the FCC. The city's mayor and U.S. Representative filed objections; however, the station's general manager at the time publicly dismissed the possibility the station may go dark. On December 5, 2005, Anastos Media filed a renewal of the WPEP license. The renewal was granted by the FCC on March 28, 2006. WPEP's license was turned in to the FCC on October 18, 2007.

Auxiliary licenses

 * KRN297: a Remote pickup unit (RPU) on /.
 * WLI832: a Studio-transmitter link (STL) on.

Status
Station license deleted.

title: WPEP


text:
Neo-Aramaic dialect of Hertevin

Hertevin is a dialect of Northeastern Neo-Aramaic originally spoken by Chaldean Catholics in a cluster of villages in Siirt Province in southeastern Turkey. Speakers of Hértevin Aramaic have emigrated mostly to the West, and are now scattered and isolated from one another. A few speakers remain in Turkey. The closest related language variety is Bohtan Neo-Aramaic. Hertevin also shares many similarities with Turoyo.

Origins
Hértevin was 'discovered' by linguist Otto Jastrow in 1970, and first described in publication by him two years later. His recordings of the language are available on Heidelberg University's Semitic Sound Archive.

The speakers of the Hértevin dialect of Neo-Aramaic are traditionally Chaldean Catholics. Their area of habitation in and around the village of Hertevin (called Hertevinler in Turkish and Härtəvən in Kurdish), near the town of Pervari in Siirt Province is at the very northeastern extreme of the area where Eastern Neo-Aramaic languages were traditionally spoken. Thus, Hértevin is a peripheral dialect that has developed quite differently from related languages.

All Hértevin speakers are bilingual in Kurdish, and many also speak other languages. The Syriac alphabet is used for writing, but almost no literature in the Hértevin dialect exists. Church liturgy is in Syriac.

Phonology
Its major phonetic feature is the loss of the voiceless velar fricative x, which has become a voiceless pharyngeal fricative, ħ. The original voiceless pharyngeal fricative has retained that pronunciation. In all the other dialects of eastern Neo-Aramaic the opposite is true: the voiceless pharyngeal fricative has been lost and merged with the voiceless velar fricative. /x/ does occur in loanwords to Hertevin. The [] and [] that occur in some other dialects of NENA merged back to [t] and [d].

Another feature of Hértevin Neo-Aramaic is its set of demonstratives. As with other languages of the eastern group, Hértevin makes no distinction between 'this' and 'that', and uses a single set of pronouns to cover both meanings: āwa (m. sg.), āya (f. sg.) and āni (pl.). However, unlike the other languages, Hértevin has developed an emphatic form of these pronouns that indicates 'this one right here': ōhā, ēhā and anhī.

Although belonging to the eastern, or northeastern, group of Neo-Aramaic dialects, Hértevin shares some features with the Turoyo language, of the central group, originating from nearby Mardin Province.

 * They are phonetically noted as long sounds [   ].
 * and are phonetically slightly lowered as  and.

 * can be raised to when preceding a pharyngeal, and an unstressed  can be heard as a more front  when preceding.

title: Neo-Aramaic dialect of Hertevin


text:
Battle of Manila

Battle of Manila may refer to:

Land battles

 * Battle of Manila (1402), which involved the Ming Dynasty (present-day China) under the leadership of Admiral Zheng He and the Kingdom of Tondo (modern-day Philippines)
 * Battle of Manila (1570), Spanish forces from Mexico versus Muslims from Brunei
 * Battle of Manila (1574), Chinese Pirate Warlord "Limahong" versus the Spanish
 * Battle of Manila (1762), which saw the British take control of Manila during the Seven Years' War
 * Raid on Manila (1798), a British reconnaissance operation during French Revolutionary Wars
 * Battle of Manila (1896), a battle which involved Filipino Revolutionaries against the Spanish forces during the Philippine Revolution
 * Battle of Manila (1898), involving United States forces and Filipino Revolutionaries versus the Spanish during the Spanish–American War
 * Battle of Manila (1899), involving Filipino forces versus the United States during the Philippine–American War
 * Battle of Manila (1945), the Liberation of Manila from Japan during World War II

