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Shiregreen and Brightside

Shiregreen and Brightside ward—which includes the districts of Brightside, Shiregreen, and Wincobank—is one of the 28 electoral wards in City of Sheffield, England. It is located in the northern part of the city and covers an area of 6.5 km2. The population of this ward in 2011 was 20,826 people in 8,696 households. It is one of the wards making up the Sheffield Brightside parliamentary constituency.

Brightside
Brightside is an industrial area of Sheffield, lying on a hill north of Attercliffe and the River Don. Brightside and Carbrook Co-operative Society opened its first shop in 1868, taking its name from this area and the nearby district of Carbrook.

Shiregreen
Shiregreen is a mainly residential area to the north of Firth Park and north-west of Meadowhall. The settlement originated in the Middle Ages around the farmstead later known as Crowder House, first known from a deed of 1402. A number of hamlets stood on the site, including Reynaldthorpe, Over Hartley and Hartley Brook. Nearby cottages were built, known as the Bell Houses and the Hadfield Houses, housing farm workers and a fork-making industry. Both sets of houses gave their names to roads in the area, Bellhouse Road and Hatfield House Lane. The Church of St James and St Christopher is located on Bellhouse Road in Shiregreen.

Wincobank
Wincobank is a suburb of Sheffield, located in the north-east of the city, overlooking the nearby Meadowhall shopping centre and the Tinsley Viaduct.

An Iron Age hill fort was constructed at Wincobank by the Celtic Brigantes tribe, standing on the summit of a steep hill above the River Don. It is possible that here, during the 1st century, the Brigantes attempted to defend against the northward advance of the Roman legions. An ancient defensive dyke called Roman Rig runs from the fort to Mexborough.

Wincobank is home to St Thomas Boxing School which has produced some of Britain's best boxers of recent years including Herol 'Bomber' Graham, Naseem Hamed and Johnny Nelson.

The labour activist Jack Murphy was born in Wincobank.

In 1922 the artist, Stanley Royle, painted the view from Wincobank in his painting, Sheffield from Wincobank Wood, one of four large views in oils of Sheffield, commissioned by Frederick Horner, a local art dealer.

Concord Park lies between Shiregreen and Wincobank.

title: Shiregreen and Brightside


text: File:Framingham High School seal.gif

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

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Descarga

A descarga (literally discharge in Spanish) is an improvised jam session consisting of variations on Cuban music themes, primarily son montuno, but also guajira, bolero, guaracha and rumba. The genre is strongly influenced by jazz and it was developed in Havana during the 1950s. Important figures in the emergence of the genre were Cachao, Julio Gutiérrez, Bebo Valdés, Peruchín and Niño Rivera in Cuba, and Tito Puente, Machito and Mario Bauzá in New York. Originally, descargas were promoted by record companies such as Panart, Maype and Gema under the label Cuban jam sessions. From the 1960s, the descarga format was usually adapted by large salsa ensembles, most notably the Fania All-Stars.

Origins: son, filin and jazz
During the 1940s, the term descarga was commonly used in the music scenes of Cuba to refer to performances of jazz-influenced boleros in an improvised manner. This was part of the so-called filin (feeling) movement spearheaded by artists such as José Antonio Méndez, César Portillo de la Luz, and Luis Yánez. This style was inherited by musicians such as Bebo Valdés and Frank Emilio Flynn who explored the combination of jazz and Cuban forms into the 1950s. In particular, Bebo's 1952 session with producer Norman Granz in Havana, credited to Andre's All Stars, is often cited as a milestone in the development of Cuban jazz, and by extension, descarga. At this time, however, the term descarga began to be used in a different way to describe jam sessions based on the son montuno and other Afro-Cuban rhythms. The incipient mambo and Afro-Cuban jazz scene found in New York during the 1940s was also a catalyst of the development of descargas, with artists such as Machito, Dizzy Gillespie, Charlie Parker and Tito Puente performing extended jams with Afro-Cuban motifs.

1950s: the Panart sessions
The first series of commercially successful descarga jam sessions were recorded mostly between 1956 and 1958 at the Panart studios in Havana. The Panart descarga sessions were released in three volumes under the title Cuban Jam Session; they would sell over a million copies. Volumes I (1956, yellow cover) and II (1957, blue cover) were recorded under the direction of Julio Gutiérrez with Peruchín on piano. The sessions were recorded by engineer Fernando Blanco in Havana and then sent for editing to New York. According to the original liner notes of Volume I, the studio doors were opened at 10:30 pm and the recordings took place throughout the night. The jams in Volume I revolve around canción, mambo, chachachá and conga themes; the longest track, "Opus for Dancing", lasts 10 minutes. Volume II kicks off with "Descarga caliente", a 17-minute montuno jam, while side B features a rumba, a chachachá and a Santería ritual performance. Volume III (1958, red cover) was directed by tresero Niño Rivera and it comprises three montuno tracks combined with swing, guajira and chachachá, plus a guaguancó-comparsa. The only musicians to participate in all three sessions were Alejandro "El Negro" Vivar (trumpet), Emilio Peñalver (tenor saxophone) and Salvador "Bol" Vivar (double bass). Another session entitled Cuban Jam Session with Fajardo took place under the direction of flautist José Fajardo in 1957, but only four tracks could be recorded. The album was finished in Miami in 1964. It was the first descarga album in the charanga format and it features jazz-inspired mambos, chachachás, guajiras and montunos.

In 1957, Cachao recorded in the Panart studios his Cuban Jam Sessions in Miniature, short descargas which contrasted with the extended jams in the previous Cuban Jam Session LPs. The album, credited to "Cachao y su ritmo caliente" (Cachao and his hot rhythm), has been described as a "historic recording" with a "classic rhythm section" and "the true salsa musician's bible on record". The same year, Chico O'Farrill directed two descargas, namely "Descarga Número 1" and "Descarga Número 2" with his all-star group, All Stars Cubano, featuring Cachao on bass. O'Farrill's recordings were released by Gema as a single and later included in the multi-artist LP Los mejores músicos de Cuba (1959). Cachao continued to record descarga sessions as a leader between 1958 and 1960: Jam Session with Feeling (Maype), Descarga (Maype), Cuban Music in Jam Session (Bonita) and Descargas con el ritmo de Cachao (Modiner). At the same time, Cachao recorded sessions of traditional danzones for Ernesto Duarte's label Producciones Duarte, yielding two albums that were distributed by Kubaney: Con el ritmo de Cachao (reissued as Camina Juan Pescao) and El gran Cachao (reissued as Cachao y su Típica Vol. 2), featuring former members of Arcaño y sus Maravillas. Nonetheless, later in his career he would record many of these danzones ("Avance Juvenil", "Ahora sí", etc.) in an extended, descarga-like format.

Simultaneously with the Panart recordings from Havana, Tito Puente recorded a full descarga album in 1956, Puente in Percussion. It is a percussion-heavy set of descargas featuring Mongo Santamaría, Willie Bobo and Carlos "Patato" Valdés. Like Cuban Jam Session Vol I, the album features variations on mambo themes, although the focus of Tito's recordings is the percussion section, lacking a pianist to play the guajeos. The album featured guest bassist Bobby "Big Daddy" Rodríguez to play tumbaos on a couple of tracks. In 1957, Puente recorded his critically acclaimed Top Percussion, the follow-up to Puente in Percussion. It features Mongo Santamaría, Willie Bobo, Francisco Aguabella and Julito Collazo. The album closer is a 7-minute descarga-jazz with guest Doc Severinsen on lead trumpet.

In 1958, Walfredo de los Reyes, the timbalero in Cuban Jam Session Vols I and II, recorded Sabor cubano with pianist Yoyo Casteleiro, a horn section, and singers Kiko Rodríguez and Martha Rams. The album included Chico O'Farrill's "Descarga", Mario Bauzá's "Mambo Inn" and a guaracha titled "Cuban Jam Session" credited to Rafael Hernández.

1960s: from Havana to New York
In 1960, Walfredo de los Reyes recorded his second descarga LP as a leader, Cuban Jazz. Unlike his previous album, this one featured a heavy percussion section courtesy of Los Papines. In addition, Cachao performed on bass. That same year, trumpeter Rolando Aguiló released two albums entitled Cuban Jam Session on Maype. Although his style has been described as leaning towards "soft mambo" and cha-cha-cha, his sessions have been praised due to Juanito Márquez's performance on electric guitar, cited by some critics as a "mystery guitarist" due to the absence of credits on the LP. Around the same time, another LP by the title of Cuban Jam Session was recorded by an ensemble directed by trumpeter Carlos Arado, who like Aguiló had been a member of Orquesta Hermanos Castro, for the label Sirena. Cachao left Cuba in 1962, staying in Madrid for a year before moving to New York, where he joined Tito Rodríguez's orchestra. Cachao's influence is notable in jams such as "Descarga Cachao" and "Descarga Malanga". Around the same time, Cachao recorded a series of descarga-like tunes with Joe Cain's orchestra, which featured a mix of American and Cuban musicians. The resulting album, Latin Explosion, was re-released on CD together with Cuban Jam Sessions in Miniature under the title From Havana to New York.

During the early 1960s, the descarga genre was revitalized in New York by the Alegre All-Stars, an ensemble featuring the most successful artists in the Alegre Records roster. The albums were produced by Al Santiago, who chose Charlie Palmieri as music director, and they would have a major influence on the development of salsa, launching the careers of artists such as Johnny Pacheco, Cheo Feliciano and Barry Rogers. Palmieri had already recorded one descarga tune, "Pacheco's Descarga", for the debut album of his charanga La Duboney, which featured Pacheco on flute. Pacheco later directed his own descarga session for his 1965 album Pacheco, His Flute and Latin Jam. Also in 1965, Alegre released Puerto Rican All-Stars featuring Kako, a jam-session recorded in February 1963 and led by prolific timbalero Francisco Ángel Bastar "Kako" which featured Rafael Ithier and Roberto Roena among others. Soon, Alegre's biggest competitor, Tico, launched its own "house band", the Tico All-Stars, playing the same style of "Nuyorican" descargas. Meanwhile, the Alegre All-Stars project was continued by Al Santiago under different names, namely Cesta All-Stars and Salsa All-Stars. In 1968, Jerry Masucci and Johnny Pacheco, the owners of New York's leading salsa label, Fania Records, decided to start another project in the vein of the Alegre All-Stars but with a different approach: the music would now revolve around large-ensemble salsa played live instead of the 1950s Panart studio descarga style. The band, the Fania All-Stars, debuted in 1968 at the Red Garter in Greenwich Village with a lineup that included Ray Barretto, Joe Bataan, Willie Colón, Bobby Valentín and Larry Harlow among others, plus guests Eddie Palmieri, Tito Puente and Richie Ray. The concert was recorded and divided into two LPs, Live at the Red Garter Volumes I and II, which were moderately successful.

