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Hanbok

The  is a traditional clothing of the Korean people. The term is primarily used by South Koreans; North Koreans refer to the clothes as  (, lit. 'Korean clothes'). The clothes are also worn in the Korean diaspora, especially by Koreans in China.

Koreans have worn since antiquity. The earliest visual depictions of can be traced back to the Three Kingdoms of Korea period (57 BC to 668 AD) with roots in the Proto-Koreanic people of what is now northern Korea and Manchuria. The clothes are also depicted on tomb murals from the Goguryeo period (4th to 6th century AD), with the basic structure of the established since at latest this period. The ancient consisted of a  (top),  (pants),  (skirt), and the  (coat). The basic structure of was designed to facilitate the ease of movement and integrated many motifs of Mu-ism.

For thousands of years, the hanbok most people wore was pure white with no ornamentation. More ornate was typically reserved for special occasions such as weddings. The color white was seen as pure. For some periods, commoners were even forbidden from wearing colorful  regularly. However, on the other hand, during the Joseon Dynasty and Japanese occupation of Korea, there was also an attempt to ban white clothes and encourage non-bleached dyed clothes, which ultimately failed.

Modern are typically patterned after the  worn in the Joseon dynasty, especially those worn by the nobility and royalty. There is some regional variation in design between South Korea, North Korea, and Koreans in China as a result of the relative isolation from each other that these groups experienced in the late 20th century. Despite this, the designs have somewhat converged again since the 1990s, especially due to increased cultural and economic exchange after the Chinese economic reform. Nowadays, contemporary Koreans wear for formal or semi-formal occasions and events such as weddings, festivals, celebrations, and ceremonies. In 1996, the South Korean Ministry of Culture, Sports and Tourism established Hanbok Day to encourage South Korean citizens to wear the.

Etymology
The term  appeared relatively recently and is connected with the historical context in which it appeared. The term emerged in the late Joseon period, when the Empire of Japan and other western countries competed to place Korea under their own sphere of influence. The first known use of the term is in an 1881 document from the late Joseon period entitled. There, is used to distinguish Korean clothing from Japanese- and Western-style clothing.  was again used in an 1895 document to distinguish between Korean and Japanese clothing. These two usages predate the Korean Empire's popularization of the use of the hanja character  to describe the Korean people.

Beginning in 1900, Korean newspapers used the hanja character  in words that described Korean clothing, such as,  , and.  was used in a 1905 newspaper article to describe the clothing of one of the righteous armies. Other words with similar meanings, such as  and , were concurrently used.

Since the division of Korea, South Korea has preferred the term while North Korea has preferred the term. This reflects the general trend of South Korea's preference for the term and North Korea's for.

Components and design
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For women, traditional consist of the  (top) and the  (skirt). The ensemble is often known as. For men, consist of  and loose-fitting  (trousers).

There are also a variety of vests, jackets and coats on top of this ensemble. For women, there are Jangsam, Dansam, Wonsam, and more. For men, some examples are, , Danryeong-ui, Joong-chimak, Sochang-ui, Daechang-ui, etc.

Jeogori
The (저고리) is the basic upper garment of the, worn by both men and women. It covers the arms and upper part of the wearer's body.

There are various styles and types of varying in fabric, sewing technique, and shape. The basic form of a consists of gil, git, dongjeong, goreum and sleeves. Gil is the large section of the garment on both front and back sides, and git  is a band of fabric that trims the collar. Dongjeong is a removable white collar placed over the end of the git and is generally squared off. The goreum are fabric-strings that tie the. Women's may have kkeutdong, a different colored cuff placed at the end of the sleeves. Contemporary are presently designed with various lengths.

Goreum
Goreum (고름) refers to the strings that fasten clothes together.

Traditionally, there are many types of goreum. Fabric goreum were potentially used since Gojoseon. They were originally practical but often decorative. Silla had regulations against types of Dae (belts) and decorative goreum for each Golpoom. Southern parts of Korea, including Silla, had a colorful goreum on the front of the neck, which influenced Yayoi culture. Parts of Goguryeo style had a fabric goreum loop around the waist with a decorative ribbon to the side like a belt. Generally, thin and short ones were used on the inside and more decorative, colourful ones were used on the outside. Since the early form of the was usually wrapped across the front, the outside goreum was placed on the side of the wearer, below the armpit. Starting in Joseon dynasty, the goreum slowly moved to the front of the. In the 20th century, the goreum became the commonly known long and wide decorative ribbons on the front of the and was coined the Ot-goreum.

Danchu
Danchu (buttons) can also be used as an alternative to Goreum.

There are many types of danchu. One example is the Maedeup-danchu which were often used to keep symmetrical collars together in the front and used for practical uses on military uniforms and court uniforms. They have long horizontal lines on either side like Manchurian buttons or looked like a ball and lasso. Magoja-danchu are often big decorative metal, gems or stones buttons usually on Jokki (vest).

Chima
Chima (치마) refers to "skirt", and is also called sang or gun  in hanja. The underskirt, or petticoat layer, is called sokchima. Chima-malgi is the waistband that trims the top of the chima. Chima were typically made from rectangular panels that were pleated or gathered into the chima-malgi (waistband). This waistband also had goreum strings for fastening the skirt around the body. From the Goguryeo to Joseon periods, chima have been striped, pleated, patchworked, and gored.

Sokchima was largely made in a traditional way until the early 20th century when shoulder straps were added, later developing into a sleeveless bodice or "reformed" petticoat called Eo-Kkeh-Heo-ri-Chima. By the mid-20th century, some outer chima also gained a sleeveless bodice, which was then covered by the.

Baji
Baji (바지) refers to the bottom part of the men's. It is the term for "trousers" in Korean. Compared to western style pants, does not fit tightly. The roomy design is aimed at making the clothing ideal for sitting on the floor and an ethnic style that dates back to the Three kingdoms period. It functions as modern trousers do and the term is commonly used in Korea to refer to every kind of pants.

The baji-malgi is a waistband of the that has a long string of goreum.

can be unlined trousers, leather trousers, silk pants, or cotton pants, depending on style of dress, sewing method, embroidery and so on.

Sokgot
Sokgot is a collective noun for various types of traditional Korean undergarments. They were worn as part of a hanbok before the import of Western-style underwear. Women usually wore several layers of undergarments, the more layers they had the richer they were. Undergarments were considered very important, thus it happened that the quality and material of the underwear was better than that of the visible outer layers.

Deot-ot
Deot-ot refers to a category of outer layers worn on top of the. There are many varieties other than the ones listed here.

Po
Po (포/袍) is a generic term referring to an outer robe or overcoat. There are two general types of po, the Korean type and the Chinese type. The Korean type is a common style from the Three Kingdoms of Korea period, and it is used in the modern day. The Chinese type consist of different types of po from mainland China.

Durumagi is a type of po that was worn for protection against the cold. It has been widely worn as an outer robe over and. It is also called jumagui, juchaui, or juui.

Banbi
Banbi (반비/半臂, lit. 'half sleeve') are a type Hanfu that originated from the Tang dynasty. Banbi refers to variety of short sleeved garments worn on top of inner garments, typically the Yuanling pao (Chinese: 圓領袍, 'round collar robe'). Numerous outer half-sleeved Banbi can be seen in ancient Tang-era paintings, murals, and statues.

Bigap
A sleeveless outer garment that was derived from Mongolian clothing worn during the Goryeo period.

Baeja and kwaeja
Baeja refers to sleeveless outer garments that are worn on top of inner garments. It can be different lengths, short to long. Kwaeja is interchangeable with baeja, but kwaeja often refers to men's clothing.

Dapho
The dapho (도포/道袍) is a short-sleeved men's outer garment, often part of military uniform or official uniform.

Jokki
Jokki (조끼) is a type of vest, while magoja is an outer jacket. The jokki was created around late Joseon dynasty, as Western culture began to affect Korea.

Magoja
Magoja (마고자) does not have a git, the band of fabric trimming the collar. The magoja for men sometimes has seop (, overlapped column on the front) and is longer than women's magoja, with both sides open at the bottom. A magoja can be made of silk and often adorned with danchu which are usually made from amber. In men's magoja, buttons are attached to the right side, as opposed to the left as in women's magoja.

It was introduced to Korea after Heungseon Daewongun, the father of King Gojong, returned from his political exile in Tianjin in 1887. Long sleeved Magoja were derived from the magwae he wore in exile because of the cold climate there. Owing to its warmth and ease of wear, magoja became popular in Korea. It is also called "deot jeogori" (literally "an outer ") or magwae.

Children's hanbok

Traditionally, Kkachi durumagi (literally "a magpie's overcoat") were worn as seolbim, new clothing and shoes worn on the Korean celebration of Korean New Year, while at present, it is worn as a ceremonial garment for dol, the celebration for a baby's first birthday. It is a children's colorful overcoat. It was worn mostly by young boys. The clothes is also called obangjang durumagi which means "an overcoat of five directions". It was worn over (a jacket) and jokki (a vest), while the wearer could put jeonbok (a long vest) over it. Kkachi durumagi was also worn along with headgear such as bokgeon (a peaked cloth hat), hogeon (peaked cloth hat with a tiger pattern) for young boys or gulle (decorative headgear) for young girls.

Foreign influences in design
The clothing of Korea's rulers and aristocrats after AD 7, was influenced by both foreign and indigenous styles, including significant influences from various Chinese dynasties, resulting in some styles of clothing, such as the from Song dynasty, gwanbok (관복 or 단령) worn by male officials were generally adopted from and/or influenced by the court clothing system of the Tang, Song, and Ming dynasties, and Court clothing of women in the court and women of royalty were adapted from the clothing style of Tang and Ming dynasties. The cheolick, which originated in Mongolia, took the form of everyday clothing and military uniform.

The cultural exchange was also bilateral and Goryeo had cultural influence on some clothing of Yuan dynasty worn by the upper class (i.e. the clothing worn by Mongol royal women's clothing and in the Yuan imperial court ). Commoners were less influenced by these foreign fashion trends, and mainly wore a style of indigenous clothing distinct from that of the upper classes.

Design and social position
The choice of can also signal social position. Bright colors, for example, were generally worn by children and girls, and muted hues by middle aged men and women. Unmarried women often wore yellow and red chima while matrons wore green and red, and women with sons donned navy. The upper classes wore a variety of colours. Contrastingly, commoners were required to wear white, but dressed in shades of pale pink, light green, gray and charcoal on special occasions.