Naval battles

 * Battles of La Naval de Manila (1646)
 * Battle of Manila Bay (1898)

title: Battle of Manila


text:
Talk:Precambrian

Time period or not
I have reverted the page to remove the comment "Because it makes up roughly seven-eights of the earth's history, reffering to it as a singular time period is misleading." From the opening paragraph. If there is a debate about whether it ought to be called a 'time period' or not, then that ought to be mentioned in the article (with opposing views, if there are any, mentioned) it has no place in the opening paragraph, which is merely a summary of what the article is about. Cheers --Monk Bretton 16:52, 15 Feb 2005 (UTC) (PS there is only on f in referring).

 * I understand. bad idea.vvv — Preceding unsigned comment added by 68.224.164.101 (talk) 15:23, 16 February 2005 (UTC)

Copyvio
The section labelled Precambrian era is a cut and paste job from the Columbia Electronic Encyclopedia. I'll remove it. Matt 16:27, 18 February 2006 (UTC)

 * other contributions by Megaman1188
 * http://www.nps.gov/blca/webvc/geo_pre.htm probably PD-usgov (yes, sitenotice says so.) — Preceding unsigned comment added by MattKingston (talk • contribs) 16:44, 18 February 2006 (UTC)

 * The former link is copyrighted, but the latter is in public domain because it is a governmental source and no copyright is explicitly mentioned on the page. I'm not familiar with the Columbia Encyclopedia, but I suspect its information copied from the National Park website. Therefore the text probably didn't violated copyright. However, Wikipedia is not a public domain text dump, so considerable rewriting is needed before the text could be readded. (PS. I fixed Megaman1188's contributions link.)--Jyril 19:19, 18 February 2006 (UTC)

For clarity, the latest edition has:
 * The Columbia Encyclopedia Sixth Edition
 * The Columbia Electronic Encyclopedia, 6th ed. Copyright 2012, Columbia University Press. Licensed from Columbia University Press. All rights reserved. Earnulf Gery (talk) 16:26, 25 September 2022 (UTC)

Oldest rocks
An edit from April 26th of this year correctly cites some research on zircon crystals from 4400 million years ago. But attributing that age to existing "rock beds" (identified as a little older than 3800 Ma in the prior edit) is somewhat misleading, because the zircons are detrital -- they're grains that eroded out of pre-existing rocks. Those older rocks no longer exist, only the zircons do, so the oldest existing rock beds still only date to around 3800 Ma. I'll clarify this in the paragraph about the Hadean Eon. Cephal-odd 17:03, 26 December 2006 (UTC)

Age
It says that earth is 4.5 million years old here, however I usualy seeit as 4.5 billion years old someone please clarify and correct if needed. — Preceding unsigned comment added by Basalock (talk • contribs) 00:29, 3 March 2007 (UTC)

 * It says 4500 million years, which is the same as 4.5 billion - if there is a place "4.5 million" is used, please point it out. Thanks.  Cheers Geologyguy 01:15, 3 March 2007 (UTC)

typo?
I might just be really ignorant, but in the opening paragraph there seems to be a terrible typo... the evolution of abundant macroscopic hard-shelled fossils. I didn't know that fossils could evolve ??? --DragonGuyver 04:03, 8 March 2007 (UTC)

 * Fixed. Thanks. Geologyguy 04:05, 8 March 2007 (UTC)