1970s: the peak of salsa dura
In 1970, Eddie Palmieri released Superimposition, an LP with descargas such as "Chocolate Ice Cream" and "17.1", which featured Alfredo "Chocolate" Armenteros on trumpet. Armenteros would later join Grupo Folklórico y Experimental Nuevayorquino, an ensemble founded by musicologist and producer René López. The group played extended descargas with a modern salsa sound.

On August 26, 1971, the Fania All-Stars were reformed with a new lineup to perform at the Cheetah. The concert was recorded and filmed, yielding a documentary, Our Latin Thing, and three albums, Live at the Cheetah, Volumes I and II and the soundtrack to Our Latin Thing. The performances are all in a salsa dura style and in a descarga format, which is acknowledged in the 9-minute-long "Descarga Fania", written by Ray Barretto and arranged by Barretto and pianist Louie Cruz. The concert is often cited as one of the most crucial moments in the history of salsa, highlighting the importance of the descarga format in the success of the genre during the 1970s.

In 1977, Cachao was brought to a studio by musicologist René López to record two new albums for the Salsoul label: Cachao y su Descarga 77 and Dos. Half of the recorded tracks were danzones composed by Cachao during his early career, whereas the other half consisted of Afro-Cuban descargas, as in the later stages of Cachao's career. The recording sessions featured prestigious musicians including "first generation" descarga artists such as Alejandro "El Negro" Vivar, Alfredo "Chocolate" Armenteros, Carlos "Patato" Valdés and Julito Collazo, as well as members of the "second generation" of descarga and salsa musicians such as Barry Rogers, Nelson González and Andy González.

On September 18, 1977, at the Monterey Jazz Festival, Tito Puente in collaboration with vibraphonist Cal Tjader introduced descarga for the first time to the mainstream jazz audience with his closing 10-minute rendition of the classic son "Pare cochero" (written by Marcelino Guerra).

Starting in 1979, the Cuban all-star ensemble Estrellas de Areito directed by Juan Pablo Torres released five albums consisting exclusively of descargas. A compilation of these recordings entitled Los héroes was later reissued by World Circuit in 1999 to critical acclaim.

1980s to present: revival and critical acclaim
In 1981, Walfredo de los Reyes, Cachao and Paquito Hechavarría came together to record Walpataca, a descarga album released by Tania Records. The album was listed as number 60 in Latin Beat Magazine's "Top 100 Independent Recordings" (June/July 2004). The same group (with additional musicians) would record Walpataca II (1985) and Maestro de Maestros (1986) for Tania. Both albums comprise a series of jazzy jams with a variety of themes, from heavy Afro-Cuban percussion to salsa and guaracha. Both albums include the tracks "Bocachaby" and "Walpataca II". Maestro de Maestros featured flautist José Fajardo and percussionist Nelson "Flaco" Padrón.

During the 1990s the descarga format gained worldwide popularity due to the release of several highly successful albums. In 1993, Cuban-born actor Andy García released a documentary about the life and works of Cachao entitled Como su ritmo no hay dos. The following year, Cachao became the first inductee (together with Celia Cruz) in the Billboard Latin Music Hall of Fame. Shortly after, García brought Cachao to a recording studio to record a descarga album, partly in honour of his father (who was friends with Cachao's family) and his hometown, Bejucal, where his father was known as el alcalde (the mayor). The album, entitled Master Sessions Vol. I, became a success, charting in the Billboard Latin 50 and winning the Grammy Award for Best Tropical Latin Album in March 1995. The follow-up, Master Sessions Vol. 2, which featured Paquito D'Rivera and Rolando Laserie, was released in 1995 and was also nominated for Best Tropical Latin Album but lost to Gloria Estefan's Abriendo Puertas.

In 1995, Nick Gold (head of World Circuit Records) and Juan de Marcos González (director and tres player of Sierra Maestra) decided to record a series of descarga sessions featuring established Cuban musicians together with African virtuosos Toumani Diabate (kora player) and Djelimady Tounkara (guitarist). By early 1996, the Cuban musicians had been already selected and the African musicians were about to travel to Cuba, but due to difficulties in obtaining visas they could not make it. Gold then invited Ry Cooder and his son Joachim to participate in the sessions; Ry would play guitar and Joachim African percussion. The recording sessions took place in March 1996 in Havana's EGREM studios and yielded two albums released in 1997: A toda Cuba le gusta, credited to the Afro-Cuban All Stars, and Buena Vista Social Club. Both albums, especially the latter, included extended descargas featuring Juan de Marcos on tres, Rubén González (who had taken part in Estrellas de Areíto) on piano, Orlando "Cachaíto" López (Cachao's nephew) on bass and Amadito Valdés on timbales. Buena Vista Social Club went on to become an international sensation, winning the 1998 Grammy for Best Tropical Latin Album and spawning a documentary by Wim Wenders which was nominated for an Academy Award for Best Documentary Feature in 1999. The album directly combined classic Cuban trova and filin with intense descarga jamming. The presence of laúd player Barbarito Torres, as well as Joachim Cooder's udu and dumbek, introduced seldom seen instruments into the genre.

Another Cuban all-star ensemble, Caravana Cubana, recorded and released two albums at the turn of the century, Late Night Sessions (2000) and Del alma (2002). Described as a "serendipitous union of stellar jammers", both sessions include descargas combined with various genres ranging from son to rumba. Among the artists featured were Pío Leyva, Chucho Valdés, Orlando "Maraca" Valle, Bamboleo, Francisco Aguabella and Miguel "Angá" Díaz.

In the 2000s, Cachao achieved three more Grammys in the Tropical Latin Album category. Although the first one was awarded for a jazz album, El Arte del Sabor (2001), with Bebo Valdés and Carlos "Patato" Valdés, the other two consisted of descargas, Ahora sí! (2004) and his posthumous release The Last Mambo (2011), recorded in September 2007. In addition, his 2000 album Cuba linda, also made of descargas, was nominated for the award in 2001 but lost to Alma Caribeña by Gloria Estefan.

Structure
In general, descargas are long improvised pieces characterised by the inclusion of repeated guajeos and tumbaos. Solos are often performed by the different musicians, including the singers (if any). Simple choruses are usually repeated by the backing vocalists (coro). Descargas often have a "cyclical harmonic structure of relatively few chords".

With the advent of salsa, descargas began to include elements from other Latin American traditions, especially from Puerto Rico, Colombia and Panamá. An example is Rubén Blades' "Tiburón", which combines typical Cuban rumba percussion with the seis genre from Puerto Rico featuring Yomo Toro on cuatro, as well as the characteristic trombone section of salsa dura.

title: Descarga


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Pío Leyva

Pío Leiva (May 5, 1917 – March 22, 2006) was a Cuban singer and the author of the guaracha El Mentiroso ("The Liar"). Leyva was part of the Buena Vista Social Club, and composed some of Cuba's best known standards.

Biography
Leyva was born as Wilfredo Leiva Pascual in Morón, Cuba in 1917. He won a bongo contest at the age of six and made his singing debut in 1932. He recorded over 25 albums since he signed his first contract with RCA Victor in 1950. Leyva sang with other Cuban artists such as Benny Moré, Bebo Valdés and Noro Morales and was a member of Estrellas de Areito and "Compay Segundo y Sus Muchachos."

Fellow musician Barbarito Torres said of Leyva: "Pio has always been a famous singer in Cuba. I've always admired him, not just for his talent, but because of his great personality. He's the inspiration."

Leyva took part in the 2004 film Música Cubana, which was marketed as a sequel to Buena Vista Social Club.

Death
Leyva died of a heart attack, on March 22, 2006. He was 88 years old.

title: Pío Leyva


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User:Chanting Fox

Hi, I'm Chanting Fox.

Barnstar

Got this Barnstar 2 to 3 days after registering my account. I probably wouldn't have gotten my Barnstar so quickly if there weren't so many events of vandalism. It's sad how many vandals are out there... and how pathetic some of their attempts can be. My rule of thumb is that I look at the Recent Changes page and every once in a while, I'll check out an article that's been changed by an anon. user. Now initially I'm assuming that it might be a vandal (under the assumption that most vandals aren't going to even bother registering an account because it means that they're delayed from vandalizing other people's work), but I always check the page history to be sure,and you should as well. I once reverted a page assuming it was vandalism, but when the person returned what he'd put in, I realized that it was just a case of multiple spelling errors. That proved to be correct, as the editor continued to make minor edits to correct his spelling. Nevertheless, checking the history of a page is an easy way to tell whether or not the change is vandalism most of the time. I don't take any action until AFTER I do this check. Another rule of thumb is that if the topic is something that I don't understand or if it's hard to tell whether or not the change is legitimate, I don't do anything. My final rule of thumb is that you vandalize my user page, I will report you. Legitimate criticism is welcomed... insults and other offensive forms of expression are not.

Some random thoughts
So many vandals, so few original ideas. (Whether that's a good thing or a bad thing is up to debate.)

If stupidity were a crime, we'd all be in jail. Unfortunately, some of the people we meet sometimes make us think that making stupidity a crime is a good idea.

Thomas Alva Edison is supposed to have said: "Genius is 1% inspiration and 99% perspiration." What I say is: "Vandalism is 1% silliness, 49% stupidity, and 50% aggravation."

You know... I do so many reverts on Wikipedia that sometimes I think I should get paid for it! --You should get paid for it, keep up the good work ^^ -Anon

Userpage Vandalism Count
So far, my userpage has been vandalized 19 times.

Wikipedia Activities
As my barnstar should tell you, one of my activities is monitoring for and dealing with vandalism to the extent of the abilities of any registered user. I also look for the creation of new articles. The unfortunate fact is that a lot of the time these new articles are nothing but mere nonsense, and I mark those with a speedy tag. Not really out of the ordinary IMHO. As for articles.... don't have much to attribute to myself there. My activities there consist mostly of occasional spelling and grammar edits. I'm working on one article right now... I don't think I'll be able to get it up to the point where I can remove the cleanup tag I placed on it... but it's quite a bit better than it was before I started working on it.

Wikibreaks
7/20/05: Back from my Wikibreak... vandals beware (and be aware!)

Main Annoyances on Wikipedia (doubtful that I'm the only one that thinks this)
Number one: Vandals that use dynamic IPs/proxies... its fun, fun, fun for the vandal... but everybody else wishes that they could find the vandal and strangle them because the admins can't permablock the vandal... and because they keep getting disgusting and obscene images placed on their userpages and talkpages.