The material of the also signaled status. The upper classes dressed in of closely woven ramie cloth or other high grade lightweight materials in warmer months and of plain and patterned silks throughout the remainder of the year. Commoners, in contrast, were restricted to cotton. Patterns were embroidered on to represent the wishes of the wearer. Peonies on a wedding dress, represented a wish for honor and wealth. Lotus flowers symbolized a hope for nobility, and bats and pomegranates showed the desire for children. Dragons, phoenixes, cranes and tigers were only for royalty and high-ranking officials.

In addition, special variants were made for officials and shamans.

Three Kingdoms of Korea
The earliest visual depictions of can be traced back to the Three Kingdoms of Korea period (57 BC to 668 AD). The origin of ancient can be found in the ancient clothing of what is now today's Northern Korea and Manchuria. Some hypothesize that the of antiquity can trace its origin to nomadic clothing of the Eurasian Steppes (Scythian clothing), spanning across Siberia from western Asia to Northeast Asia, interconnected by the Steppe Route. Reflecting its nomadic origins in western and northern Asia, ancient shared structural similarities with hobok type clothing of the nomadic cultures in East Asia, designed to facilitate horse-riding and ease of movement,  such as the use of trousers and jacket for male clothing and the use of left closure in its jacket. However, although the ancient reflects some similarity with the Scythian clothing, numerous differences between the two types of clothing have also been observed which led associated professor Youngsoo Chang from the Department of Cultural Properties in Gyeongju University in 2020 to suggest that the theory about Scythian clothing being the archetype of the ancient, a theory accepted as common knowledge in Korean academia, having to be revised.

Goguryeo
Early forms of can be seen in the art of Goguryeo tomb murals in the same period from the 4th to 6th century AD. Trousers, long jackets and twii (a sash-like belt) were worn by both men and women. Women wore skirts on top of their trousers. These basic structural and features of remain relatively unchanged to this day, except for the length and the ways the  opening was closed as over the years. The opening was initially closed at the center front of the clothing, similar to a kaftan or closed to the left, before closing to the right side eventually became mainstream. Since the sixth century AD, the closing of the at the right became a standard practice. The length of the female also varied. For example, women's seen in Goguryeo paintings of the late 5th century AD are depicted shorter in length than the man's.

In early Goguryeo, the jackets were hip-length Kaftan tunics belted at the waist, and the po overcoats were full body-length Kaftan robes also belted at the waist. The pants were roomy, bearing close similarities to the pants found at Xiongnu burial site of Noin Ula. Some Goguryeo aristocrats wore roomy pants with tighter bindings at the ankle than others, which may have been status symbols along with length, cloth material, and colour. Women sometimes wore pants or otherwise wore pleated skirts. They sometimes wore pants underneath their skirts.

Two types of hwa (shoes) were used, one covering only the foot, and the other covering up to the lower knee.

During this period, conical hat and its similar variants, sometimes adorned with long bird feathers, were worn as headgear. Bird feather ornaments, and bird and tree motifs of golden crowns, are thought to be symbolic connections to the sky.

The Goguryeo period royal attire was known as ochaebok. The precursor of what is now known as the durumagi was introduced during the Goguryeo period from a long coat worn by Northern asian. Originally the durumagi was worn by the upper class of Goguryeo for various ceremonies and rituals. It was later modified and worn by the general population. In Muyong-chong murals of Goguryeo, there are male dancers in short with long flexible sleeves and female dancers wearing long coats with long flexible sleeves, all performing a dance. This type of long sleeves, similar to the Chinese water-sleeves, was passed down to Goryeo, Joseon, and present day Korean court dances and mu-ism rituals.

North-South States period
In the North-South States Period (698–926 AD), Silla and Balhae adopted dallyeong, a circular-collar robe from the Tang dynasty of China. In Silla, the dallyeong was introduced by Muyeol of Silla in the second year of queen Jindeok of Silla. The dallyeong style from China was used as gwanbok, a formal attire for government officials, grooms, and dragon robe, a formal attire for royalty until the end of Joseon.

United Silla
The Silla Kingdom unified the Three Kingdoms in 668 AD. The Unified Silla (668-935 AD) was the golden age of Korea. In Unified Silla, various silks, linens, and fashions were imported from Tang China and Persia. In the process, the latest fashions trend of Luoyang which included Chinese dress styles, the second capital of Tang, were also introduced to Korea, where the Korean silhouette became similar to the Western Empire silhouette. King Muyeol of Silla personally travelled to the Tang dynasty to voluntarily request for clothes and belts; it is however difficult to determine which specific form and type of clothing was bestowed although Silla requested the bokdu (幞頭; a form of hempen hood during this period), danryunpo (團領袍; round collar gown), banbi, baedang (䘯襠), and pyo (褾). Based on archaeological findings, it is assumed that the clothing which was brought back during Queen Jindeok rule are danryunpo and bokdu. The bokdu also become part of the official dress code of royal aristocrats, court musicians, servants, and slaves during the reign of Queen Jindeok; it continued to be used throughout the Goryeo dynasty. In 664 AD, Munmu of Silla decreed that the costume of the queen should resemble the costume of the Tang dynasty; and thus, women's costume also accepted the costume culture of the Tang dynasty. Women also sought to imitate the clothing of the Tang dynasty through the adoption of shoulder straps attached to their skirts and wore the skirts over the. The influence of the Tang dynasty during this time was significant and the Tang court dress regulations were adopted in the Silla court. The clothing of the Tang dynasty introduced in Silla made the clothing attire of Silla Court extravagant, and due to the extravagance, King Heundeog enforced clothing prohibition during the year 834 AD. The general public of Silla continued to wear their own traditional clothing.

Balhae
Balhae (698–926 AD) imported many various kinds of silk and cotton cloth from the Tang and diverse items from Japan including silk products and ramie. In exchange, Balhae would export fur and leather. The clothing culture of Balhae was heterogeneous; it was not only influenced by the Tang dynasty but also had inherited Goguryeo and indigenous Mohe people elements. Early Balhae officials wore clothing appeared to continue the Three Kingdoms period tradition. However, after Mun of Balhae, Balhae started to incorporate elements from the Tang dynasty, which include the putou and round collared gown for its official attire. Male everyday clothing was similar to Gogoryeo clothing in terms of its headgear; i.e. hemp or conical hats with bird feathers; they also wore leather shoes and belts. Women clothing appears to have adopted clothing from Tang dynasty (i.e. upper garment with long sleeves which is partially covered by a long skirts and shoes with curled tips to facilitate walking) but also wore the ungyeon (Yunjuan; a silk shawl) which started to appear after the demise of the Tang dynasty. The Ungyeon use is unique to late Balhae period and is distinctive from the shawl which was worn by the women of the Tang dynasty. People from Balhae also wore fish-skin skirts and sea leopard leather top to keep warm.

Goryeo dynasty
The Chinese style imported in the Northern-South period, however, did not affect still used by the commoners, In the following Goryeo period, use of the Chinese Tang dynasty style of wearing the skirt over the top started to fade, and the wearing of top over skirt was revived in the aristocrat class. The way of wearing the top under the chima (Tang-style influenced fashion) did not disappear in Goryeo and continued to coexist with the indigenous style of wearing of the top over skirt throughout the entire Goryeo dynasty; this Tang-style influenced fashion continued to be worn until the early Joseon dynasty and only disappeared in the middle and late Joseon periods.

In Goryeo Buddhist paintings, the clothing and headwear of royalty and nobles typically follows the clothing system of the Song dynasty. The Goryeo painting "Water-Moon Avalokiteshvara", for example, is a Buddhist painting which was derived from both Chinese and Central Asian pictorial references. On the other hand, the Chinese clothing worn in Yuan dynasty rarely appeared in paintings of Goryeo. The Song dynasty system was later exclusively used by Goryeo Kings and Goryeo government officials after the period when Goryeo was under Mongol rule (1270 –1356). However, even in the Buddhist painting of the late Goryeo, such as the Royal Palace Mandala, the courting ladies are depicted in Tang and Song dynasty-style court dress clothing, which is a different style from the Mongol Yuan court.

 went through significant changes under Mongol rule. After the Goryeo dynasty signed a peace treaty with the Mongol Empire in the 13th century, Mongolian princesses who married into the Korean royal house brought with them Mongolian fashion which began to prevail in both formal and private life. A total of seven women from the Yuan imperial family were married to the kings of Goryeo. The Yuan dynasty princess followed the Mongol lifestyle who was instructed to not abandon the Yuan traditions in regards to clothing and precedents. As a consequence, the clothing of Yuan was worn in the Goryeo court and impacted the clothing worn by the upper-class families who visited the Goryeo court. The Yuan clothing culture which influenced the upper classes and in some extent the general public is called Mongolpung. King Chungryeol, who was political hostage to the Yuan dynasty and pro-Yuan, married the princess of Yuan announcing a royal edict to change into Mongol clothing. After the fall of the Yuan dynasty, only Mongol clothing which were beneficial and suitable to Goryeo culture were maintained while the others disappeared. As a result of the Mongol influence, the chima skirt was shortened, and was hiked up above the waist and tied at the chest with a long, wide ribbon, the g (an extending ribbon tied on the right side) instead of the twii (i.e. the early sash-like belt) and the sleeves were curved slightly.

The cultural exchange was also bilateral and Goryeo had cultural influence on the Mongols court of the Yuan dynasty (1279–1368); one example is the influence of Goryeo women's on the attire of aristocrats, queens, and concubines of the Mongol court which occurred in the capital city, Khanbaliq. However, this influence on the Mongol court clothing mainly occurred in the last years of the Yuan dynasty. Throughout the Yuan dynasty, many people from Goryeo were forced to move into the Yuan; most of them were kongnyo (literally translated as "tribute women"), eunuchs, and war prisoners. About 2000 women from Goryeo were sent to Yuan as kongnyo against their will. Although women from Goryeo were considered very beautiful and good servants, most of them lived in unfortunate situations, marked by hard labour and sexual abuse. However, this fate was not reserved to all of them; and one Goryeo woman became the last Empress of the Yuan dynasty; this was Empress Gi who was elevated as empress in 1365. Most of the cultural influence that Goryeo exerted on the upper class of the Yuan dynasty occurred when Empress Gi came into power as empress and started to recruit many Goryeo women as court maids. The influence of Goryeo on the Mongol court's clothing during the Yuan dynasty was dubbed as Goryeoyang ("the Goryeo style") and was rhapsodized by the Late Yuan dynasty poet, Zhang Xu, in the form of a short banbi (半臂) with square collar (方領). However, so far, the modern interpretation on the appearance of Mongol royal women's clothing influenced by Goryeo is based on authors' suggestions. According to Hyunhee Park: "Like the Mongolian style, it is possible that this Koryŏ style [Koryŏ yang] continued to influence some Chinese in the Ming period after the Ming dynasty replaced the Yuan dynasty, a topic to investigate further."