Smithsonian (AP article)
The Associated Press ran an article today about a fifth-grade student finding a mistake made by the Smithsonian that said the "Precambrian" was an "era". Already a couple of people have tried adding copies of the AP article to Precambrian. May I point out that articles on outside news sources are copyright those news sources. We can link to those sources, and cite them as references, but we should not copy them. See Copyrights. I'm also unconvinced this event (as interesting as it may be to hear about) is relevant to the Wikipedia article on Precambrian. As described in the intro, it's "an informal name." If someone gets it wrong -- even an organization as important and respected as the Smithsonian -- that's not an earthshaking event. I'm posting here in order to open discussion as to whether it should be mentioned at all. I submit that if it is mentioned, it should be mentioned briefly (not giving the whole detail of the article) and not in the intro (which is supposed to give particularly essential information). (Note: For two of the news sites that contains the article, see here and .)-- Why Not A Duck 22:03, 3 April 2008 (UTC)

 * I think that we should put it in. perhaps we could create a new section, such as "references to Precambrian in popular culture". i'm sure there might be other examples and instances? --Steve, Sm8900 (talk) 22:21, 3 April 2008 (UTC)

 * I think it is absurdly trivial and does not belong here at all. Perhaps in an article on Newsworthy accomplishments of 5th graders, but not here. It contributes nothing at all to understanding of the subject of the article. Cheers Geologyguy (talk) 22:58, 3 April 2008 (UTC)

 * I don't think it even merits a brief mention. Bcostley (talk) 23:12, 3 April 2008 (UTC)

 * Totally irrelevant here, this isn't wikitabloid. And as for "references to Precambrian in popular culture" - such sections are usually just absurd piles of trivia - don't need 'em. Vsmith (talk) 23:23, 3 April 2008 (UTC)

Precambrian Z
What are Precambrian Z rocks? This term is introduced without a link or explaination. WilliamKF (talk) 18:48, 30 November 2008 (UTC)

 * This was a scheme set up by the USGS (James, H. L. 1972. Subdivisions of Precambrian: an interim scheme to be used by U. S. Geological Survey. Amer. Assn. Petrol. Geol., 56, pp. 1128-1133) as an interim measure. It was superceded fairly soon afterwards by the IGC and doesn't seem to have been used much, so probably not worth mentioning IMO. Mikenorton (talk) 23:35, 30 November 2008 (UTC)

supereon?
Should we call the Precambrian a "supereon"? The term may be out there, but doesn't look like many stratigraphers use it to refer to the Precambrian. It's more common to speak informally of "Precambrian time". Moreover, some geologists have suggested a Geozoic supereon that overlaps considerably with the Precambrian. —Preceding unsigned comment added by Cephal-odd (talk • contribs) 17:38, 12 September 2009 (UTC)

 * I recommend amending "supereon" to "Eon". "Supereon" does not appear as a level in the |ICS International Chronostratigraphic Chart. A search of |Episodes (the official IUGS journal) shows no publications using this term in an abstract or title. The current terminology is "Eonothem" (chronostratigraphic unit) or "Eon" (geochronological unit). There are obvious difficulties in the Chart (multiple levels are included under the Precambrian Eon), but supereons are not currently included in official terminology.Te Karere (talk) 07:17, 23 June 2018 (UTC)

 * The point about the Geozoic Supereon is that it identifies the period where there is life on earth; as Kowalewski et al. say:"The Geozoic denotes the time of life’s existence on our planet" (The Genozoic Supereon; PALAIOS, 2011, v. 26, p. 251–255, DOI: 10.2110/palo.2011.S03) It has since been found in a number of related papers, it is finding its way into books, and seems not to be related to specific Geologic identifiers. I think it would be confusing for it to be used for such, as in calling the Precambrian a supereon. It should also be noted that it was coined because the term Phanerozoic (visible life) was no longer entirely useful, because there is clear evidence of life that goes well back into the Precambrian. Earnulf Gery (talk) 12:21, 25 September 2022 (UTC)

era?
does this even matter? The Precambrian has sometimes been referred to erroneously as an "Era", which is a subdivision of an eon. why is this here? — Preceding unsigned comment added by Bdoom (talk • contribs) 20:26, 26 October 2009 (UTC)