Number 2: Vandals using school/college/university computers. Same problem, and just as problamatic if not more so. At least THESE vandals aren't as likely to plaster images of certain parts of the human body on pages they don't belong in...

Number 3: People who remove the shared IP notices from talk pages. They're there so the IP address doesn't get blocked indefinitely! These guys are a pain unless you've got a registered account... and aren't a admin who blocks the page for a week because you didn't know the IP was shared by a number of users equivalent to the population of a small city. (That's a ballpark estimate.)

Number 4: People who remove the sandbox header. Yeah, it doesn't seem that big of a deal... but it is stated right on the header to NOT REMOVE it! At least the majority of these people are anon. users who are probably new and/or just fooling around rather than serious vandals.

Number 5: Sockpuppets. Double (or triple or multiply by 10 or 20) the fun for vandals, same multiplier in annoyance for everybody else.

Fawcett5
Hello,

That lil monkey Fawcett5 is still stalking me and messing around with my User Talk page any chance you can advise the people in charge to discipline this guy !! Thanks LaLa 22:21, 9 August 2005 (UTC)

-- There has been a lengthy and exhausting discussion at Talk:Abraham Lincoln and now at Talk:Elvis Presley and its archived Talk pages surrounding the exact same issue as was discussed and voted upon already on the Abraham Lincoln matter. Because this has the potential to create a new standard for what is acceptable Wikipedia sources, I thought that you might want to be aware of it. If the policy consensus arrived at on the Abraham Lincoln issue is set aside in the Presley article it will result in new ones for countless others. I think the existing determination of what constitutes a proper source should be defined by the Wikipedia community and set as firm policy which would go a long way in helping to substantially reduce the tiresome and repeated edit wars. Thank you for your interest. Please note I have left the same message for others who worked on this matter. Ted Wilkes 20:53, August 18, 2005 (UTC)

title: User:Chanting Fox


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Jim Hart (American football)

James Warren Hart (born April 29, 1944) is an American former football quarterback who played in the National Football League (NFL) for the St. Louis Cardinals from 1966 through 1983 and the Washington Redskins in 1984.

Early life
Hart was raised just outside Chicago for the first few years of his life, until his father died when he was seven. His mother remarried, and Hart's stepfather encouraged him to play sports. He started playing football as a quarterback at Niles West High School in Skokie, Illinois; he also lettered in basketball for three years and played baseball.

College career
Hart received a football scholarship to play for the Southern Illinois Salukis from 1963 through 1965. After no team picked him in the 1966 NFL Draft, Hart's former coach Don Shroyer invited him to a tryout with the Cardinals. He impressed the team and was signed soon after.

NFL career
Hart played in relief of Terry Nofsinger in the final game of the 1966 season on December 17 for the Cardinals (who had lost Charley Johnson, who was fulfilling an ROTC commitment), and he completed four of 11 passes for 29 yards in a 38–10 loss to Cleveland.

In the 1967 season, Hart started all 14 games, going 6–7–1 while throwing for 3,008 yards with 19 touchdowns and 30 interceptions on a 48.4 completion percentage. Both his yards and interceptions would prove to be career highs. The following year, he and the team improved slightly, with him going 8–3–1 in the 12 games he started (with Johnson starting two games), throwing for 2,059 yards with 15 touchdowns to 18 interceptions on a 44.3 completion percentage. Hart split time with Johnson for the 1969 season, playing in nine games while starting five (with Johnson starting the other nine), and he went 2–3 with 1,086 yards for six touchdowns and 12 interceptions on a 49.7 completion percentage, although the team won just four games for the first time since 1962.

These early career teams were mediocre at best (31–33–5 in his first seven years), but the hiring of coach Don Coryell in 1973 turned things around. From 1974 to 1976, he guided the Cardinals to three straight ten-plus-win seasons along with back-to-back NFC East crowns in 1974 and 1975, leading the "Cardiac Cards" to ten game-winning drives during that three-year span. The Cardinals played their first playoff game in 26 years with the matchup in Minnesota on December 21, 1974 with Hart leading the Cardinals to the first score of the game on a pass from 13 yards to Earl Thomas in the second quarter. Although they were tied at halftime, it did not last, as the Vikings would roll to a 30–14 victory on 23 points in the second half. Hart would throw 18-of-40 for 200 yards with a touchdown and an interception while being sacked twice. For the matchup in the 1975 playoffs, they faced the Los Angeles Rams. Hart's early struggles would prove to doom the Cardinals, as he threw two interceptions that would each be returned for touchdowns, and the Rams would lead 28–9 at half-time, and a nascent run in the second half made the final score 35–23 in favor of Los Angeles. Hart threw 22-of-41 for 291 yards for a touchdown and three interceptions while being sacked twice.

In 1976, he threw for a career high completion percentage of 56.2%, complementing that with 2,946 yards for 18 touchdowns and 13 interceptions, with the team going 10–4, becoming the only NFC team to ever miss the playoffs after winning ten games in a 14-game season (done due to losing twice to the 10–4 Washington Redskins). The 1977 season proved a doomed one in mediocrity for Hart and the Cardinals. They were 7–3 with just four games to play and a narrow lead for a potential wild card spot in the postseason. However, a 55–14 drubbing at home to the Miami Dolphins proved to be the harbinger of a four game losing streak that doomed the team to a 7–7 record and out of the playoffs (Coryell would leave the team after the season). Hart was named to the Pro Bowl despite the disappointment, having thrown for 2,542 yards with 13 touchdowns and 20 interceptions with a 52.4 completion percentage. It would be the last season where the Cardinals had a .500% or better year with Hart at the helm. In the next four seasons, Hart would start in 52 of the 64 games played and went 17–35 as a starter, throwing a combined 52 touchdowns and 72 interceptions for 9,979 yards and a 52.3 completion percentage, while being sacked 100 times (Hart would be sacked 243 times in total for a career).

For 1982, Neil Lomax was positioned as the quarterback for the future for the Cardinals, and Hart made mop-up appearances in four games that year, throwing one touchdown with 199 yards passing in 19-of-33 combined passing. Hart did not play when the Cardinals made it to the playoffs. 1983 was Hart's last season with the team. After Lomax was taken out in the midst of the season opener loss (whereupon Hart threw 11-of-20 for 141 yards), Hart would be the starter for three of the next four games. Hart's final start as a quarterback was on October 2 against the Kansas City Chiefs. He would throw 5-of-13 for 33 yards and three interceptions before being taken out for Rusty Lisch. Hart was signed by the Redskins to back up Joe Theismann for the 1984 season, playing little in that season before retiring in the off-season. However, Hart did make it into one footnote of history, as his appearance into the October 7th game was his 200th appearance in the quarterback position, making him the 10th quarterback to ever do so.

In his career, he was also selected to the Pro Bowl four times. In the 1977 Pro Bowl, Hart threw five interceptions, the most in the Pro Bowl's history. He went 87–88–5 in his career, was sacked 243 times, and played in 201 games. , he was 25th in passing yards, 29th in victories, 34th in completions, and 32nd in passing touchdowns, though he is 10th in passes intercepted (including a 30-interception season in 1967, the sixth player in history to achieve this dubious benchmark), 73rd in being sacked, and 161st in Passer rating. He has the most passing attempts, completions, yards, touchdowns, interceptions (both career and single season), wins, and losses as a Cardinal.

Hart was named the NFC Player of the Year by UPI, All-NFC and second-team All-Pro for the 1974 season. Hart was inducted into the Missouri Sports Hall of Fame in 1998 for his contribution to the sport of football.

Personal
In 1983, Hart and teammate Dan Dierdorf opened up Dierdorf and Hart's Steak House. The steakhouse closed in 2013 after 30 years of operation.

Hart broadcast games on WGN with Dick Butkus after his retirement until 1989.

In 1989, Hart became the athletic director for Southern Illinois University Carbondale, serving until a chancellor changeover forced him out in 1999.

Hart has been married to his college sweetheart for over 40 years; he has three children and four grandchildren and some nieces and nephews. He resides in Naples, Florida, and often participates in charity golf tournaments.

title: Jim Hart (American football)


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Category:Reginita asteroids

See parent category for proper sortkey usage instructions.

title: Category:Reginita asteroids


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Assizes of Jerusalem

The Assizes of Jerusalem are a collection of numerous medieval legal treatises written in Old French containing the law of the crusader kingdoms of Jerusalem and Cyprus. They were compiled in the thirteenth century, and are the largest collection of surviving medieval laws.

History
As Peter Edbury says: "one group of sources from the Latin East that have long excited the attention of scholars are the legal treatises often known collectively, if somewhat misleadingly, as the Assises of Jerusalem." (Peter W. Edbury, John of Ibelin and the Kingdom of Jerusalem, pref.)

The assizes, or assises in French, survive in written form only from the 13th century, at least a generation after the collapse of the Kingdom of Jerusalem. The earliest laws of the Kingdom were promulgated at the Council of Nablus in 1120, but these laws seem to have fallen out of use and were replaced by the assizes by the 13th century and presumably even earlier.

Although no laws or court cases survive from the height of the kingdom in the 12th century, the kingdom obviously had laws and a well-developed legal structure. By the 13th century, the development of this structure was lost to memory, but jurists such as Philip of Novara and John of Ibelin recounted the legends that had grown up about the early kingdom. According to them, both the Haute Cour and the burgess court were established in 1099 by Godfrey of Bouillon, who set himself up as judge of the high court. The laws of both were said to have been written down from the very beginning in 1099, and were simply lost when Jerusalem was captured by Saladin in 1187. These laws were kept in a chest in the Church of the Holy Sepulchre, and were thus known in Old French as the "Letres dou Sepulcre." The chest supposedly could have only been opened by the king, the Patriarch of Jerusalem, and the viscount of Jerusalem. Each law, according to Philip, was written on one page, beginning with a large initial illuminated in gold, and with a rubric written in red ink. Philip claimed to have obtained his information from an old knight and jurist named Ralph of Tiberias, and John in turn probably got his information from Philip. Whether or not these legends were true (Edbury, for one, believes they were not), the 13th century jurists envisioned the legal structure of the kingdom to have existed continuously from the original conquest.

Some of the treatises are said to represent Western feudal law, as interpreted by baronial jurists to weaken royal power, but later scholarship argues that the works present an idealized legal model rather than proof of an existing feudal structure.