Joseon dynasty
Neo-Confucianism as the ruling ideology in Joseon was established by the early Joseon dynasty kings; this led to the dictation of clothing style worn by all social classes in Joseon (including the dress of the royals, the court members, the aristocrats and commoners) in all types of occasions, which included wedding and funerals. Social values such as the integrity in men and chastity in women were also reflected in how people would dress. After the Japanese invasions of Korea (1592–98) or Imjin War, economic hardship on the peninsula may have influenced the closer-fitting styles that use less fabric.

Women's everyday wear
Early Joseon continued the women's fashion for baggy, loose clothing, such as those seen on the mural from the tomb of Bak Ik (1332–1398); the murals from the tomb of Bak Ik are valuable resources in Korean archaeology and art history for study of life and customs in the early Joseon. The women of the upper classes, the monarchy and the court wore which was inspired by the Ming dynasty clothing while simultaneously maintaining a distinctive Korean-style look; in turn, the women of the lower class generally imitated the upper-class women clothing. During the Joseon dynasty, the chima or skirt adopted fuller volume, while the or blouse took more tightened and shortened form, features quite distinct from the  of previous centuries, when chima was rather slim and  baggy and long, reaching well below waist level.

In the 15th century, neo-confucianism was very rooted in the social life in the fifteenth and sixteenth centuries which lead to the strict regulation of clothing (including fabric use, colours of fabric, motifs, and ornaments) based on status. Neo-confucianism also influence women's wearing of full-pleated chima, longer jeogori, and multiple layers clothing in order to never reveal skin. In the 15th century, women started wearing of full-pleated chima which completely hide the body lines and longer-length jeogori. The 15th century AD chima-jeogori style was undoubtedly a clothing style introduced from China consisting of longer and pleated chima.

At the end of the 19th century, as mentioned above, Heungseon Daewongun introduced magoja, a Manchu-style jacket, which is often worn over to this day.

A clothes reformation movement aimed at lengthening  experienced wide success in the early 20th century and has continued to influence the shaping of modern. Modern  are longer, although still halfway between the waistline and the breasts. Heoritti are sometimes exposed for aesthetic reasons.

Men's everyday wear
Men's saw little change compared to women's. The form and design of and  hardly changed.

In contrast, men's lengthy outwear, the equivalent of the modern overcoat, underwent a dramatic change. Before the late 19th century, yangban men almost always wore jungchimak when traveling. Jungchimak had very lengthy sleeves, and its lower part had splits on both sides and occasionally on the back so as to create a fluttering effect in motion. To some this was fashionable, but to others, namely stoic scholars, it was nothing but pure vanity. Daewon-gun successfully banned jungchimak as a part of his clothes reformation program and jungchimak eventually disappeared.

Durumagi, which was previously worn underneath jungchimak and was basically a house dress, replaced jungchimak as the formal outwear for yangban men. Durumagi differs from its predecessor in that it has tighter sleeves and does not have splits on either sides or back. It is also slightly shorter in length. Men's has remained relatively the same since the adoption of durumagi. In 1884, the Gapsin Dress Reform took place. Under the 1884's decree of King Gojong, only narrow-sleeves traditional overcoat were permitted; as such, all Koreans, regardless of their social class, their age and their gender started to wear the durumagi or chaksuui or ju-ui (周衣).

Hats was an essential part formal dress and the development of official hats became even more pronounced during this era due to the emphasis of Confucian values. The gat was considered an essential aspect in a man's life; however, to replace the gat in more informal setting, such as their residences, and to feel more comfortable, Joseon-era aristocrats also adopted a lot hats which were introduced from China, such as the banggwan, sabanggwan, dongpagwan, waryonggwan, jeongjagwan. The popularity of those Chinese hats may have partially been due to the promulgation of Confucianism and because they were used by literary figures and scholars in China. In 1895, King Gojong decreed adult Korean men to cut their hair short and western-style clothing were allowed and adopted.

Material and color
The upper classes wore of closely woven ramie cloth or other high-grade lightweight materials in warm weather and of plain and patterned silks the rest of the year. Commoners were restricted by law as well as resources to cotton at best.

The upper classes wore a variety of colors, though bright colors were generally worn by children and girls and subdued colors by middle-aged men and women. Commoners were restricted by law to everyday clothes of white, but for special occasions they wore dull shades of pale pink, light green, gray, and charcoal. The color of chima showed the wearer's social position and statement. For example, a navy color indicated that a woman had son(s). Only the royal family could wear clothing with geumbak-printed patterns (gold leaf) on the bottom of the chima.

Headdresses
Both male and female wore their hair in a long braid until they were married, at which time the hair was knotted; man's hair was knotted in a topknot called sangtu (상투) on the top of the head, and the woman's hair was rolled into a ball shaped form or komeori and was set just above the nape of the neck.

A long pin, or binyeo (비녀), was worn in women's knotted hair as both a fastener and a decoration. The material and length of the binyeo varied according to the wearer's class and status. And also wore a ribbon or daenggi (댕기) to tie and to decorate braided hair. Women wore a jokduri on their wedding day and wore an ayam for protection from the cold. Men wore a gat, which varied according to class and status.

Before the 19th century, women of high social backgrounds and gisaeng wore wigs (gache). Like their Western counterparts, Koreans considered bigger and heavier wigs to be more desirable and aesthetic. Such was the women's frenzy for the gache that in 1788 King Jeongjo banned by royal decree the use of gache, as they were deemed contrary to the Korean Confucian values of reserve and restraint.

Owing to the influence of Neo-Confucianism, it was compulsory for women throughout the entire society to wear headdresses (nae-oe-seugae) to avoid exposing their faces when going outside; those headdresses may include suegaechima (a headdress which looked like a chima but was narrower and shorter in style worn by the upper-class women and later by all classes of people in late Joseon), the jang-ot, and the neoul (which was only permitted for court ladies and noblewomen).

In the 19th century yangban women began to wear jokduri, a small hat that replaced gache. However gache enjoyed vast popularity in kisaeng circles well into the end of the century.

Later development
Today's is the direct descendant of  patterned after those worn by the aristocratic women or by the people who were at least from the middle-class in the Joseon period, specifically the late 19th century.  had gone through various changes and fashion fads during the five hundred years under the reigns of Joseon kings and eventually evolved to what we now mostly consider typical.

Beginning in the late 19th century, was largely replaced by new Western imports like the Western suit and dress. Today, formal and casual wear are usually based on Western styles. However, is still worn for traditional occasions, and is reserved for celebrations like weddings, the Lunar New Year, annual ancestral rites, or the birth of a child.

Modern usage
has been featured in international haute couture; on the catwalk, in 2015 when Karl Lagerfield dressed Korean models for Chanel, and during Paris Fashion Week in photography by Phil Oh. It has also been worn by international celebrities, such as Britney Spears and Jessica Alba, and athletes, such as tennis player Venus Williams and football player Hines Ward.

 is also popular among Asian-American celebrities, such as Lisa Ling and Miss Asia 2014, Eriko Lee Katayama. It has also made appearances on the red carpet, and was worn by Sandra Oh at the SAG Awards, and by Sandra Oh's mother who made fashion history in 2018 for wearing a to the Emmy Awards.

South Korea
The South Korean government has supported the resurgence of interest in by sponsoring fashion designers. Domestically, has become trendy in street fashion and music videos. It has been worn by the prominent K-pop artists like Blackpink and BTS, notably in their music videos for "How You Like That" and "Idol."

In Seoul, a tourist's wearing of makes their visit to the Five Grand Palaces (Changdeokgung, Changgyeonggung, Deoksugung, Gyeongbokgung and Gyeonghuigung) free of charge.

In Busan, the APEC South Korea 2005 provided for delegates of the 21 member economies of the Asia-Pacific Economic Cooperation.

North Korea
is also worn in present-day North Korea where it is known as. The thus highlights the identity of the Korean ethnic and has been more actively promoted under the rule of Kim Jong Un. The is currently typically worn during special occasions, e.g. weddings,  and when North Koreans celebrate the 60th, 70th, and 80th birthdays of their parents. It is also mandated that women wear when attending National events, such as Kim Jong Il's birthday (16 February), International women's day (8 March), Kim Il Sung's birthday (15 April), Foundation Day (9 September). White colored is often used as the color white has been the traditionally favored by the Korean people as the symbolism of pure spirit.

The remains the clothing of women, including female university students who are required to wear it as part of their university school uniforms. The uniform of female university students has been a black-and-white since the early to mid 2000s. The can often be found at a length of about 30 cm from the ground for practical purposes in order to facilitate movements and to ensure that women could wear it during their daily workday with ease and comfort; this decrease in skirt length also gives a sense of modern style.

The patterns also have special meanings which are given by the North Koreans. Generally, young people in North Korea like floral prints and bright colours, while the older generations favour simple styles of clothing and solid colours. The in North Korea is sometimes characterized by its use of floral patterns which are often added to the sleeves of the  and to the. Azaleas, in particular, are favoured in Yongbyon due to their association with the emotional poem Azaleas (《》) by Kim So-wol. Men occasionally wear.

However, are typically more expensive than ordinary clothing, and renting is available for people who cannot afford to purchase one; some are available for purchase at US$20 while the  made in China with South Korean designs and fabrics are more expensive and can cost approximately US$3000. The mid-2010s also saw the increased popularity of children dressing in by their parents.

History
The 1950s and 1960s also saw women from the upper-class wear made out of rayon while a black-and-white  consisting of a black long-length  and white  were used in the 1950s and 1960s where it was generally worn by women; this style can, however, be traced to a typical clothing style used in the Joseon dynasty period. This combination is still representative of the ideal woman and remains the official outfit for women in North Korea to this day. In the 1980s, the became the official attire of women when attending ceremonies while western-style clothing became the everyday, ordinary clothing.

After the mid-1990s due to extreme economic contractions, women could purchase their in private markers and were allowed to choose their desired colours and designs.