 * eon(s)
 * Precambrian EON is comprised by THREE other EONs ? (Hadean, Archaean and Proterozoic EONS)
 * Next EON is the Phanerozoic, but it is comprised of three ERAs (Paleozoic, Mesozoic and Cenozoic ERAs)
 * So, like an Eon is comprised of Eras and an Era is comprised of Periods... and Periods are comprised of Epochs...
 * In this case it seems the Precambrian EON is comprised of three other EONS; followed by a fourth EON the Phanerozoic? Bhug (talk) 20:54, 2 November 2009 (UTC)

 * I have removed the word 'period' after one instance of 'Precambrian' in this article. The Precambrian is also presented elsewhere in the article (and rightly, I would assert) as a 'supereon' and it is then stated to be divided into various eons. The accompanying geologic table has it as an 'eon'. The term 'Precambrian' is an awkward one for which a single appropriate word denoting 'interval of geologic(al) time' is hard to find and which, as a result is abused. It is, so far as I'm aware, the sole example of a 'supereon' but is more often referred to as a 'period' (or indeed an 'eon') - both these terms being used in the non-technical sense. This article more than any other ought to address this issue.
 * I have edited many Wikipedia pages replacing 'era' with period' when referring to the Jurassic, Cambrian etc etc and sometimes replacing 'period' with 'era' when referring to the Mesozoic etc but when it comes to Precambrian, it is difficult to know what to do for the best. I have tried supereon (with the wikilinking square brackets to provide the uninitiated with an idea as to what a supereon is) but often the popular (but technically inaccurate) words 'period or 'era' seem to fit better (stylistically at least) and I have guiltily let them be. Comment welcome!  cheers Geopersona (talk) 07:10, 12 December 2010 (UTC)

What percentage of geologic(al) time does the Precambrian represent?
If we're settled on the Cambrian starting 542 million years ago then we need to ask when we consider geologic(al) time to have started. The article Age of the Earth would suggest we go for 4567 million years ago. That leaves us with a Precambrian supereon extending over some 4025 million years. If we do the math(s) then that gives us figure of 88.1% of all of geologic(al) time being constituted by the Precambrian - neither the 85% nor the 87% figure which have appeared on this page recently. Anyone care to offer up a different form of reasoning? thanks Geopersona (talk) 20:04, 20 December 2010 (UTC)

 * A minor update: the Age of Earth article now offers up 4540 million years and the start of the Cambrian has recently been altered to 538.8 ma so the Precambrian 'supereon' on current figures amounts to 4001.2 million years - the (math)s then offers up a figure of 88.13% of all of geologic(al) time being constituted by the Precambrian. Expressed in vulgar fractions, that's marginally closer to 7/8 (87.5%) than it is to 8/9 (88.89%). For simplicity, I've neglected the uncertainties which attend both dates. Geopersona (talk) 12:48, 15 October 2022 (UTC)

Help requested to correct format errors
I reversed an IP user's edit which appeared to me to be an error or vandalism, and I appear to have introduced some Skype formatting text into the article (see reference 9, Bleeker). I don't know how this happened and I don't seem to be able to correct it. Could someone else who watches this page (and who doesn't have Skype toolbar installed) please remove this extra text? I'm reluctant to keep trying myself in case I merely add more spurious formatting to the article. Sorry for the inconvenience. Thanks, Hallucegenia (talk) 16:44, 23 December 2010 (UTC)

Prediction

 * "It seems likely that it will eventually be replaced by the preferred terms Proterozoic, Archaean, and Hadean, and become a deprecated term. (See geologic time scale.)"