Texts
The surviving collections of laws are:

 * The Livre au Roi. This is the earliest surviving text, dating from approximately 1200.  It was written for Amalric II of Jerusalem (the "Roi" of the title) and has a decidedly royalist slant. It is the only text preserving the établissement of King Baldwin II, which allowed the king to disinherit his vassals, bypassing the normal judgement of the Haute Cour. Otherwise its contents are very similar to the other authors.
 * Le Livre de Forme de Plait. Philip of Novara's legal treatise, written from a more aristocratic viewpoint, was written in the 1250s. He also wrote a history of the conflict between the Ibelins (his patrons) and the Hohenstaufens on Cyprus and in Acre.
 * John of Ibelin. John, count of Jaffa and Ascalon and regent of the Kingdom of Jerusalem in Acre, was a participant in the struggle that Philip recorded elsewhere. From 1264 to 1266 he wrote Livre des assises, the longest legal treatise from the Latin East, and indeed from anywhere in medieval Europe.
 * Geoffrey La Tor or Geoffrey le Tort, and James of Ibelin, John's son, independently wrote very small treatises, much less important than the larger works of Philip and John.
 * The Livre des Assises de la Cour des Bourgeois. This is a lengthy work detailing the assizes the lower court of the kingdom, the burgess court, established for the non-noble class. Their author is anonymous, but they were also written in the mid-13th century. According to Joshua Prawer they derive from Lo Codi, a Provençal law code itself based on Roman law.

Also important on its own, although found in the Livre au Roi, Philip, and John, is the Assise sur la ligece, a law promulgated by Amalric I of Jerusalem in the 1170s, which effectively made every lord in the kingdom a direct vassal of the king and gave equal voting rights to rear-vassals as much as the greater barons.

Modern editions
All of these works were edited in the mid- to late-19th century by Auguste Arthur, comte de Beugnot, and published in the Recueil des Historiens des Croisades by the Académie des Inscriptions et Belles-Lettres, in two volumes designated "Lois." Also included in the RHC are the 13th- and 14th-century ordinances of the Kingdom of Cyprus; a document concerning succession and regency, written by (or attributed to) John of Brienne, king of Jerusalem; and a document concerning military service, written by (or attributed to) Hugh III of Cyprus. There are also a number of charters, although a far more complete collection of charters was collected in the late 19th and early 20th century by Reinhold Röhricht.

In the judgement of all later editors, from Maurice Grandclaude in the early 20th century to Edbury today, Beugnot was a very poor editor; fortunately, some, but not all, of these works have been edited separately. A French critical edition of the Livre au Roi was published by Myriam Greilshammer in 1995, and in 2003 Edbury published a critical edition of John of Ibelin's text. No new edition of the Old French assizes of the burgess court has been published since Beugnot's publication in 1843, but in the 15th century they were translated into Greek, and from the Greek manuscripts an English translation has recently been made by Nicholas Coureas.

Modern historians generally recognize the dangers in attributing 13th-century laws to the 12th-century kingdom, although earlier it was believed that these assizes represented the purest form of medieval European feudalism. In reality the laws probably reflect the practise of neither the 12th or the 13th century, as they were written from scratch in the 13th and were consciously designed to harken back to the less-troubled days of the 12th century, despite the important legal changes that had occurred in the meantime (trial by ordeal, for example, was outlawed in the Fourth Lateran Council of 1215).

As mentioned above, it is somewhat misleading to call all of these texts the "Assizes of Jerusalem" as if they were written together at the same time; they often contradict one another or omit information that another text has. Together, however, they are the largest collection of laws written in a medieval European state for this period.

Sources and further reading

 * M. Le Comte Beugnot, ed., Livre de Philippe de Navarre. Recueil des Historiens des Croisades. Lois, tome premier. Paris: Académie Royal des Inscriptions et Belles-Lettres, 1841.
 * M. Le Comte Beugnot, ed., Livre des Assises de la Cour des Bourgeois. Recueil des Historiens des Croisades: Lois, tome deuxième. Paris: Académie Royal des Inscriptions et Belles-Lettres, 1843.
 * Nicholas Coureas, trans., The Assizes of the Lusignan Kingdom of Cyprus. Nicosia: Cyprus Research Centre, 2002.
 * Kωνσταντίνος Σάθας. Ασίζαι του Βασιλείου των Ιεροσολύμων και της Κύπρου. Μεσαιωνική Βιβλιοθήκη Τόμος ΣΤ΄. Εν Βενετία: Τύποις του Φοίνικος (1877).
 * Philip of Novara, Le Livre de forme de plait, ed. and trans. Peter W. Edbury. Nicosia: Cyprus Research Centre, 2009.
 * John of Ibelin, Le Livre des Assises, ed. Peter W. Edbury. Leiden: Brill, 2003.
 * Peter W. Edbury, "Law and Custom in the Latin East: Les Letres dou Sepulcre," Mediterranean Historical Review 10 (1995).
 * Peter W. Edbury, "Feudal Obligation in the Latin East," Byzantion 47 (1977).
 * Peter W. Edbury, John of Ibelin and the Kingdom of Jerusalem. Woodbridge, Suffolk: The Boydell Press, 1997.
 * Maurice Grandclaude, "Liste des assises remontant au premier royaume de Jérusalem (1099-1187)," in Mélanges Paul Fournier. Paris: Société d'Histoire du Droit, 1929.
 * Myriam Greilsammer, ed., Le Livre au Roi. Paris: Académie des Inscriptions et Belles-Lettres, 1995.
 * Joshua Prawer, Crusader Institutions. Oxford: Clarendon Press, 1980.
 * Reinhold Röhricht, ed., Regesta Regni Hierosolymitani (MXCVII-MCCXCI), with Additamentum. New York: 1893–1904.

title: Assizes of Jerusalem


text: Template:Audio icon

title: Template:Audio icon


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Roberto Faz

Roberto Faz Monzón (September 18, 1914 – April 26, 1966) was a Cuban singer who reached the height of his popularity during the 1950s and early 1960s. Like his contemporary Benny Moré, he specialized in many forms of Cuban music such as son, guaracha and bolero. He was a member of the Conjunto Kubavana for three years before joining the Conjunto Casino in 1944. At the Casino he sang alongside Agustín Ribot and Roberto Espí, achieving great success. In 1956 he left the Casino to establish his own conjunto, where he sang with Orlando Reyes and Roeangel Rodríguez "Rolito". He continued to tour and record with his band until his death in 1966 from a stroke and edema pulmonary.

Compositions
Faz is the author of popular songs such as "Te traigo mi son", "El pregón de la montaña", "Nadie baila como yo", "El retozón", "Píntate los labios María, del Compositor, Ramon Castro Herrera" and "Aguanile mai mai".

title: Roberto Faz


text:
Talk:Pearson College UWC

Coordinates
Hey, can someone add the coordinates for the college? I've done it for Mahindra College already, would nice to have them for all colleges (so people like me can finally find out where Pearson actually is :-)) How to go about it: 1) Find the college in something like Google Earth and note down the coordinate 2) Put a tag of the type 18.52472°N, 73.58528°W in the Wiki text, it will result in something like this: 18.52472°N, 73.58528°W - which leads users to a page where they can select a map and look at it. Cheers, Tobi Tobi Kellner

Logo
The logo in the page is about 4 years old now, when it was changed for a more simple one that was cheaper to print on stationary. Rune Welsh 21:27, Apr 19, 2005 (UTC)

helo my name is nick im in canada and im doing a report on lester .b pearson so i need someons report that got an A+ so people please help me out with this!!

Neutrality
OK, there's probably not much dirt to dig up, but can this at least conform to NPOV? AN encyclopedia does not describe any institution as "ideal"; this article exists to provide facts, not to promote. Escheffel 05:07, 1 September 2006 (UTC)

Fair use rationale for Image:NewPeasonLogo.jpg
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Image copyright problem with Image:Official logo uwc.png
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title: Talk:Pearson College UWC


text:
Category:Nemesis asteroids

See parent category for proper sortkey usage instructions.

title: Category:Nemesis asteroids


text:
Talk:Disraeli Gears

External links modified
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Does Pappalardi Play On The Album?
Pappalardi plays on Cream's subsequent studio material, but this article credits him for production only. Does anyone know whether he plays on any of the material on this album? 2603:7000:3400:29E1:9D52:42B8:305E:46E6 (talk) 17:19, 16 June 2023 (UTC)

title: Talk:Disraeli Gears


text:
Great Central League

The Great Central League was a short-lived baseball league of four teams that played baseball in the upper Midwest of the United States in 1994. The league and four teams were owned by Minneapolis-based strip club owner, Dick Jacobson, who previously attempted to purchase the Rochester Aces of the Northern League.

In an effort to bring notoriety to the league, Jacobson signed Boston Red Sox Hall of Fame member George Scott as manager for the Minneapolis Millers. However his presence from the dugout did not help the team or league draw larger crowds to games. The league folded before holding a championship game because it was underfunded, used facilities ill-equipped for professional baseball, and was run by inexperienced management.

Teams

 * Champaign-Urbana Bandits
 * Lafayette Leopards
 * Mason City Bats
 * Minneapolis Millers

title: Great Central League


text:
Wikipedia:Articles for deletion/Originality

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. Postdlf 22:11, 1 May 2005 (UTC)

Originality

 * Abstain now I suppose It was transwikied to wiktionary and therefore is not needed here. gren 01:54, 17 Apr 2005 (UTC)
 * Keep, important concept. Has potential to be expanded to cover the question of if computers can have "original" ideas, and the legal definition of original in copyright/patent disputes. Kappa 03:03, 17 Apr 2005 (UTC)
 * wow, I figured this was a sure delete.... I'd take it off VfD (not sure if I can thought...) since I guess I figured those issues would be covered elsewhere. gren 04:11, 17 Apr 2005 (UTC)
 * If they are, we'll still need some kind of disambig page. Don't worry about withdrawing though, I'm sure there'll be some delete votes. Kappa 04:52, 17 Apr 2005 (UTC)

 * Like, ohmigawsh. I've never heard of originality before. Keep, on condition that someone do what Kappa suggests. Haikupoet 00:07, 18 Apr 2005 (UTC)
 * Keep. Per Kappa, I dropped a few lines about originality as a requirement for a patent in the U.S. -- 8^D gab 06:29, 2005 Apr 18 (UTC)
 * Thanks BD2412. Now all we need is an article for nonobvious ... Kappa 21:25, 18 Apr 2005 (UTC)
 * Turns out there's already a nonobviousness article; I added a redirect. -- 8^D gab 16:52, 2005 Apr 20 (UTC)
 * Nice find, thanks Kappa 17:44, 20 Apr 2005 (UTC)
 * Keep. --Theo (Talk) 00:38, 25 Apr 2005 (UTC)

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


text:
Cuban salsa

In Cuba, a popular dance known as Casino was marketed abroad as Cuban-style salsa or Salsa Cubana to distinguish it from other salsa styles when the name was popularized in the 1970s. Dancing Casino is an expression of popular social culture in Cuba and many Cubans consider casino a part of their social and cultural activities centering on their popular music.