In 2001, Lee Young-Hee, a South Korean designer visited Pyeongyang to hold a fashion show at the Pyeongyang Youth Center on 4 and 6 June;  and since the 2002, North Korea have held their own fashion show in Pyeongyang every spring. Since 2001, there have been an increase of shops specialized in the customization of in Pyeongyang which was reported by the KBCS. This increase was due to a project implemented by the public service bureau of the Pyeongyang People's Committee to increase tailoring shops. These shops are typically found in large cities, such as Pyeongyang and Gaesong but are rarely found in small cities and villages.

China
In China, the is referred as   and is recognized as being the traditional ethnic clothing of   in China. The is an official term and is recognized as one of the official 55 ethnic minority in China; people from  ethnic are not recent immigrants in China but have a long history having lived in China for generations. They share the same ethnic identity as the Korean ethnic in both Northern and Southern Korea but are counted as Chinese citizens by nationality under the Constitution of China. Their traditions are not entirely the same due to their unique historical experiences, geographical location and mixed identities. The term literally correspond to , a non-official deragotory term in South Korea, to refer to  (lit. 'Korean-Chinese'), which is the actual legal term in South Korea. In the Yanbian Korean Autonomous Prefecture, where most reside, the  was mostly worn on special occasions in the past; however, by 2019, they had regained popularity and have become fashionable.

Since the Chinese economic reform of China, there have been more exchanges with both Koreas leading to both the development and changes in chaoxianzu-style in China; some of designs of the chaoxianzu-style  have been influenced and inspired by both South Korean and North Korean  designs.

The originally preferred to wear white colours as it represented cleanliness, simplicity, and purity; however, since the 20th century, the colours started to become brigher and more vivid and diverse as woven fabrics, such as polyester and nylon sateen, started to be introduced. The "reform and opening up" of China also allowed for more exchanges with both Koreas, which lead to the both development and changes in the of China. Following the tradition, the  has an A-line in silhouette to give it the appearance of a mountain as per the tradition, women are the host of the family, and thus, women holding the household need to be stable; the  also covers the entire body. The have developed their own style of  due to the isolation for about 50 years from both the North and South Koreas. As a result, the styles of in South Korea, North Korea, and China, worn by the Korean ethnics from these three countries have developed separately from each other. For example, Yemi Hanbok by Songok Ryu, an ethnic from the Yanbian Korean Autonomous Prefecture, is unique in both style and business model as it can operate in both South Korea and North Korea. In terms of design, Yemi Hanbok designs are based on Chinese-style designs. Over the years, the women's also changed in length for the, , and  and changed in width for the , , sleeves, and. The and  have evolved from straight to curve patterns. The wrinkle arrangement, length, and silhouette of the have also evolved; some of the skirts were sometimes decorated with gold embroidery or gold leaf at the bottom hem. The colours used were also very varied; for example, feminine colours such as pink, yellow, and deep red could be used. The 1990s saw the use of gold leaf, floral prints, embroidery on the women's ; the use of gradient colours also emerged. For men, their, , and sleeves were made longer; their also became wider. The continues to be worn, and the  and  are worn frequently in present-days.

On 7 June 2008, the were approved by the State Council of China to be included in the second layer of national intangible cultural heritage. And, in 2011, the was official designated as being part of the intangible cultural heritage of China by the Chinese government; while the announcement was welcomed by the  ethnic in China as a proud indicator of their equal membership in a multi-ethnic and multicultuary country such as China, it received negative criticism in South Koreans who perceived it as a "scandalous appropriation of the distinctive national culture of Koreans". In 2022, a girl from the ethnic wore a  on the 2022 Beijing Winter Olympics opening ceremony leading to an uproar from South Koreans who accused China of cultural appropriation.

Social status
Especially from the Goryeo dynasty, the started to determine differences in social status (from people with the highest social status (kings), to those of the lowest social status (slaves) ) and gender through the many types, components, colours,  and characteristics. Although the modern does not express a person's status or social position,  was an important element of distinguishment especially in the Goryeo and Joseon dynasties. For example, farmers and commoners were not allowed to wear colour garments in their daily lives, excluding some categories of people, such as the shamans, gisaeng, and children, who were allowed to wear colourful clothing despite their social status. Occasions when all people were allowed to wear colourful clothing were for special ceremonial occasions (e.g. wedding, birthday, holidays).

Hwarot
or was the full dress for a princess and the daughter of a king by a concubine, formal dress for the upper class, and bridal wear for ordinary women during the Goryeo and Joseon dynasties. Popular embroidered patterns on were lotuses, phoenixes, butterflies, and the ten traditional symbols of longevity: the sun; mountains; water; clouds; rocks/stone; pine trees; the mushroom of immortality; turtles; white cranes, and deer. Each pattern represented a different role within society, for example: a dragon represented an emperor while a phoenix represented a queen; floral patterns represented a princess and a king's daughter by a concubine, and clouds and cranes represented high ranking court officials. All these patterns throughout Korean history had meanings of longevity, good luck, wealth and honor. also had blue, red, and yellow colored stripes in each sleeve; a woman usually wore a scarlet-colored skirt and yellow or green-colored Jeogori, a traditional Korean jacket. was worn over the Jeogori and skirt. A woman also wore her hair in a bun, with an ornamental hairpin and a ceremonial coronet. A long ribbon was attached to the ornamental hairpin, the hairpin is known as. In more recent times, people wear on their wedding day, and so the Korean tradition survives in the present day.

Wonsam
Wonsam was a ceremonial overcoat for a married woman in the Joseon dynasty. The Wonsam was also adopted from China and is believed to have been one of the costumes from the Tang dynasty which was bestowed in the Unified Three Kingdoms period. It was mostly worn by royalty, high-ranking court ladies, and noblewomen and the colors and patterns represented the various elements of the Korean class system. The empress wore yellow; the queen wore red; the crown princess wore a purple-red color; meanwhile a princess, a king's daughter by a concubine, and a woman of a noble family or lower wore green. All the upper social ranks usually had two colored stripes in each sleeve: yellow-colored Wonsam usually had red and blue colored stripes, red-colored Wonsam had blue and yellow stripes, and green-colored Wonsam had red and yellow stripes. Lower-class women wore many accompanying colored stripes and ribbons, but all women usually completed their outfit with onhye or danghye, traditional Korean shoes.

Dangui
Dangui or tangwi were minor ceremonial robes for the queen, a princess, or wife of a high ranking government official while it was worn during major ceremonies among the noble class in the Joseon dynasty. The materials used to make varied depending on the season, so upper-class women wore thick  in winter while they wore thinner layers in summer. The came in many colors, but yellow and/or green were most common. However the emperor wore purple, and the queen wore red. In the Joseon dynasty, ordinary women wore as part of their wedding dress.

Myeonbok
Myeonbok were the king's religious and formal ceremonial robes while jeokui were the queen's equivalent during the Goryeo and Joseon dynasties. Myeonbok was composed of Myeonryu-Gwan and Gujang-bok. Myonryu-Gwan had beads, which hung loose; these would prevent the king from seeing wickedness. There were also wads of cotton in the left and right sides of Myeonryu-Gwan, and these were supposed to make the king oblivious to the influence of corrupt officials. Gujang-bok was black, and it bore nine symbols out of the Twelve ornaments, which all represented the king:
 * 1) Dragon: A dragon's appearance paralleled how the king governed and subsequently brought balance to the world.
 * 2) Fire: The king was expected to be intelligent and wise to govern the people effectively, like a guiding light represented by the fire.
 * 3) Pheasant: The image of a pheasant represented magnificence.
 * 4) Mountain: As a mountain is high, the king was on a par in terms of status and was deserving of respect and worship.
 * 5) Tiger: A tiger represented the king's courage.
 * 6) Monkey: A monkey symbolized wisdom.
 * 7) Rice: As the people needed rice to live, the king was compared to this foodstuff as he had the responsibility of protecting their welfare.
 * 8) Axe: This indicated that the king had the ability to save and take lives.
 * 9) Water plant: Another depiction of the king's magnificence.

Jeokui
Jeokui or tseogwi was arranged through the use of different colors as a status symbol within the royal family. The empress wore purple-red colored Jeokui, the queen wore pink, and the crown princess wore deep blue. "Jeok" means pheasant, and so Jeokui often had depictions of pheasants embroidered onto it.

Cheolique
Cheolique (also Cheolick or Cheollik; ) was a Korean adaptation of the Mongol tunic, imported in the late 1200s during the Goryeo dynasty. Cheolique, unlike other forms of Korean clothing, is an amalgamation of a blouse with a kilt into a single item of clothing. The flexibility of the clothing allowed easy horsemanship and archery. During the Joseon dynasty, they continued to be worn by the king, and military officials for such activities. It was usually worn as a military uniform, but by the end of the Joseon dynasty, it had begun to be worn in more casual situations. A unique characteristic allowed the detachment of the Cheolique's sleeves which could be used as a bandage if the wearer was injured in combat.

Ayngsam
Ayngsam was the formal clothing for students during the national government exam and governmental ceremonies. It was typically yellow, but for the student who scored the highest in the exam, they were rewarded with the ability to wear green Aengsam. If the highest-scoring student was young, the king awarded him with red-colored Aengsam. It was similar to the namsam but with a different colour.

Binyeo
Binyeo was a traditional ornamental hairpin, and it had a different-shaped tip again depending on social status. As a result, it was possible to determine the social status of the person by looking at the binyeo. Women in the royal family had dragon or phoenix-shaped Binyeo while ordinary women had trees or Japanese apricot flowers. And Binyeo was a proof of marriage. Therefore, to a woman, Binyeo was an expression of chastity and decency.

Daenggi
Daenggi is a traditional Korean ribbon made of cloth to tie and to decorate braided hair.

Norigae
Norigae was a typical traditional accessory for women; it was worn by all women regardless of social ranks. However, the social rank of the wearer determined the different sizes and materials of the norigae.

Danghye
Danghye or tanghye were shoes for married women in the Joseon dynasty. Danghye were decorated with trees bearing grapes, pomegranates, chrysanthemums, or peonies: these were symbols of longevity.

Kunghye
Danghye for a woman in the royal family were known as kunghye, and they were usually patterned with flowers.

Onhye
Danghye for an ordinary woman were known as onhye.