I removed this, since we shouldn't be predicting future events. I do think though, that we need to include something along these lines. Can anyone find a source for it happening already, or even just that these terms are preferable?--78.151.188.237 (talk) 20:41, 2 January 2011 (UTC)

 * In any case, there is still a lot of "Precambrian Geology" which covers one or another or all of these time periods. As long as it is found to be useful, geologists will use it, and not just as a placeholder for what was originally seen as that period before the Cambrian Period, and a sort of geologic dark ages. Earnulf Gery (talk) 15:38, 26 September 2022 (UTC)

Pangea animation
The animation above the infobox shows the break-up of the pangean super-continent to form the seven continets we have today. It is very nice, but since pangea wasn't formed until the Permian period, 299 – 251 million years ago, it isn't relavent. Could someone find something more apropriate? 81.187.148.35 (talk) 11:33, 2 February 2011 (UTC)

 * Thanks for pointing that out, I've replaced it with a Late Precambrian plate reconstruction image - there don't appear to be any Precambrian animations available. Mikenorton (talk) 13:55, 2 February 2011 (UTC)

Missing info of primary interest
The precambrian layer as I understand it is observed in the fossil record as having distinct species of fossils. Shouldn't such a list of species be provided here since it's so basic to what precambrian is? —Preceding unsigned comment added by 129.115.2.48 (talk) 19:22, 28 March 2011 (UTC)

 * The fossil record of the Precambrian is described in the section 'Life before the Cambrian'. Mikenorton (talk) 20:44, 28 March 2011 (UTC)

Precambrian/Neoproterozoic graphical timeline
The infobox was not displaying the period's graphical timeline correctly, because there was no template for it. I created a redirect from Template:Precambrian graphical timeline to Template:Neoproterozoic graphical timeline to fix this. The larger question is, what is the difference between Precambrian and Neoproterozoic? -- Donald Albury 00:00, 29 March 2011 (UTC)

Nevermind, turned off call to Precambrian graphical timeline, which doesn't exist. -- Donald Albury 00:13, 29 March 2011 (UTC)

 * Now it does. RockMagnetist (talk) 02:19, 2 May 2012 (UTC)

Precambrian monuments?
I can't think of any Precambrian monuments. Can someone think of one? --198.248.159.19 (talk) 17:37, 30 November 2012 (UTC)

Misleading graphic
It is unfortunate that this article now sports (at top right) an outwardly attractive graphic image titled 'Precambrian Period' and displaying a palaeoglobe as it does. Firstly the Precambrian time interval is not a 'period' in the ordinarily understood sense of the term used by geologists - at least we might put 'period' into inverted commas or else dispense with the term entirely. Secondly there is no one palaeogeographical layout which makes any sense at all for a time interval which represents nearly 9/10 of the Earth's history and for a part of which there were no differentiated regions of continental and oceanic crust. Anyone else care to comment? cheers Geopersona (talk) 19:36, 23 June 2013 (UTC)

 * Removed the Geological period template due to inappropriate "period" bit. Retained the image with a relevant caption. Vsmith (talk) 21:50, 23 June 2013 (UTC)

Template not existing
As clearly visible, the article contains a template that does not exist. Please fix this to one that does. The Average Wikipedian (talk) 13:54, 23 May 2015 (UTC)

 * I've fixed the vandalism at 'Template:Eons graphical timeline', which caused the display problem. Mikenorton (talk) 15:32, 23 May 2015 (UTC)

 * Well, it's obviously not fixed, at least now. Can someone please fix?68.134.221.253 (talk) 01:25, 5 February 2016 (UTC)

 * Can you specify what is wrong currently? Template:Eons graphical timeline on the top right works well for me. Gap9551 (talk) 23:25, 5 February 2016 (UTC)

Precabmbrian Eon/SuperEon and color used
I see there is a controversy over the naming of the Precambrian. Should it be an Eon or SuperEon or not used at all? The colors adopted for the Eons, Eras, etc and shown here: http://www.stratigraphy.org/ICSchart/ChronostratChart2016-04.pdf unfortunately they use the same color for the Precambrian as well as the Proterozoic Eon, at least that is how it appears to my eyes. In the article, the color dark green is used to mark the Precambrian but the title bar is shown using the color adopted and used in the ICS chart. Should we change the color of that Precambrian title and if so how? I hesitate to edit a feature of WP that seems very basic to many articles. If the International Commission on Stratigraphy can't make up their minds how to label the Precambrian, or what color to use, then maybe we should be so bold as to do it for them. Personally, I think the dark green employed is best and we should use the term Supereon. In addition, perhaps the text "Precambrian" could be added to the verticle green bar to make things clearer. Zedshort (talk) 18:56, 7 September 2016 (UTC)

First complex life in Neoproterozoic?
Current text contains: "the first complex multicellular life forms seem to have appeared at roughly 1500 Ma, in the Neoproterozoic era of the Proterozoic eon."