The origins of the name Casino are casinos deportivos, the dance halls where a lot of social dancing was done among the better off, white Cubans during the mid-1950s and onward.

Historically, Casino traces its origin as a partner dance from Son Cubano, fused with partner figures and turns adopted from the Cuban Mambo, Cuban Cha Cha Cha, Rumba Guaguancó and North American Jive. As with Son, Danzón and Cha Cha Cha, it is traditionally, though less often today, danced a contratiempo. This means that, distinct from subsequent forms of salsa, no step is taken on the first and fifth beats in each clave pattern and the fourth and eighth beat are emphasised. In this way, rather than following a beat, the dancers themselves contribute in their movement, to the polyrhythmic pattern of the music.

Casino dance is often intertwined with Afro-Cuban dance traditions, which many dancers spontaneously draw from in a more or less structured or ad hoc fashion, though this is not per se definitory of the dance itself. In the same way that a sonero (lead singer in Son and Salsa bands) may "quote" other, older songs in their own, a Casino dancer frequently improvises references to other dances, integrating movements, gestures and extended passages from the folkloric and popular heritage. This is particularly true of African descended Cubans. Such improvisations might include extracts of rumba, dances for African deities, the older popular dances such as Cha Cha Cha and Danzón.

Culture and geography
Culturally, Casino is danced as an interplay between genders and feeling the music (Sabor) as its main ingredients. Much of the interplay of Casino style dancing is based on the broader Afro-Caribbean cultural context with emphasis on sexual interplay, teasing and everyday experience.

Geographically, in Latin America, Casino and its variants are danced in Cuba, the Dominican Republic, and Venezuela. It is also popular in Europe and parts of Asia. In the 1950s, Miami became alive with Cuban music and salsa dancing. It all started when waves of Cuban immigrants made Miami their new home after the Cuban Revolution. They brought their incredible musical traditions, like son, rumba, and cha-cha-cha, sparking a fiery dance culture we now call Miami Cuban style salsa.

As a partner dance (Parejas)
Casino is danced in three points which makes up a circular motion as partners face each other in intricate patterns of arms and body movement. This is distinctive from the North American Salsa styles which is danced in a slot (two points) and linear positions as taught by the North American and European dance studios.

Casino has a number of basic steps. One of them known as guapea ("swagger") or pausa, among other attested names, involves the leader lead performing a more or less pronounced dragging of his left foot backwards from a slightly advanced onset position. This is in stark contrast to the most common basic Salsa step, in which the lead steps forward with his left foot.

Casino styling includes men being "macho" and women being femininely sexy, with major body and muscle isolations, through the influence of Rumba dancing. During the dance, dancers often break from each other during percussion solos and perform the despelote, an advanced form of styling in which the male and female partner get physically close and tease each other without touching through the gyrating of hips and shoulders while performing muscle isolations.

The major distinction of Casino Styling is that male partners have tendencies to show off (following Afro-Cuban Guaguancó influence), under the cultural guise of males having to attract attention and tease females. This is the major point of differences between Casino and Northern American forms of Salsa, which ascribe to the ballroom adage of "men are the picture frame while women are the picture."

As a solo dance (Suelta)
Suelto, dancing salsa without a partner, originates from stage singers and dancers, who perform dance routines during orchestra and live performances. Dancing alone or in a group (usually with a male facing females on the dance floor), the movements are based on a-tiempo or contra-tiempo, with intricate footwork and lively body movements.

Other forms of partner dancing
In the 1950s, Miami became alive with Cuban music and salsa dancing. It all started when waves of Cuban immigrants made Miami their new home after the Cuban Revolution. They brought their incredible musical traditions, like son, rumba, and cha-cha-cha, sparking a fiery dance culture we now call Miami Cuban style salsa.

Other partner dancing styles include Trios or Quattros, in which a lead dances with two or more partners in intricate patterns. There is also a Trios version in which two leads share a follow. Additionally, several couples can come together to dance choreographed moves with changes of partners, led by a caller and known as "rueda de casino". This last form is popular everywhere there is Cuban music. In the United States, many dance schools only offer rueda de casino and ignore completely the dance of casino. These schools often mistakenly identify the dance as "casino rueda" or "salsa rueda", both incorrect terms.

title: Cuban salsa


text:
Wikipedia:Articles for deletion/South Gin

 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 NO CONSENSUS. Normally I'd go with merge with votes like this below, but their intentions involved another article that was on VfD and was kept. So if some enterprising youngster wants to be bold and merge this puppy somewhere, I won't squawk, but I'm not going to do it myself. Postdlf 23:04, 1 May 2005 (UTC)

South Gin
Delete as pure advertisement. FreplySpang (talk) 01:55, 17 Apr 2005 (UTC)
 * Create Pacific Dawn Distillers and move the content there. Mikkalai 04:39, 17 Apr 2005 (UTC)
 * Delete, advert. Megan1967 05:40, 17 Apr 2005 (UTC)

Why delete this? It's a brand just like Coca-cola. The other alcoholic beverage produced by PDD, 42 Below, has its own page; why not this too?
 * Comment. Good point. See Votes for deletion/42 BELOW. FreplySpang (talk) 15:15, 17 Apr 2005 (UTC)

OK, it seems the 42 Below (brand) deletion tag has been removed; this is also a brand owned by 42 Below Limited. Lets remove this deletion request too. More will be added to this page as the brand becomes more popular. Cheers.
 * Merge with 42 BELOW to form Pacific Dawn Distillers. Individual brands are rarely noteable (I have spent ages reducing Category:Brands of beer by merging stubs into brewery articles where they belong, but companies who produce things have more permanence, and this is would make a small article about a distiller using local ingredients to make a NZ distilled product range. Justinc 11:15, 19 Apr 2005 (UTC)
 * I'm with Justinc; merge the two brands into one article, leaving redirects behind. Deletion would be inappropriate, since the current text doesn't actually encourage one to purchase the drink, even if some of the text reads like slightly POV ad-copy. It's not a fantastic article, but it is wearing its stub tag like a good boy and some South Gin fancier will come along eventually. Dave1898 12:27, 19 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Talk:Southernplayalisticadillacmuzik

Sleepy Brown in Crumblin Erb?
Is Sleepy Brown singing the hook of this song? I believe he is. Any source that can legitimately note that?

-- Piazzajordan2 ( Talk. ) 01:53, 31 May 2010 (UTC)

According to this, yes. Dan56 (talk) 03:02, 31 May 2010 (UTC)

 * Should we add that to the article?

-- Piazzajordan2 ( Talk. ) 02:08, 1 June 2010 (UTC)

He's not credited as a featured artist/guest, but backing vocals, which should be added if the track listing is in a table format with more details for individual track credits, such as the one in the OB4CL article. Dan56 (talk) 02:49, 1 June 2010 (UTC)

title: Talk:Southernplayalisticadillacmuzik


text:
Talk:Cuvette

microcuvettes
Can we add something about microcuvettes, or at least redirect microcuvette to this page?

140.107.39.177 (talk) 16:39, 9 October 2013 (UTC)

The following passage is awkward:

"Inexpensive cuvettes are round and look similar to test tubes. Disposable plastic cuvettes, while not as pure as glass or quartz versions, are often used in fast spectroscopic assays, where speed is more important than high accuracy."

I would say that plastic cuvettes are just as "pure," wrt chemical composition, as their glass or quartz counterparts, but all absorb in different regions, making them more or less useful for specific applications. Mihovil 02:11, 22 August 2006 (UTC)

Notice that cuvettes are not only used for spectroscopic experiments, but also i.e. for immunhistochemistry experiments to hold object slides for washing steps. Other cuvettes could be much larger than that showed in the picture.

I would say that Mihovil has it right, and the caption in wrong; to my recollection, we used plastic cuvettes for OD measurements and quartz cuvettes for DNA/RNA, for the reason he states. Also, speaking of clarity as opposed to absorption wavelength, that sample in the photo is not very clear - looks like a used one they fished out of the trash. Photo and caption should be fixed.DLuber1 (talk) 01:59, 27 September 2009 (UTC)

DuliCell
The section on the beer-lambert law is bad. Reads like an advert lifted off the manufacturers web site. Suggest it should redirect to the B-L page rather than a poor summary. — Preceding unsigned comment added by 162.129.250.14 (talk) 22:00, 27 February 2012 (UTC)

title: Talk:Cuvette


text:
Trucker hat

A trucker hat, mesh cap or netback cap is a soft hat with a rounded crown and a stiff flat bill projecting in front. It is also sometimes known as a "gimme [as in 'give me'] cap" or a "feed cap" because this style of hat originated during the 1970s as a promotional give-away from U.S. feed or farming supply companies to farmers, truck drivers, or other rural workers.

Description

From the 1930s until the 1960s, truckers were provided with a type of peaked cap known as a mechanic's cap. This often bore the logo of the haulage company.

The design of a trucker cap is similar to that of a baseball cap, with a slightly curved bill in front, a cap constructed from six almost triangular gores, and a button on top. Instead of being made of cotton fabric like a typical baseball cap, the front section of a trucker hat above the bill is foam, and the rest is plastic mesh for breathability. The foam front of the hat stands up straight and stiff, which makes the trucker hat taller than most baseball caps. There is an adjustable plastic snap or hook-and-loop closure in the back to ensure that one size fits most. This design was intended to make the cap much cooler in the sun or hot weather for the comfort of the wearer.

21st century trend
In the early 2000s, the trucker hat became a mainstream fashion trend, predominantly among suburban American youth associated with the hip-hop, pop punk, and skater subcultures. This came about with a sense of irony due to the hat's rural or blue collar association and typically older demographic. It has frequently been donned by celebrities; musician Pharrell Williams and actor Ashton Kutcher in particular helped make the hat fashionable. However, in a 2008 interview with Fashion Rocks magazine, singer Justin Timberlake claimed that, while Kutcher has been cited for popularizing the trucker hat, Timberlake had been wearing them since the age of seventeen. The trucker hat trend was lampooned in the King of the Hill episode "Grand Theft Arlen", in which teenagers confuse Hank Hill by asking where he bought his Strickland Propane cap and questioning its irony.