Material
In Hanbok, various cotton fabrics are used as materials, and with the entry of Western civilization, the range of fabrics such as mixed fabrics has expanded. The use of materials also varies slightly depending on the jeogori and pants, and there is a big difference in the season. In the case of jeogori, there are more than 10 types of general materials such as silk, jade, and general wool, and they use ramie or hemp in summer, and silk or Gapsa, Hangra, and Guksa cloth in spring and autumn. The material used evenly throughout the four seasons was sesame, and silk, both ends, and silk were often used in the durumagi for adult men. In the case of silk, which is one of the most widely used materials due to differences in lining and outer material, most of the silk jeogori was lined with silk, and if it was not possible, only the inside of the collar, the tip, and the sap were lined with silk. If this situation did not work out like this, the fine-grained cotton was used. In fact, more than half of the materials identified in the jeogori study were silk, followed by cotton and hemp. In some cases, silk and cotton were lined with a mixture. When the jeogori was torn or broken, most of them were sewn with the same fabric, and a large piece was added to the elbow and sewn. Just as in the fact that silk was used a lot in jeogori, silk, cotton, and literary arts were evenly used in various clothes, ranging from red ginseng, skirt, beoseon, and pants.

title: Hanbok


text:
Alles ist die Sekte

Alles ist die Sekte ("The cult is everything"), abbreviated A.i.d.S and formerly called RoyalTS, is a German hip hop duo from Berlin, composed of the rappers Sido and B-Tight.

History
After several releases through Royal Bunker, they moved to Aggro Berlin. They did support gigs for American hip hop groups Hieroglyphics and The Arsonists. Today, A.i.d.S. forms the core of Die Sekte. Sido and B-Tight are now better known for their solo albums; Sido's Maske was one of the most successful German hip hop releases in 2004.

Discography

 * 1998: Wissen Flow Talent
 * 1999: Sintflows (with Rhymin Simon and Collins)
 * 2000: Back in Dissniss
 * 2001: Alles ist die Sekte
 * 2001: Das Mic und Ich
 * 2001: Ihr Nutten
 * 2002: Alles ist die Sekte Album Nr. 3
 * 2003: Gar nich so schlimm!
 * 2009: Die Sekte

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

title: Alles ist die Sekte


text:
Old Palace

Old Palace may refer to:
 * Old Palace, Canterbury
 * Old Palace, Berlin
 * Eski Saray, Istanbul
 * Old Palace, Oxford
 * The Old Palace, Worcester
 * Old Palace, York

title: Old Palace


text:
Cattanooga Cats

Cattanooga Cats is an American animated television series produced by Hanna-Barbera which aired on ABC from September 6, 1969, to September 4, 1971.

The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments: Cattanooga Cats, Around the World in 79 Days, It's the Wolf! and Motormouse and Autocat. During the 1970–1971 season, It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained as part of Cattanooga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.

Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits made up of anthropomorphic cat hippies consisting of:
 * Lead singer/guitarist Country (voiced by Bill Callaway)
 * Singer/dancer Kitty Jo (voiced by Julie Bennett)
 * Bassist Scoots (voiced by Jim Begg)
 * Drummer Groove (voiced by Casey Kasem)

A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group traveled around in a van, was chased by a female cat groupie named Chessie, the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series, was released in 1969.

The Cats also appeared in various "bumpers" between the other cartoons, but they were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day.

Episodes
Only nine cartoon story segments featuring the characters were produced.

Around the World in 79 Days
Loosely based upon the novel Around the World in Eighty Days by Jules Verne, this was an adventure segment involving balloonist Phineas "Finny" Fogg Jr. (voiced by Bruce Watson) is conceived as the great-great-grandson from America of the main character Phileas Fogg in the novel. Reporter teenagers Jenny Trent (voiced by Janet Waldo) and Hoppy (voiced by Don Messick) and he set out on a globetrotting adventure to travel around the world in 79 days and beat the original record set by Finny's ancestor. The trio is in competition for both the record and a £1,000,000 prize against the sinister Crumden (voiced by Daws Butler), who supposedly was the butler of the original Phileas. Crumden is aided by his idiotic chauffeur Bumbler (voiced by Allan Melvin) and his pet monkey Smirky (voiced by Don Messick). Unlike the other segments, Around the World in 79 Days was a serial with a continuing story, but as with many shows made during this period, it has no specific ending.

It's the Wolf!
It's the Wolf! followed the comic exploits of Mildew Wolf (voiced by Paul Lynde), who aspires to catch and eat a sure-footed lamb named Lambsy (voiced by Daws Butler). The wolf is always thwarted by a sheep dog (voiced by Allan Melvin) named Bristlehound. Bristlehound would apprehend Mildew (usually after hearing Lambsy cry out, "It's the wool-uff!"), pound him, and toss him sailing into the air, with Mildew screaming a phrase such as "Spoilsport!" as he flies into the horizon and lands with a thud.

Motormouse and Autocat
Essentially a motor-racing version of Tom and Jerry, this segment involved the antics of a race car-driving cat named Autocat (voiced by Marty Ingels) and a motorcycle-driving mouse named Motormouse (voiced by Dick Curtis). Much of the segment's appeal lay in the bizarre cars that Autocat devised in his attempts to catch Motormouse, and in the unusual character voices and dialect. For example, Motormouse would often over enunciate words, saying things like "Chi-co-ry", and greeting Autocat with a friendly "Hey there, Au-to-cat". Motormouse resembled Pixie and Dixie and Mr. Jinks in character design.

Cast

 * Jim Begg as Scoots
 * Julie Bennett as Kitty Jo, Chessie
 * Mel Blanc as Additional voices
 * Daws Butler as Lambsy, Crumden
 * Bill Callaway as Country
 * Dick Curtis as Motormouse
 * June Foray as Additional voices
 * Paul Frees as Additional voices
 * Marty Ingels as Autocat
 * Casey Kasem as Groove
 * Paul Lynde as Mildew Wolf
 * Allan Melvin as Bristlehound, Bumbler
 * Don Messick as Hoppy, Smirky, Opening Announcer
 * Hal Smith as Additional voices
 * John Stephenson as Additional voices
 * Ginny Tyler as Additional voices
 * Jean Vander Pyl as Additional voices
 * Janet Waldo as Jenny
 * Bruce Watson as Phineas "Finny" Fogg Jr.
 * Paul Winchell as Additional voices

Legacy
Hanna-Barbera had high hopes for Cattanooga Cats to be a hit program, like The Banana Splits, but the show failed to attract a large audience during its original run. Mildew Wolf, the most popular character on the program, resurfaced six years after the cancellation of Cattanooga Cats as co-host (with Snagglepuss) on Laff-A-Lympics, this time voiced by John Stephenson impersonating Paul Lynde. Lambsy appeared in the television film Yogi's Ark Lark. Sky One occasionally broadcast Cattanooga Cats shorts in the UK in 1990, the segments were shown in complete isolation, broadcast neither as part of the original show or a new compilation.

Reruns of the show were not seen until the program began airing as part of the Boomerang programming block on Cartoon Network, which later became a spin-off network of its own. For several months, Boomerang UK channel ran the musical interludes from the show, all of which ran to exactly 1 minute 45 seconds, as short (and unidentified) fillers before closing down at midnight. When the channel expanded to 24 hours, these interludes were dropped. The complete show has not been seen in the UK in recent years.

Other appearances
The Cattanooga Cats, Teeny Tim, Lambsy, Mildew Wolf & Bristlehound appeared in the HBO Max original series Jellystone! with Country voiced by Scott Whyte, Kitty Jo voiced by Georgie Kidder, Lambsy voiced by Dana Snyder, and Mildew Wolf voiced by Bernardo de Paula. The Cattanooga Cats and Teeny Tim are portrayed as animatronics of the Cattanooga Cheese Explosion pizzeria where the Cattanooga Cats are an animatronic band and Teeny Tim is a robot waiter. Lambsy is implied to be Jewish in the season 2 episode "Yogi's Midlife Crisis" as Yogi's band appears to be performing at a Bar Mitzvah and Lambsy declares himself to be a man.

Soundtrack
A soundtrack album for the series was released in 1969, containing eleven of the show's songs with the lead vocals performed by Michael Lloyd and Peggy Clinger. The songs "Mother May I" and "Merry-Go-Round" were also released as singles to coincide with the series and album, with "Johnny Johnny Jump-Up" and "Country Carnival" as their respective b-sides. The songwriters were uncredited on the album but were credited on the accompanying singles. Curb Records, the eventual successor to Forward Records (owned by noted record producer Mike Curb), most likely owns the master tapes of the Cattanooga Cats album. Curb likewise has not expressed plans to re-release the Cattanooga Cats album.

Track listing
Side 1

Side 2

Other songs
In addition to the album, other songs were featured in the series that were not released in any format.

 * "Cash Register Romance" (Michael Lloyd)
 * "Children Understand" (Valjean Johns, Guy Hemric)
 * "Cold Wisconsin Night" (Lloyd)
 * "Come and Play with the Cattanooga Cats" (Mike Curb, Hemric)
 * "Come Back, Baby, Come Back" (Lloyd, Hemric)
 * "Daydream" (Lloyd)
 * "The Day When Love Won't Stay Away" (Lloyd, Shaun Harris)
 * "Do You Dig the Music" (Johnny Cymbal)
 * "Honey" (Lloyd, Hemric)
 * "Hoot Owl" (Harley Hatcher)
 * "I Want to Sleep Tonight" (Hatcher)
 * "I Wish I Was a Fire" (Lloyd)
 * "It's Summertime" (Cymbal)
 * "Love Could Be" (Lloyd, Peggy Clinger)
 * "Magic Machine" (Lloyd)
 * "Pretty as a Picture" (Lloyd, Curb)
 * "She Sure Got Soul" (Jerry Styner, Roger Christian)
 * "She's the Right One" (Curb, Christian)
 * "Sing a Song of Sixpence" (Lloyd, Styner, Hemric)
 * "Stop Right There" (Lloyd)
 * "The Story of My Life" (Lloyd)
 * "Super Love" (Styner, Christian)
 * "Up, Down, And on the Ground" (Lloyd, Clinger)
 * "We're Incompatible" (Lloyd, Christian)

title: Cattanooga Cats


text:
Bittern Line

The Bittern Line is a railway branch line in Norfolk, England, that links Norwich to Sheringham. It passes through the Broads on its route to an Area of Outstanding Natural Beauty on the north Norfolk coast. It is named after the bittern, a rare bird found in the reedy wetlands of Norfolk.

The line is 30 mi in length and there are 10 stations. It is part of Network Rail Strategic Route 7, SRS 07.11, and is classified as a rural line.