But according to the illustration and to the article on Neoproterozoic, the Neoproterozoic began only 1000 Mya, so the quoted sentence is at least confusing.

Also, is "complex multicellular" pleonastic. I'm no expert in this area so just askin'. 83.162.131.112 (talk) 06:58, 10 July 2017 (UTC)

Beginning of Precambrian in infobox
The lead says the Precambrian began about 4.6 billian years ago. The Overview section says the Earth coalesced at roughly 4,543 Ma. The infobox gives the beginning date as 4567.3 +_ 0.16 Ma. That very precise date is taken from, which also has a chart displaying the date in a rounded form, 4567 Ma. Should all the mentions of the beginning date for the Precambrian use the precise 4,567.30 ± 0.16 Ma, or would the rounded form, 4,567 Ma, be more reader friendly? Also, the date of the coalescence of the Earth should be no later than the date of the beginning of the Precambrian (I have not looked for sources for that).

Donald Albury 16:00, 23 November 2023 (UTC)

title: Talk:Precambrian


text:
Talk:Verden an der Aller

Year of the Bloddy Trial
Year of Bloody Trial

For german referenence, check [].

The year changes from 781 to 784 in various sources; this one seems most "official" --UsagiYojimbo 16:52, 15 Feb 2005 (UTC)

Name of the article
Verden, Germany is a rather non-standard article name. We usually disambiguate cities by state, not country: so it should be Verden, Lower Saxony. Or we could avoid the issue by using the full official name of the city, Verden (Aller), which is also the title of the corresponding German article. Comments? --Chl 12:16, 25 March 2006 (UTC)

 * "Verden, Lower Saxony" is rather uncommon and therefore never used in Germany. Instead, I suggest using "Verden (Aller)" for disambiguation. --217.85.149.29 10:01, 30 April 2006 (UTC)

 * "Verden (Aller)" it should be.Cosal 09:31, 1 May 2006 (UTC)

The name of the town is simply "Verden". The name is derived from Old Saxon "fard" (dative "ferdi") = "route, crossing point" (in German "Weg, Übergangsstelle") meaning the ford or ferry across the river Aller. "Fard" in turn is associated with the both Old High German and Old Saxon verb "faran" = "to move, to drive" (in German "sich fortbewegen, fahren"). Source: "Duden -- Geographische Namen in Deutschland" (Geographic names in Germany). It is also common to say "Verden Aller" which is spelled "Verden (Aller)" or "Verden/Aller". But the name affix "Aller" is not part of the name. It is just a discriminator to distinguish Verden from other towns having similar names like "Vörden" or "Werden" -- there are multiple places whose names are derived from "ford". "Verden (Aller)" became popular when in Germany the French town Verdun was also called Verden. And both Verden (Aller) and Verden (Maas) = Verdun were seats of a bishopric. So "Verden (Aller)" is used in contextes more supra-regional. Thus "Verden (Aller)" is the right name for the Wikipedia article. "Verden an der Aller" is not a name at all. It just means "Verden (located) at the (river) Aller". Compare the homepage of Verden. In the upper part only the name Verden is mentioned. But in the contact address you see the full name "Stadt Verden (Aller)" i.e. urban municipality of Verden (Aller). --Ukehh (talk) 20:15, 16 June 2014 (UTC)
 * I'm born in Verden, and I've grown up in Verden. I support to rename the article to "Verden (Aller)".

title: Talk:Verden an der Aller