Comedian Judah Friedlander is known for his signature trucker hats, which bear various humorous phrases. Having worn trucker hats since the 1980s, Friedlander claims a fondness for them and has ignored any rejecting or embracing fashion trends surrounding the hats throughout the decades. In a 2007 interview, he stated:

I was never into anything trendy. If I'm ever doing something that happens to be trendy, it's probably a coincidence and I don't even realize it's trendy. Just a note: I've been making and wearing trucker hats for years—since the '80s actually, when those were pretty much the only kind of hats you could get. I remember about 10 years ago, people used to make fun of me for wearing trucker style hats. And then when they became trendy a couple years ago, those same people came up to me and said shyly, 'Uhm, where do you get your hats? I need to get some.' Years ago, some people used to get angry with me for wearing them and someone even called me racist for wearing a trucker hat 'cause I looked like a redneck. I bet now, some people think I'm a loser for wearing them because now they're out of fashion. But you know what, I never wore 'em to be 'in' or trendy or cool. I just like 'em. And I'll be wearing them long after they're a not a trend.

title: Trucker hat


text: User talk:68.82.20.194

title: User talk:68.82.20.194


text: User:Cap. Freedom

title: User:Cap. Freedom


text:
User:Chadabryant

This account was created in order to impersonate and attack another User. It has been permanently blocked. Mel Etitis ( Μελ Ετητης ) 09:52, 17 Apr 2005 (UTC)

title: User:Chadabryant


text:
Doris Kearns Goodwin

Doris Helen Kearns Goodwin (born January 4, 1943) is an American biographer, historian, former sports journalist, and political commentator. She has written biographies of numerous U.S. presidents. Goodwin's book No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II won the Pulitzer Prize for History in 1995. Goodwin produced the American television miniseries Washington. She was also executive producer of "Abraham Lincoln,” a 2022 docudrama on the History Channel. This latter series was based on Goodwin's Leadership in Turbulent Times.

Early life and education
Doris Helen Kearns was born in Brooklyn, New York, the daughter of Helen Witt (née Miller) and Michael Francis Aloysius Kearns. She has two sisters, Charlotte Kearns and Jeanne Kearns. She was raised Catholic. Her paternal grandparents were Irish immigrants.

She grew up in Rockville Centre, New York, where she graduated from South Side High School. Her formative years in Rockville Centre are the subject of her 1997 memoir, Wait Till Next Year. She attended Colby College in Maine, where she was a member of Delta Delta Delta and Phi Beta Kappa, and graduated magna cum laude in 1964 with a Bachelor of Arts degree. She was awarded a Woodrow Wilson Fellowship in 1964 to pursue doctoral studies. In 1968, she earned a PhD in government from Harvard University, with a thesis titled "Prayer and Reapportionment: An Analysis of the Relationship between the Congress and the Court."

Career and awards
In 1967, Kearns went to Washington, D.C., as a White House Fellow during the Lyndon B. Johnson administration. Johnson initially expressed interest in hiring the young intern as his Oval Office assistant, but after an article by Kearns appeared in The New Republic laying out a scenario for Johnson's removal from office over his conduct of the war in Vietnam, she was, instead, assigned to the Department of Labor; Goodwin has written that she felt relieved to be able to remain in the internship program in any capacity at all. "The president discovered that I had been actively involved in the anti-Vietnam War movement and had written an article entitled, 'How to Dump Lyndon Johnson.’ I thought, for sure, he would kick me out of the program, but instead, he said, 'Oh, bring her down here for a year, and if I can't win her over, no one can'." After Johnson decided not to run for reelection, he brought Kearns to the White House as a member of his staff, where she focused on domestic anti-poverty efforts.

After Johnson left office, in 1969, Kearns taught government at Harvard for 10 years, including a course on the American presidency. During this period, she also assisted Johnson in drafting his memoirs. Her first book Lyndon Johnson and the American Dream, which drew upon her conversations with the late president, was published in 1977, becoming a New York Times bestseller and provided a launching pad for her literary career.

A sports journalist, as well, Goodwin was the first woman to enter the Boston Red Sox locker room in 1979. She consulted on and appeared in Ken Burns' 1994 documentary Baseball.

Goodwin won the 1995 Pulitzer Prize for History for No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front During World War II (1994).

In 1996, Goodwin received the Golden Plate Award of the American Academy of Achievement.

Goodwin received an honorary L.H.D. from Bates College in 1998. She was awarded an honorary doctorate from Westfield State College in 2008. Goodwin was on air talking to Tom Brokaw of NBC News during their 2000 Presidential Election Night Coverage, when Brokaw announced NBC's projection that the state of Florida had voted for George W. Bush, thus, making him president.

Goodwin won the 2005 Lincoln Prize (for the best book about the American Civil War) for Team of Rivals: The Political Genius of Abraham Lincoln (2005), a book about Abraham Lincoln's presidential cabinet. Part of the book was adapted by Tony Kushner into the screenplay for Steven Spielberg's 2012 film Lincoln. She was a member of the Abraham Lincoln Bicentennial Commission advisory board. The book also won the inaugural American History Book Prize given by the New-York Historical Society.

In 2006, Goodwin received The Lincoln Forum's Richard Nelson Current Award of Achievement.

Goodwin was a member of the board of directors of Northwest Airlines.

Goodwin is a frequent guest commentator on Meet the Press, having appeared many times during the tenures of hosts Tim Russert, Tom Brokaw, David Gregory, and Chuck Todd. She was also a regular guest on Charlie Rose, appearing a total of forty-eight times beginning in 1994.

Stephen King met with Goodwin, while he was writing his novel 11/22/63, since she had been an assistant to Johnson. King used some of her ideas in the novel on what a worst-case scenario would be like, if history had changed.

In 2014, Kearns won the Andrew Carnegie Medal for Excellence in Nonfiction for The Bully Pulpit. It was also a Los Angeles Times Book Prize finalist (History, 2013) and was named one of the Christian Science Monitor 15 best nonfiction books in 2013.

In 2016, she appeared, as herself, in the fifth episode of American Horror Story: Roanoke, and she made a cameo appearance playing herself as a teacher in the Simpsons episode "The Town".

In April 2024, Simon & Schuster published Kearns' book, An Unfinished Love Story: A Personal History of the 1960s.

Plagiarism controversies
In 2002, The Weekly Standard determined that Goodwin's book The Fitzgeralds and the Kennedys used without attribution numerous phrases and sentences from three other books: Times to Remember by Rose Kennedy; The Lost Prince by Hank Searls; and Kathleen Kennedy: Her Life and Times by Lynne McTaggart. McTaggart remarked, "If somebody takes a third of somebody's book, which is what happened to me, they are lifting out the heart and guts of somebody else's individual expression." Goodwin had previously reached a "private settlement" with McTaggart over the issue. In an article she wrote for Time magazine, she said, "Though my footnotes repeatedly cited Ms. McTaggart's work, I failed to provide quotation marks for phrases that I had taken verbatim... The larger question for those of us who write history is to understand how citation mistakes can happen." In its analysis of the controversy, Slate magazine criticized Goodwin for the aggrieved tone of her explanation, and suggested Goodwin's worst offense was allowing the plagiarism to remain in future editions of the book even after it was brought to her attention.

The plagiarism controversy caused Goodwin to resign from the Pulitzer Prize Board and to relinquish her position as a regular guest on the PBS NewsHour program.

The Los Angeles Times also reported on a passage in No Ordinary Time which appeared to use highly similar language and phrasing to one in Joseph P. Lash's 1971 book Eleanor & Franklin; Goodwin includes a citation for Lash in the bibliography, though the article questions if this is sufficient for the use of similar "framing language" between the two texts. In response, Goodwin said that she had met "the highest standards of historical scholarship" for the passage in question.

Personal life
Growing up on Long Island, Goodwin was a fan of the Brooklyn Dodgers. She remembered that her father would have her document the events of a baseball game from the radio, and "replay" the events for him when he returned home. Goodwin stopped following baseball after the Dodgers moved to Los Angeles in 1958, but later became a Boston Red Sox fan while attending Harvard, and is now a season ticket holder.

In 1975, Kearns married Richard N. Goodwin, who had worked in the Kennedy and Johnson administrations as an adviser and speechwriter. The two met in mid-1972 at Harvard's Institute of Politics. Richard Goodwin was a widower who had a son, also named Richard, from his first marriage. At the time he and Kearns married, his son was nine years old. The couple, who lived in Concord, Massachusetts, had two sons together, Michael and Joseph. Richard Goodwin died on May 20, 2018, after a brief battle with cancer.

title: Doris Kearns Goodwin


text: Template:Triathlon at the Summer Olympics


text:
User:Tagishsimon/Gallery - Gutenberg Books 5

Galleries

 * Gallery 1 - Waifs & strays, various dates.
 * Gallery 2 - Wandering around London, 24th April 2004.
 * Gallery 3 - Wandering around England. Trains, stations, buildings &c., April - August 2004.
 * Gallery 4 - Images from Cassell's History of England
 * Gallery 5 - Project Gutenberg illustrations
 * Gallery 6 - Project Gutenberg illustrations 2
 * Gallery 7 - Project Gutenberg illustrations 3
 * Gallery 8 - Project Gutenberg illustrations 4
 * Gallery 9 - Project Gutenberg illustrations 5
 * Gallery 10 - Project Gutenberg illustrations 6
 * Gallery 11 - Project Gutenberg illustrations 7
 * Gallery 12 - Project Gutenberg illustrations 8
 * Gallery 13 - Project Gutenberg illustrations 9
 * Gallery 14 - Project Gutenberg illustrations 10
 * Gallery 15 - Project Gutenberg illustrations 11
 * Gallery 16 - Project Gutenberg illustrations 12
 * Gallery 17 - Project Gutenberg illustrations 13
 * Gallery 18 - Project Gutenberg illustrations 14
 * Gallery 19 - Project Gutenberg illustrations 15
 * Gallery 20 - Project Gutenberg illustrations 16
 * Gallery 21 - Project Gutenberg illustrations 17
 * Gallery 22 - Wandering around England II - 2005
 * Gallery 23 - 2006-7 photos
 * Gallery 24 - Illustrations from Google books
 * Gallery 25 - Illustrations from Microsoft Books Live Search

Images from Project Gutenberg books - 5

 * History Olaudah Equiano
 * [[Image:Olaudah Equiano - Project Gutenberg eText 15399.png|thumbnail|none|Olaudah Equiano]]

 * History William Bligh
 * [[Image:William Bligh - Project Gutenberg eText 15411.jpg|thumbnail|none|William Bligh, pictured in his [[1792]] account of the Mutiny voyage, A Voyage to the South Sea]]

 * History Mutiny on the Bounty
 * [[Image:Bounty Armed Transport - Project Gutenberg eText 15411.jpg|thumbnail|none|Plan and section of the Bounty Armed Transport showing the manner of fitting and stowing the pots for receiving the Bread-fruit plants, from [[William Bligh]]'s 1792 account of the voyage and mutiny, entitled A Voyage to the South Sea]]

 * History Breadfruit
 * [[Image:Sections of the Bread fruit - Project Gutenberg eText 15411.jpg|thumbnail|none|Sections of the [[Breadfruit|Bread fruit]] - an illustration from William Bligh's 1792 account of the mutinous A Voyage to the South Sea]]