Passenger services are operated by Greater Anglia, which also manages all of the stations.

History
The line was granted permission in 1864 and the first stretch was opened between Norwich and North Walsham in 1874 by the East Norfolk Railway. It was extended to Cromer by 1877 before being extended to Sheringham in 1877, using a section of the Midland and Great Northern Joint Railway line. From the early twentieth century until the end of steam services, in 1962, the Great Eastern Railway operated coastal holiday services from London Liverpool Street under names such as the Norfolk Coast Express and The Broadsman.

Following the closure of the majority of the Midland and Great Northern network, the line operated as a single branch between Norwich and Melton Constable before the section between Sheringham and Melton Constable was closed in 1964. The remainder of the line was listed for closure in 1967 but survived the proposal after being declined by the Secretary of State for Transport.

The Bittern Line Partnership was set up by Norfolk County Council in 1997. and was designated a community rail line by the Department for Transport in September 2007.

The section of the line between Sheringham and Holt which was closed in the 1960s remains in use as a heritage railway line operated as the North Norfolk Railway (NNR - also known as the Poppy Line). After a period of 36 years, the link between the Bittern line and the North Norfolk Railway was reinstated in 2010 with the opening of a new level crossing at Sheringham.

Sheringham railway station was upgraded in 2019 to accommodate the new Class 755s

Stations
The following table summarises the line's 10 stations, their distance measured from Norwich, and their estimated number of passenger entries/exits in 2018/19 and 2022/23:

Services
Passenger services are operated by Greater Anglia. The typical service is one train per hour in each direction between Norwich and Sheringham. Calling patterns are varied, with some trains stopping at all stations while others omit some of the lesser-used stations along the line, such as Salhouse, Gunton and Roughton Road.

In 2019, new Class 755 bi-mode trains began to replace the previous mixture of Class 153, Class 156 and Class 170 diesel multiple units.

The line is also used by freight trains which are operated by GB Railfreight. Some trains carry gas condensate from a terminal at North Walsham to Harwich International Port.

Infrastructure
The line is double-track from Norwich to Hoveton & Wroxham, where it becomes single-track with a passing loop at North Walsham, and two platforms at Cromer also allowing passing. The line is not electrified; it has a loading gauge of W8 between Norwich and Roughton Road and W6 from Roughton Road to Sheringham. The maximum speed is 75 mph.

The line was re-signalled in 2000, leading to the closure of a number of mechanical signal boxes and control moving to a panel at the Trowse Swing Bridge control room. This saw the end of one of the few remaining sections of single-track main line controlled by tokens. The Cromer signal box has been preserved.

Rackheath station
A new station is proposed as part of the Rackheath eco-town. The building of the town may also mean a short freight spur being built to transport fuel to fire an on-site power station. The plans for the settlement received approval from the government in 2009.

title: Bittern Line


text:
Floridablanca, Pampanga

Floridablanca, officially the Municipality of Floridablanca (Balen ning Floridablanca; Bayan ng Floridablanca) is a 1st class municipality in the province of Pampanga, Philippines. According to the 2020 census, it has a population of 135,542 people. Floridablanca is a part of the province of the Pampanga located in Central Luzon lying north of Dinalupihan, Bataan and south-southwest of San Fernando, Pampanga.

Etymology
Floridablanca is derived from Spanish which translates to "white flower." However, there are two versions of the name's origin:
 * in honor of José Moñino, 1st Count of Floridablanca, a former chief minister of Spain whom the locals believed to have visited the place in the early 1800s despite the lack of evidence of his visit; or
 * white flowers of a pandacaqui plant (Tabernaemontana pandacaqui) that flourished in the town, considered as a more credible origin. Florida means "Flower" and Blanca means "Fragrant".

Previously, the town was named San Jose de Calampaui, which is derived from Spanish for Saint Joseph, its patron saint.

History

Floridablanca was founded in 1823 as Hacienda de San Jose de Calampaui at the site of a monastery. In 1867, it was renamed to Pueblo de Floridablanca.

In the 1920s, the Pampanga Sugar Mill was built at Del Carmen in the 1920s. The area was the site of military bases of the Philippine Commonwealth Army and the Philippine Constabulary from 1942 to 1946. The Philippine Air Force established Basa Air Base at a former American military airfield in 1947.

Geography
Floridablanca is located on the western part of Pampanga along the Zambales mountain ranges and is bounded by the municipalities of Porac on the north, Lubao on the south, Guagua on the east, and Dinalupihan, Bataan on the west. It is 40 km from the city of San Fernando and 106 km from Manila. The town is at an elevation of 12 ft above sea level. Floridablanca is north of Dinalupihan, Bataan via Dinalupihan-Floridablanca Access Road at the Bataan-Pampanga boundary line.

With an area of 17548 ha, it is the third largest municipality in the province, after Porac and Candaba.

Barangays
Floridablanca is politically subdivided into 33 barangays. Each barangay consists of puroks and some have sitios.

 * Anon
 * Apalit
 * Basa Air Base
 * Benedicto
 * Bodega
 * Cabangcalan
 * Calantas
 * Carmencita
 * Consuelo
 * Culubasa
 * Dampe
 * Del Carmen
 * Fortuna
 * Gutad
 * Mabical
 * Maligaya
 * Mawacat
 * Nabuclod
 * Pabanlag
 * Paguiruan
 * Palmayo
 * Pandaguirig
 * Poblacion
 * San Antonio
 * San Isidro
 * San Jose
 * San Nicolas
 * San Pedro
 * San Ramon
 * San Roque
 * Santa Monica
 * Solib
 * Santo Rosario
 * Valdez

Demographics
In the 2020 census, the population of Floridablanca, Pampanga, was 135,542 people, with a density of undefined PD/km2.

Economy
Floridablanca is the second largest producer of rice in the province. It produces more than enough rice to meet its needs resulting in a surplus. In 1999, only 37.76% of its produce was used for its own rice requirement resulting in a surplus of 65.24% equivalent to 17,553 metric tons.

Local government
Like other towns in the Philippines, Floridablanca is governed by a mayor and vice mayor who are elected to three-year terms. The mayor is the executive head and leads the town's departments in executing the ordinances and improving public services. The vice mayor heads a legislative council (Sangguniang Bayan) consisting of councilors from the Barangays of Barrios.

List of municipal leaders
Capitan Municipal
 * 1897 – Don Gerónimo Romero Dinio
 * 1898 – Don Cecilio Alvendia
 * 1899 – Don Alejandro Ramos

Municipal Presidents
 * 1900–1902 – Don Gerónimo Romero Dinio
 * 1903–1905 – Don Alejandro Ramos
 * 1906–1908 – Don Gregorio Panlaqui
 * 1909–1911 – Don León Gutiérrez
 * 1911 – Don Arcadio Ramírez
 * 1912–1917 – Don Martin Sundiam
 * 1918–1922 – Don José O. Dinio
 * 1923–1925 – Don Isidoro Alvendia
 * 1926–1931 – Don Roberto Nuguid
 * 1932–1937 – Don Camilo Ocampo

Municipal Mayors
 * 1938–1940 – Geronimo Dinio Coronel
 * 1941 – Benigno Layug
 * 1942–1943 – Francisco Vargas
 * 1943–1944 – Fidel Pekson
 * 1944 – Leandro Garcia
 * 1945 – Benigno Layug
 * 1945 – Dr. Vicente Chincuanco
 * 1945–1946 – Mariano Macabulos
 * 1946–1947 – Arsenio T. Isip
 * 1948–1951 – Mariano Macabulos
 * 1951–1955 – Dominador Diyco Songco
 * 1956–1959 – Atty. Marcelo Dungca Mendiola
 * 1960–1967 – Dominador Diyco Songco
 * 1968–1971 – Jose Dungca Mendiola
 * 1972–1986 – Pedro Manuel Capulong
 * 1986–1992 – Tito Morales Mendiola
 * 1992–2001 – Pedro Manuel Capulong
 * 2001–2004 – Joerey Montemayor
 * 2004–2007 – Darwin Manalansan
 * 2007–2016 – Eduardo Guerrero
 * 2016–present – Darwin Manalansan

Tourism
Aside from Basa Air Base, the town has cultural treasures and interesting points.
 * 1887 San Jose Obrero Parish Church: the Roman Catholic Archdiocese of San Fernando exercises jurisdiction over the Heritage Church.
 * Bahay na Puti (Alvendia House): the Justice Carmelino Alvendia, Sr. ancestral mansion is owned, preserved and maintained by his family.

Notable personalities

 * Dante Rivero, movie actor
 * Jillian Ward, actress
 * Justice Carmelino Alvendia, Sr.
 * Rhea Santos, newsreader from GMA and OMNI
 * Jeric Raval, actor, the son of Mr. Elizabeth Buensuceso
 * Bamboo Manalac, singer

title: Floridablanca, Pampanga


text:
William Walker McLellan

William Walker McLellan (1873–April 11, 1960) was born in Glasgow, Scotland. He came to the United States at the end of the nineteenth century and began working at a department store in Newark, New Jersey. He became a manager of the first S. H. Kress store in Memphis, Tennessee, and then joined McCrory Stores as a vice president. In 1917 he founded McLellan Stores, a chain of five and dimes, which grew to 200 stores by 1933. He lost control of the company during the Great Depression to United Stores Corporation and left soon thereafter. He then founded the W. W. Mac Company, a chain that he built to 70 stores at the time of his death. His wife was Margueritta S. McLellan, who died in 1954.

His McLellan Stores merged with McCrory Stores in 1958.

title: William Walker McLellan


text:
Talk:Tlalpan

Are you interested in this south-west part of Mexico City? do you want information about visiting or living here?

The seal
Nothing about history? Tlalpan was the capital of the Estado de Mexico in the 1800's. —Preceding unsigned comment added by 24.44.93.16 (talk) 23:49, 29 May 2009 (UTC)

I think we need the seal of this region, even when I have seen it I don´t know how to get it.. -- Damërung  ...ÏìíÏ... _ ΞΞΞ_     .   --  02:47, 10 July 2007 (UTC-5)

External links modified
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title: Talk:Tlalpan


text:
Office of Justice Programs

The Office of Justice Programs (OJP) is an agency of the United States Department of Justice that focuses on crime prevention through research and development, assistance to state, local, and tribal criminal justice agencies, including law enforcement, corrections, and juvenile justice through grants and assistance to crime victims.