 * History Geraldine Farrar
 * [[Image:Geraldine Farrar - Project Gutenberg eText 15446.png|thumbnail|none|Geraldine Farrar]]

 * History Amelita Galli-Curci
 * [[Image:Amelita Galli-Curci.jpg|thumbnail|none|Amelita Galli-Curci]]

 * History Claudia Muzio
 * [[Image:Claudia_Muzio.png|thumbnail|none|Claudia Muzio]]

 * History Husayn Kamil
 * [[Image:Husayn Kamil - Project Gutenberg eText 15478.png|thumbnail|none|Husayn Kamil]]

 * History Nicholas II of Russia
 * [[Image:Russian Royal Family - Nicholas II of Russia - Project Gutenberg eText 15478.png|thumbnail|none|Family of Nicholas II of Russia]]

 * History Gottlieb von Jagow
 * [[Image:Gottlieb von Jagow circa 1915.jpg|thumbnail|none|Gottlieb von Jagow]]

 * History Maximilian Harden

 * History Wilhelmina of the Netherlands
 * [[Image:Wilhelmina of the Netherlands and daughter Juliana - Project Gutenberg eText 15478.png|thumbnail|none|Wilhelmina of the Netherlands and daugher Juliana]]

 * History Pedro Antonio de Alarcón
 * [[Image:Pedro Antonio de Alarcón - Project Gutenberg eText15532.png|thumbnail|none|Pedro Antonio de Alarcón]]

 * History Eugène Ysaÿe
 * [[Image:Eugène Ysaye - Project Gutenberg eText 15535.jpg|thumbnail|none|Eugène Ysaÿe]]

 * History Leopold Auer
 * [[Image:Leopold Auer Project Gutenberg.jpg|thumbnail|none|Leopold Auer]]

On commons from about this point onwards

 * History Mischa Elman
 * [[Image:Mischa Elman - project Gutenberg eText 15535.jpg|thumbnail|none|Mischa Elman]]

 * History Ignacy Jan Paderewski
 * [[Image:Ignacy Jan Paderewski - Project Gutenberg eText 15604.png|thumbnail|none|Ignacy Jan Paderewski, pianist]]

 * History Zygmunt Stojowski
 * [[Image:Zygmunt Stojowski - Project Gutenberg eText 15604.png|thumbnail|none|Zygmunt Stojowski, pianist]]

 * History Tobias Matthay
 * [[Image:Tobias Matthay - Project Gutenberg eText 15604.png|thumbnail|none|Tobias Matthay, pianist]]

 * History Harold Bauer
 * [[Image:Harold Bauer - Project Gutenberg eText 15604.png|thumbnail|none|Harold Bauer, pianist]]

 * History Ferruccio Busoni
 * [[Image:Ferruccio Busoni - Project Gutenberg eText 15604.png|thumbnail|none|Ferruccio Busoni, pianist]]

 * History Kate Douglas Wiggin
 * [[Image:Kate Douglas Wiggin - Project Gutenberg eText 15630.jpg|thumbnail|none|Kate Douglas Wiggin, author]]

 * History The Golden Goose
 * [[Image:Simpleton finds The Golden Goose - Project Gutenberg eText 15661.jpg|thumbnail|none|Simpleton finds the Golden Goose]]
 * [[Image:Simpleton takes The Golden Goose to the inn - Project Gutenberg eText 15661.jpg|thumbnail|none|Simpleton takes the Golden Goose to the inn]]

 * History Three Little Pigs
 * [[Image:Three little pigs and mother sow - Project Gutenberg eText 15661.jpg|thumbnail|none|Three little pigs and their mother sow]]
 * [[Image:Three little pigs - third pig builds a house - Project Gutenberg eText 15661.jpg|thumbnail|none|The third pigs builds a house of brick]]
 * [[Image:Three little pigs - the wolf lands in the cooking pot - Project Gutenberg eText 15661.jpg|thumbnail|none|The wolf lands in the cooking pot]]

 * History Tom Thumb
 * [[Image:Tom Thumb hitches a ride on a butterfly - Project Gutenberg eText 15661.jpg|thumbnail|none|Tom Thumb hitches a ride on a butterfly]]

 * History William Dampier
 * [[Image:Capt Dampier's new voyage to New Holland &c in 1699 - Project Gutenberg eText 15675.jpg|thumbnail|none|Capt Dampier's new voyage to New Holland &c in 1699]]

 * History Canary Islands
 * [[Image:Canary Islands map by William Dampier 1699 - Project Gutenberg eText 15675.jpg|thumbnail|none|[[Canary Islands]] map by William Dampier]]

 * History New Holland
 * [[Image:New Holland map by William Dampier 1699 - Project Gutenberg eText 15675.jpg|thumbnail|none|[[New Holland]] map by William Dampier 1699]]

 * History Herman Boerhaave
 * [[Image:Herman Boerhaave - Project Gutenberg eText 15690.jpg|thumbnail|none|Herman Boerhaave, Physician]]

 * History Thomas De Witt Talmage
 * [[Image:Thomas De Witt Talmage - Project Gutenberg eText 15693.jpg|thumbnail|none|Thomas De Witt Talmage]]

 * History Julia Grant
 * [[Image:Julia Grant - Project Gutenberg eText 13955.jpg|thumbnail|none|Julia Grant, photo taken in 1876, when she was mistress of the [[White House]]]]

 * History Ole Bull
 * [[Image:Ole Bull - Project Gutenberg eText 13955.jpg|thumbnail|none|Ole Bull]]

 * History Princess Margrethe of Savoy
 * [[Image:Princess Margrethe of Savoy - Project Gutenberg eText 13955.jpg|thumbnail|none|Princess Margrethe of Savoy]]

 * History Victor Emmanuel III of Italy
 * [[Image:Victor Emmanuel III of Italy - Project Gutenberg eText 13955.jpg|thumbnail|none|Victor Emmanuel III in [[1893]]]]

 * History Marcus Aurelius
 * [[Image:Marcus Aurelius - Project Gutenberg eText 15877.jpg|thumbnail|none|Marcus Aurelius]]

 * History Edward W. Bok
 * [[Image:Edward W Bok - Project Gutenberg eText 15930.jpg|thumbnail|none|Edward Bok]]

 * History Siege of Ladysmith
 * [[Image:Ladysmith Town Hall 1900 - Project Gutenberg eText 15972.png|thumbnail|none|Siege of Ladysmith]]

 * History Alfred Russel Wallace
 * [[Image:Alfred Russel Wallace 1862 - Project Gutenberg eText 15997.png|thumbnail|none|Alfred Russel Wallace]]

 * History Thomas de Quincey
 * [[Image:Thomas de Quincey - Project Gutenberg eText 16026.jpg|thumbnail|none|Thomas de Quincey]]

 * History Ichthyosaur
 * [[Image:Ichthyosaur - Project Gutenberg eText 16033.gif|thumbnail|none|Ichthyosaur]]

 * History Plesiosaur
 * [[Image:Plesiosaurus - Project Gutenberg eText 16033.gif|thumbnail|none|Plesiosaur]]

 * History Cocoa
 * [[Image:Cacao pods - Project Gutenberg eText 16035.jpg|thumbnail|none|Cocoa]]

 * History Bournville
 * [[Image:Packing room, Bournville - Project Gutenberg eText 16035.jpg|thumbnail|none|Bournville]]

 * History Coolie
 * [[Image:East Indian Coolies in Trinidad - Project Gutenberg eText 16035.jpg|thumbnail|none|Coolie]]

 * History House of Windsor
 * [[Image:A Good Riddance - George V of the United Kingdom cartoon in Punch, 1917.png|thumbnail|none|"A Good Riddance". Cartoon from Punch, Vol. 152, June 27, 1917, commenting on the King's action in abolishing the German titles held by members of His Majesty's family.]]

 * History Ettie Annie Rout
 * [[Image:Ettie Annie Rout - Project Gutenberg eText 16135.jpg|thumbnail|none|Ettie Annie Rout]]

 * History Fray Luis de León
 * [[Image:Fray Luis de León - Project Gutenberg eText 16148.jpg|thumbnail|none|Fray Luis de León]]


text:
Triathlon at the Summer Olympics

Triathlon had its Summer Olympics debut at the 2000 Games, in Sydney, when men's and women's individual events were first held, and has been contested since then. In 2021, at the delayed 2020 Summer Olympics a mixed team relay event was held for the first time. The sport, and its Olympic events, are governed by the International Triathlon Union, known since 2019 as World Triathlon.

History
The 2000 Summer Olympics saw the first appearance of the triathlon. 48 women and 52 men competed in separate triathlons. The distances used were the "international" or "standard" ones, with a 1.5 km swim, 40 km cycle, and a 10 km run. The 2004 triathlon was identical to the first in distance, but the 100-athlete quota was evened between 50 women and 50 men. The quota was further increased to 55 women and 55 men for the 2008 Beijing Olympics and remained the same for London 2012 and Rio 2016.

Results summary
Only one athlete, Great Britain's Alistair Brownlee, has ever won the Olympic triathlon twice (in 2012 and 2016), making him the most successful Olympic triathlete. Brother Jonathan Brownlee uniquely has won three medals in three consecutive Games, bronze in 2012, silver in 2016 and finally a gold in the inaugural team relay in 2020, thus making him the most decorated Olympic triathlete, and the only three time medalist.

Several other athletes have also won two medals, including a silver and bronze for New Zealander Bevan Docherty, and two Olympic champions, Canada's Simon Whitfield and Switzerland's Nicola Spirig, who both won a gold, followed by a silver medal. Katie Zaferes, Alex Yee and Georgia Taylor-Brown became the first triathletes to win two medals in the same Games in 2021 with the introduction of the mixed relay, the latter two athletes becoming the most successful triathlete in a single Games with a gold (relay) and a silver (individual) medal.

Great Britain is the most successful nation as of 2021, with three gold, three silver and two bronze medals. New Zealand (2004) and Great Britain (2016) are the only nations to have completed a one-two finish in an individual event. No nation has yet won both women's and men's individual events at the same Games, or indeed in any Games - in fact, only two nations, Switzerland and Great Britain, have won medals in both men's and women's individual events as of 2021, and only Great Britain have won medals in all three Olympic events, managing the feat at the 2020 Games.

Medal table
16 nations have split the thirty-nine medals awarded in the triathlon events, accurate as of the conclusion of the 2020 Olympic games.

Qualification
Qualification spots in the triathlon are allotted to National Olympic Committees (NOCs) rather than to individual athletes.

There are five ways for NOCs to earn spots in the triathlon. NOCs can earn a maximum of three spots, though only eight nations may earn that many. Nations beyond that may earn only two spots.