The Office of Justice Programs is headed by an Assistant Attorney General. Amy Solomon is the Assistant Attorney General. OJP's Assistant Attorney General is responsible for the overall management and oversight of the office.

History
In 1968, the Law Enforcement Assistance Administration (LEAA) was established under the Omnibus Crime Control and Safe Streets Act; LEAA was abolished in 1982. Its predecessor agency was the Office of Law Enforcement Assistance (1965–1968). The LEAA was succeeded by the Office of Justice Assistance, Research, and Statistics (1982–1984). In 1984, the Office of Justice Assistance, Research, and Statistics became the Office of Justice Programs with the enactment of the Justice Assistance Act of 1984.

Leadership

 * Office of the Assistant Attorney General

Program offices

 * Bureau of Justice Assistance (BJA)
 * Bureau of Justice Statistics (BJS)
 * National Institute of Justice (NIJ)
 * Office for Victims of Crime (OVC)
 * Office of Juvenile Justice and Delinquency Prevention (OJJDP)
 * Office of Sex Offender Sentencing, Monitoring, Apprehending, Registering, and Tracking (SMART)

Business offices

 * Office of Administration (OA)
 * Office of the Chief Financial Officer (OCFO)
 * Office of the Chief Information Officer (OCIO)
 * Office for Civil Rights (OCR)
 * Office of General Counsel (OGC)
 * Office of Communications (OCOM)
 * Equal Employment Opportunity Office (EEO)
 * Office of Audit, Assessment, and Management (OAAM)

title: Office of Justice Programs


text:
User talk:Kiyoshi

Remind: Edit the Dudo number terminology... Done!

User Friendly Characters
No, I disagree, as the Characters are important - you automatically tend to capitalise them all. I read the naming conventions, and note that as long as all the initial capitals are capitalised, then searching will locate the page no matter what capitalisation has been used.

Message regarding your use of the No Multi License Template
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Delivered by The  Helpful  Bot  at 20:19, 2 June 2009 (UTC) for the Village pump. Report errors here.

AfD nomination of OmniCode
An article that you have been involved in editing, OmniCode, has been listed for deletion. If you are interested in the deletion discussion, please participate by adding your comments at Articles for deletion/. Thank you.Please contact me if you're unsure why you received this message. Powers T 12:08, 4 December 2009 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:57, 23 November 2015 (UTC)

title: User talk:Kiyoshi


text:
Jerry Pickard

Reginald "Jerry" Pickard (November 14, 1940 – July 27, 2021) was a Canadian politician who served as a member of the House of Commons of Canada from 1988 until his retirement in 2005, representing the riding of Chatham-Kent—Essex for the Liberal Party in his later terms in office.

Biography
Pickard had Bachelor of Arts and Master of Education degrees from the University of Windsor, and worked as a teacher in the Kent County and Essex County boards of education following his graduation. He was elected to the Kingsville municipal council in 1974 and remained in municipal politics for the next fourteen years, including tenures as deputy reeve and mayor (1984–1988).

He was first elected to parliament in the federal election of 1988, defeating Progressive Conservative incumbent Jim Caldwell by about 6,500 votes in the riding of Essex—Kent. He was re-elected in the 1993 election, and in the redistributed riding of Kent—Essex in the 1997 election. Pickard's riding was renamed (but not redistributed) as Chatham-Kent—Essex in 1998. In the 2000 election, he defeated a candidate of the Canadian Alliance by over 7,000 votes.

He faced his first difficult re-election in 2004, defeating Conservative candidate Dave Van Kesteren by only 407 votes. Former Liberal MP Rex Crawford campaigned for the Conservative candidate in this election, and some local residents were upset that the federal government had cut down more than 80,000 ash trees to stop a devastating beetle infestation.

Pickard served as Parliamentary Secretary to the Minister of Agriculture and Agri-Food from 1996 to 1997, and to the Minister of Public Works and Government Services from 1997 to 1998. In December 2003, he was named Parliamentary Secretary to the Deputy Prime Minister and Minister of Public Safety and Emergency Preparedness, with special emphasis on border transit. He was transferred from this position in July 2004, and named Parliamentary Secretary to the Minister of Industry. Pickard did not run in the January 2006 election.

Death
Pickard died on July 27, 2021, aged 80.

title: Jerry Pickard


text:
Wikipedia:Articles for deletion/Antonio Domenico Viraldini

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. jni 13:18, 12 Feb 2005 (UTC)

Antonio Domenico Viraldini
Delete. This Viraldini guy probably didn't even exist and Antandrus's word and evidence have convinced me that it is probably a hoax which spread across various places on the Internet. Marcus2 00:20, 6 Feb 2004 (UTC)

 * Delete. Thanks Marcus.  While it's already marked as a copyvio, and thus likely on Wikipedia death row already, maybe VfD is a way to eradicate it permanently, since it's certainly a hoax.  To save everyone the trouble of going there, here is my commentary from the Viraldini talk page:

 * I strongly suspect that Antonio Domenico Viraldini never existed; this is a hoax, and one which has acquired an unusually wide internet existence.

 * There is no entry in the complete 20-volume Grove, either the 1980 edition or the 2001 online edition, for the allegedly famous composer (nor is there an entry for his allegedly famous teacher Carlo Tortora). Anyone who wrote 114 cantatas, and who was a prominent figure in Venice at that time, would have several pages devoted to him in this most thorough and monumental of all music reference works.  Not only is there no entry, there is not even a single text occurrence of the word "Viraldini" in the online Grove.

 * As if that's not enough, there is no mention of this composer in Baker's Biographical Dictionary (Slonimsky); the Oxford Companion to Music; Bukofzer's Music in the Baroque era; and most importantly, there is not a single mention of this allegedly famous violinist in Selfridge-Fields' definitive and comprehensive Venetian Instrumental Music; indeed I cannot find a single mention of him in any of the books in my substantial library.

 * When you start to check out the Google links in detail, you find evidence that one person promoted him wildly in 2003, referring to two web sites with closely related "biographies". Most everything else that Google turns up is a mirror of Wikipedia content.

 * If he were a "recent discovery" there would be some hits at respected musicology organizations; there are none.

 * All right, I've gone on enough; this article is not only a copyvio, it is a copyvio of a hoax. Antandrus 05:31, 18 Jan 2005 (UTC)

There's currently no article text; the only thing on the page is the VfD notice. This, my friends, is therefore speedyable. Bearcat 03:20, 6 Feb 2005 (UTC)
 * Delete, article has no content. Megan1967 03:52, 6 Feb 2005 (UTC)

Comment — it used to have a copyvio tag on it, but Marcus replaced it with a VfD tag; if you want to see the article, it's in the history (but was zapped, as is usual, by the placement of the copyvio tag). Antandrus 03:55, 6 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * delete no such person in other encyclopedias.. Mozzerati 15:02, 2005 Feb 6 (UTC)
 * delete for nonverifiability Tuf-Kat 17:04, Feb 6, 2005 (UTC)
 * Delete. -- AllyUnion (talk) 05:40, 10 Feb 2005 (UTC)


text: User talk:65.170.0.6

title: User talk:65.170.0.6


text:
Tōon, Ehime

Tōon (東温市) is a city located in Ehime Prefecture, Japan. , the city had an estimated population of 33,276 in 15571 households and a population density of 160 persons per km2. The total area of the city is 211.30 sqkm. The city name may be romanized as 'Toon', 'Tôon', 'Tōon' or 'Tohon'.

Geography
Tōon is located in central Ehime Prefecture on the island of Shikoku. It is the only city in Ehime Prefecture that does not face the sea. Located at the top of the alluvial fan of Dogo Plain, Toon is bordered on the east by Matsuyama, and with Saijō through a pass called Sakurasanri, with Kumakōgen to the south, and Imabari to the north. The Shigenobu River and its tributaries flow through the city, forming a small alluvial fan.

Neighbouring municipalities
Ehime Prefecture
 * Matsuyama
 * Saijō
 * Imabari
 * Kumakōgen

Climate
Tōon has a Humid subtropical climate (Köppen Cfa) characterized by warm summers and cool winters with light snowfall. The average annual temperature in Tōon is 13.9 °C. The average annual rainfall is 1770 mm with September as the wettest month. The temperatures are highest on average in January, at around 25.0 °C, and lowest in January, at around 2.8 °C.

Demographics
Per Japanese census data, the population of Tōon has been increasing steadily since the 1960s.

History
The area of Tōon was part of ancient Iyo Province. During the Edo Period, the area was part of the holdings of Matsuyama Domain. Following the Meiji restoration, the area was organized into villages within Onsen District, Ehime. The village of Kawauchi was created by the merger of the villages of Kawakami (川上村) and Miuchi (三内村) on April 25, 1955 and raised to town status on September 1, 1956. The town of Shigenobu was created on September 1, 1956 by the merger of the villages of Kitayoshii (北吉井村), Minamiyoshii (南吉井村) and Haishi (拝志村). The city of Tōon was established on September 21, 2004, from the merger of the towns of Kawauchi and Shigenobu.

Government
Tōon has a mayor-council form of government with a directly elected mayor and a unicameral city council of 16 members. Tōon contributes one member to the Ehime Prefectural Assembly. In terms of national politics, the city is part of Ehime 2nd district of the lower house of the Diet of Japan.

Economy
Tōon has a mixed economy centered on agriculture and light manufacturing. It is also one of the leading production areas of hulless barley in Japan, and other important crops include paddy rice, wheat, vegetables, flowers, and mandarin oranges. Industry includes electrical machinery, production machinery and food processing. Tōon has head office and production base of PHC, a subsidiary of PHC Holdings (formerly Matsushita Kotobuki Electronics Co., Ltd.), which is located in Minamigata district, where blood sugar level measurement sensors and other products are manufactured. The city has Ehime University Hospital, national Ehime Medical Center, and (private) Ehime Jūzen Medical Technology School with its attached hospital, among other medical offices, which, along with national Shikoku Cancer Center located close to the city, attracts many healthcare professionals and students. Due to its well-developed transportation network, industry is expanding, and the city is increasingly becoming a commuter town for neighboring Matsuyama.

Education
Tōon has seven public elementary schools and two public middle schools operated by the city government, and one public high school operated by the Ehime Prefectural Board of Education. The prefecture also operates two special education schools for the handicapped. The medical school of Ehime University is located in Tōon.

Railways
Iyotetsu - Yokogawara Line
 * Ushibuchidanchi-mae - Ushibuchi - Tanokubo - Minara - Aidai Igakubu Minamiguchi - Yokogawara

Highways

 * JP Expressway E56.svg Matsuyama Expressway

title: Tōon, Ehime


text:
Robbie Knievel

Robert Edward Knievel II (May 7, 1962 – January 13, 2023) was an American motorcyclist and stunt performer. He had also used the stage name Kaptain Robbie Knievel.

Early life
Robbie Knievel was born on May 7, 1962, the son of stuntman Robert "Evel" Knievel and his first wife, Linda. He was the second of four children. Knievel began jumping his bicycle when he was four years old and learned how to ride motorcycles by the age of seven. He performed his first show with his father at Madison Square Garden when he was eight. On tour with his father when he was twelve, he would perform in the pre-jump shows. Knievel attended Central Catholic High School in Butte, Montana between 1975 and 1976, but never graduated. He wanted to lengthen his jumps, but his father disapproved. Knievel then went solo after his father's approval.

Comparisons with Evel Knievel
Knievel's jumping career was markedly different from his father's. Most notably, Knievel used Honda CR500 motocross bikes, whereas his father made most of his record-breaking jumps using a Harley-Davidson XR-750 motorcycle. The XR-750 is 90 pounds heavier and the Honda is a motocross bike whereas the Harley is a flat-track racing motorcycle. Robbie often replicated Evel's jumps, including Evel's 1967 Caesars Palace crash, except for two of his father's major accomplishments — a Harley-Davidson XR-750 jump and the Snake River Canyon jump using the Skycycle X-2. Although never attempted, Robbie stated that he wanted to use a Harley to clear a record-breaking 16 buses, three more buses than his father attempted at Wembley Stadium in 1975. Additionally, Robbie stated that he would attempt to re-create his father's 1974 failed rocket jump over the Snake River Canyon near Twin Falls, Idaho.

Leather jumpsuits
Knievel used red-white-and-blue V-shaped jumpsuits, similar to his father's famous white leather jumpsuit. Throughout his career, Knievel had three notable jumpsuit styles: A second black jumpsuit with a white V lined with red stars was used in promotional photographs in 2010 and 2011 but not used in a jump.
 * A white jumpsuit with a red V lined with white stars used as a teenager touring with his father
 * A white jumpsuit with a blue V lined with white stars and a removable cape used throughout his professional career
 * A black jumpsuit with a white V lined with blue stars used in 2009 for the Las Vegas Mirage jump and promotional photos for the possible XR-750 Wembley jump.

Daredevil jumps
Robbie completed over 340 jumps, setting 20 world records.

Televised jumps
Several of Knievel's jumps were televised live, including the Caesars Palace jump, the building-to-building jump in Las Vegas, a jump over a moving train, a jump in front of the volcano at The Mirage hotel in Las Vegas, Nevada, and the Grand Canyon jump.

Performance jumps
In 1996, Knievel jumped over ten limousines on the Las Vegas Strip, achieving a 230-foot motorbike leap record.

In 2003, Knievel jumped 15 trucks at the Chinook Winds Casino. In late March 2006, Knievel jumped 180 feet over the St. Johns River from one barge to another in Jacksonville, Florida. In late July 2006, he made a tribute jump to his father Evel at Evel Knievel Day in Butte, Montana by jumping over a pyrotechnic show.

On March 18, 2007, Knievel jumped an assortment of military vehicles at the North Carolina Auto Expo in Raleigh, North Carolina. Soon afterward, he appeared in a nationally-broadcast commercial for Holiday Inn Express. On June 9, 2007, he appeared in Wilmington, Delaware, and successfully made a 150-foot jump over fake money representing the amount of interest paid to the customers of ING Direct. In August 2007, he was inducted into the Motorcycle Hall of Fame in Sturgis, South Dakota, and made a jump at the Buffalo Chip campground.

Knievel successfully jumped over 24 truck cabs at the Kings Island Amusement Park outside Cincinnati, Ohio, on May 24, 2008. The jump took place 33 years after his father made daredevil history by jumping over 14 Greyhound buses on a Harley-Davidson XR-750 at Kings Island.

Knievel successfully jumped on June 7, 2008, at the Texas Motor Speedway in Fort Worth, Texas. He cleared 21 Hummers on the front stretch of the speedway. He originally was going to jump 25 Hummers, but there was a strong sustained headwind that evening.

While performing pre-jump wheelies at the LCO Casino near Hayward, Wisconsin, on August 16, 2008, Knievel fell off the bike and slid into some hay bales, dislocating his shoulder. Despite his injury, he performed the jump, clearing four small airplanes and a small helicopter.

On October 31, 2008, Knievel successfully performed two back-to-back jumps in Nashville, Tennessee, to promote a glow-in-the-dark paint. Knievel ended 2008 with a New Year's Eve jump at the newly-renovated volcano at The Mirage in Las Vegas. The stunt was advertised as a jump over the top of the Mirage's volcano; however, Knievel limited the stunt to an approximately 200 ft ramp-to-ramp jump in front of the volcano. Knievel claimed the false promotion of a jump over the volcano was decided by the Mirage Hotel, which did not want to tear down some palm trees or have its valet parking affected. The live Fox television special marked the eighth live special in Knievel's career.

Knievel's last jump was held on October 29, 2011, in Coachella, California, at the Spotlight 29 Casino. Knievel jumped 150 ft over semi-trailer trucks.

Television
In mid-2005, Knievel starred in the A&E TV series Knievel's Wild Ride. Knievel also made appearances on CHiPs and Hawaii Five-O and co-starred with Lee Majors in a pilot for a series to be called Hollywood Stunts. Knievel was the subject of a 2017 documentary, Chasing Evel: The Robbie Knievel Story.

Business ventures
In 2006, Knievel opened a new business called Knievel's Custom Cycles, based in Lake Hopatcong, New Jersey.

Personal life and death
Knievel had three daughters, Krysten, Karmen and Maria. He also had two grandchildren, Analise and Kane. He died from pancreatic cancer in Reno, Nevada at age 60.

title: Robbie Knievel


text:
Mildew Wolf

Mildew Wolf is a fictional anthropomorphic wolf, main antagonist, and title character of the Cattanooga Cats segment It's the Wolf!. He is the most popular character of the series, and he was voiced by an uncredited Paul Lynde.

Biography
Mildew's main goal in the segments was to catch a little sheep named Lambsy, but he was always thwarted by Lambsy's sheep dog friend and bodyguard, Bristlehound.

Other appearances
In 1977–78, Mildew became a co-host (with Snagglepuss) on the Laff-A-Lympics segments of Scooby's All-Star Laff-A-Lympics / Scooby's All-Stars. He was voiced by John Stephenson.

Mildew Wolf appeared in A Yabba-Dabba-Doo Celebration! 50 Years of Hanna-Barbera.

Mildew Wolf appears in Jellystone!, voiced by Bernardo de Paula. Possibly in reference to Paul Lynde's campy, barely closeted Hollywood persona, he is depicted as being gay, momentarily flirting with his co-worker Shazzan.

title: Mildew Wolf


text:
Talk:Dudo

Untitled
Hi, I think the number terminology is something like this (at least in Peru):

 * 1 = As/Aces
 * 2 = Don/Dones (Mr.) o Pato/Patos (Duck) (not sure... cannot remember)
 * 3 = Tren/Trenes
 * 4 = Cuadra/Cuadras (Block)
 * 5 = Quina/Quinas
 * 6 = Cena/Cenas (Dinner)

Comments anybody?

 * Hmm...I started the article from what I know of the chilean game. If there's a peruvian version of dudo it should be added a reference to it on the article. --Neigel von Teighen 23:38, 13 Feb 2005 (UTC)

 * Actually, the game is the same; the only thing that changes are the number "names". In Latin America is very frequent to have exactly the same thing known with different names (ask for a translation of "stapler" or "t-shirt" to people from different LA countries and you can see how divergent results you get). Kio 20:16, 2005 Feb 26 (UTC)
 * Apologies for my (sometimes) brocken English... Kio 00:34, 2005 Mar 5 (UTC)

Does cuarta really mean fourth (i.e. number 4 in a sequence)? Otherwise, if it means 1/4, I think quarter is a better translation. Adjusting 09:20, 2005 Mar 11 (UTC)
 * Cuarta can also be 1/4, but it is rarely used with this meaning (maybe only in "cuarta parte", cannot remember other use with this meaning), 4th is a more common meaning. Cuarto (masc.) can be fourth, quarter and room... but the idea is to pick a word not directly related (in meaning) to the number, so "room" is the preferred translation. Kio 06:20, 2005 Mar 14 (UTC)

Perudo?
We have a commercially produced game called Perudo, which is essentially the game described here with slightly different rules. Is Perudo just a made up commercial name, or is a known alternative name for this game? ike9898 02:36, 1 January 2006 (UTC)

 * Hi Ike; after a quick googling, I saw that some pages claim "Perudo" has Peruvian origin. I'm from Peru, and I cannot remember having heard that name, just Dudo or Cachito. But anyways, it seems that it is a valid alternative name there in the US. Kio 00:30, 2 January 2006 (UTC)

Cacho its not only a game.
I want to know how come this site doesnt have any information on the lastname cacho,it only describes a game in peru.

Palifico
[full disclosure: I am English, not Spanish] My understanding is that "Palifico" is the word used in the game for "Palification" meaning "providing support" to the player who just went down to their last die. There is no reference to the word "Palafico" other than poorly translated board gaming sites. IMHO all instances of Palafico" in this article should be changed to "Palifico." SquashEngineer (talk) 16:52, 16 March 2023 (UTC)

Rule Variants - grammar
Veteran Pal[i]fico - The sentence ending in "... 7 ..." seems unfinished. The Pettijohn Rule - "... the their ... " SquashEngineer (talk) 16:52, 16 March 2023 (UTC)

title: Talk:Dudo


text: User talk:68.146.246.150

title: User talk:68.146.246.150


text:
Floridablanca

Floridablanca may refer to:

 * José Moñino, 1st Count of Floridablanca (1728–1808), Spanish statesman
 * Floridablanca, Pampanga, a municipality in the Philippines, named after the Count of Floridablanca
 * Floridablanca, Santander, municipality of Colombia
 * Floridablanca (Patagonia), Spanish 18th century settlement, Patagonia
 * Floridablanca, the ship of the mythical pirate José Gaspar (Gasparilla), supposedly commandeered from the navy of Spain

title: Floridablanca