The first five spots go to the winners of the five regional qualifying tournaments. Three more spots go to the top three triathletes of the most recent Triathlon World Championships, though any athlete that won a regional tournament is skipped in that determination. The next 39 places go to the NOCs of those athletes highest in the ITU ranking (again, skipping those athletes that have already qualified in the first two methods). A forty-eighth place is awarded to the host country if it has not already received a spot, or to the next highest ranked athlete if the host country has. Two places are awarded by the Tripartite Commission. In the end, further five places are distributed to the NOCs without any quota through the ITU Points List, with one place for each continent.

Competition
The Olympic triathlon is composed of two medal events, one for men and the other for women. Both use the same distances of 1.5 km, 40 km, and 10 km. Mass starts are used and drafting is allowed during the cycling phase.

Because of the variability of courses and uncontrollable conditions, official time based records are not kept for the triathlon. This rule applies to Olympic games as well.

Changes for Tokyo 2020
In the Olympic games, held in Tokyo, there was an inclusion of a mixed relay race. Teams of two men and two women competed on a course consisting of a 300m swim, 8 km cycle, and 2 km run before tagging a teammate.

Nations
The following nations have taken part in the triathlon competition.

title: Triathlon at the Summer Olympics


text:
Pemigewasset River

The Pemigewasset River, known locally as "The Pemi", is a river in the state of New Hampshire, the United States. It is 65.0 mi in length and (with its tributaries) drains approximately 1021 sqmi. The name "Pemigewasset" comes from the Abenaki word bemijijoasek [bəmidzidzoasək], meaning "where side (entering) current is".

Geography
The Pemigewasset originates at Profile Lake in Franconia Notch State Park, in the town of Franconia. It flows south through the White Mountains and merges with the Winnipesaukee River to form the Merrimack River at Franklin. The Merrimack then flows through southern New Hampshire, northeastern Massachusetts and into the Atlantic Ocean.

The Interstate 93 highway runs parallel with the river between Franconia Notch and New Hampton. The river passes through the communities of Lincoln, North Woodstock, Woodstock, Thornton, Campton, Plymouth, Holderness, Ashland, Bridgewater, Bristol, New Hampton, Hill, Sanbornton, and Franklin.

The river descends over waterfalls in Franconia Notch, including "The Basin", passes cascades in North Woodstock, and drops over Livermore Falls north of Plymouth. The remainder of the northern Pemi, from Lincoln to Ashland, passes over copious gravel bars and attracts numerous boaters and fishermen. Below Ashland, the river is impounded by the Ayers Island Dam, a hydroelectric facility, for over five miles. A short stretch of heavy whitewater is found below the dam, before the river reaches the impoundment zone for the Franklin Falls flood control reservoir. The river crosses one additional hydroelectric dam below Franklin Falls before joining the Winnipesaukee River in the center of Franklin, becoming the Merrimack River.

The Pemigewasset watershed consists of over 1100 mi of rivers and 17000 acre of lake, pond, and reservoir area. The watershed comprises about 20 percent of the Merrimack's total watershed area.

Tributaries
Major tributaries include (from north to south):
 * East Branch of the Pemigewasset River. The East Branch is larger and longer than the main branch of the river.
 * Moosilauke Brook (Lost River)
 * Mad River
 * Beebe River
 * Baker River
 * Squam River (outlet of Squam Lake)
 * Newfound River (outlet of Newfound Lake)
 * Smith River

title: Pemigewasset River


text:
Wikipedia:Articles for deletion/Gallery of illuminated manuscript images

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. Postdlf 21:27, 1 May 2005 (UTC)

Gallery of illuminated manuscript images, Gallery of Book of Kells pages, Gallery of Vergilius Romanus miniatures

 * delete. See an identical discussion at Votes for deletion/Gallery of pages from the Vienna Dioscurides about the Gallery of pages from the Vienna Dioscurides. Mikkalai 02:05, 17 Apr 2005 (UTC)
 * delete Move to wikicommons. (by User:Sparkit who forgot to sign. Mikkalai 05:15, 17 Apr 2005 (UTC))
 * Keep Notable pictures. Klonimus 07:17, 17 Apr 2005 (UTC)
 * Keep Gallery of Book of Kells pages and Gallery of Vergilius Romanus miniatures. I have made these arguments at Votes for deletion/Gallery of pages from the Vienna Dioscurides, but I will also make them here.  First, I strongly believe that pictures are absolutely essential for understanding art objects.  If a particular art object is notable enough for an article then the pictures themselves have encyclopedic value, the only question is how best to present them.  the same can be said about individual artist, the best way to understand their works is to see as many images as possible. (See for example the William-Adolphe Bouguereau gallery) In my opinion, there are only two viable options: tacking the images onto the end of the article, as has been done for the Codex Aureus of Lorsch, or creating a separate article, as has been done for Gallery of Book of Kells pages and Gallery of Vergilius Romanus miniatures.  I believe that the second option is superior because these galleries can contain a very large number of images.  Tacking these onto the end of long article such as the Book of Kells can make the pages unwieldy and ugly.  Creating a gallery on Commons is not, in my mind, a viable option.  First, the most common means of informing a reader of the existence of Commons material, use of the  template, is not particularly useful for a casual reader, they won't know what that little box in the corner means.  It is true that a link to a gallery on Commons can be constructed which looks like a regular wiki link, but as this would take a hypothetical casual reader out of Wikipedia, without warning, which at the least would cause confusion.  In addition, there is an active discussion on Commons as to whether images should be collected into articles or into categories. At some time a consensus will on Commons may be reached to not have articles, only categories, at which time we would be left without the galleries we need.  Finally, Commons is a multilingual wiki. I do not think it would be a good thing to send casual readers to a gallery that is a babel of languages like this one, or even worse, one that has no English text.  Dsmdgold 16:37, Apr 17, 2005 (UTC)
 * Comment I have not voted on Gallery of illuminated manuscript images. Although I created this monster, I have been recently thinking that the same purpose would be better served by creating a Category, Illuminated manuscript images. It would not grieve me to see this go. Dsmdgold 16:41, Apr 17, 2005 (UTC)
 * Keep, concur very much with Dsmdgold. Categories cannot be annotated, or arranged. Kappa 23:47, 17 Apr 2005 (UTC)
 * Comment - I think that there should be deletion if there is a commons page and it should be used because syncrhonization of en and commons pages is unlikely to be flawless. I also think there needs to be a specific policy about how the use of the commons so that this issue is settled.  I am not sure I understand the article for redundance with commons and en pages unless they aren't released under free licenses. That might be a good reason *shrugs* I just want an official decision so it can dictate my actions... I just stress to anyone working with gallery pages to please help put things to the commons if they are under a license that allows it so that we can help our friends using other languages. gren 00:55, 18 Apr 2005 (UTC)
 * KeepCristianChirita 12:46, 22 Apr 2005 (UTC)
 * Keep An excellent companion to any article mentioning the Book of Kells. Visual art's impact and importance should not be ignored in wikipedia.   T h e St ev e  19:16, Apr 22, 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: User:Captain Liberty

title: User:Captain Liberty


text:
Kōriki Kiyonaga

Kōriki Kiyonaga (高力 清長) was a Japanese daimyō during the Azuchi–Momoyama and Edo periods. A native of Mikawa Province, Kiyonaga served the Tokugawa clan during its battles, until 1600. In Mikawa, he served as one of Tokugawa Ieyasu "three magistrates" (san-bugyō).

Together with Amano Yasukage and Honda Shigetsugu. Yasukage was known for his patience, Shigetsugu for his fortitude, and Kiyonaga for his leniency; this leniency earned him the nickname of "Buddha Kōriki" (Hotoke Kōriki 仏高力).

Biography
Born in Mikawa, Kiyonaga first served Tokugawa Ieyasu in 1552.

In 1535, when Oda Nobuhide of Owari Province invaded Mikawa, his father Kōriki Yasunaga and grandfather Kōriki Shigenaga were both slain in a battle. Kiyonaga later served Matsudaira Hirotada.

From 1552, Kiyonaga served a son of Hirotada, Tokugawa Ieyasu, and followed Ieyasu during his time as a hostage in Suruga Province.

Kiyonaga was also active in various battles including Siege of Terabe 1558.

In 1560, Kiyonaga followed Ieyasu also Siege of Marune. In May, he followed Ieyasu and participated in Imagawa Yoshimoto invasion of Owari, where he achieved great success at the Battle of Otaka Castle. He also transported provisions to Ōtaka Castle at the Battle of Okehazama.

In 1562, When Ieyasu proclaimed his independence from the Imagawa clan after the death of Yoshimoto, he accompanied Ieyasu to Kiyosu Castle in Owari when he signed the Kiyosu Alliance with the Oda clan.

In 1563 Kiyonaga manage to subdue Toro Honshu-ji Temple in the eastern Mikawa during the suppression war of the Mikawa Ikkō-ikki.

In 1564, Kiyonaga also participate in the Battle of Batogahara. After this suppression campaign ended, Kiyonaga was involved in the protection of Buddhist statues and Sutra texts of the affected territories. Due to his attempts of preventing the religious scriptures dispersal and restore the temples and shrines to their original state, he was given the nickname Buddha Kōriki by the peoples of that territories where he operates.

In 1565, he was appointed as one of the three magistrates of Mikawa, together with Amano Yasukage and Honda Shigetsugu.

In 1569, he joined in the pacification of Tōtōmi Province at Siege of Kakegawa castle.

In 1584 he took part in the Battle of Komaki and Nagakute against Toyotomi Hideyoshi, After the war, he served as a messenger to Hideyoshi, and at this time Kiyonaga impresssed Hideyoshi, and in 1586 he was given the surname Toyotomi.

In 1590, After Siege of Odawara (1590), Kiyonaga became a daimyō, when he was granted the 20,000 koku fief of Iwatsuki.

In 1592, Kiyonaga also assisted with ship construction for the Seven-Year War 1592-1598.

As he was preceded in death by his son Masanaga, Kiyonaga retired after the Sekigahara, and passed down family headship to his grandson Tadafusa.

title: Kōriki Kiyonaga


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Piperonal

Piperonal, also known as heliotropin, is an organic compound which is commonly found in fragrances and flavors. The molecule is structurally related to other aromatic aldehydes such as benzaldehyde and vanillin.

Natural occurrence
Piperonal naturally occurs in various plants. Examples include dill, vanilla, violet flowers, and black pepper.

Preparation
Piperonal can be prepared by the oxidative cleavage of isosafrole or by using a multistep sequence from catechol or 1,2-methylenedioxybenzene. Synthesis from the latter chemical is accomplished through a condensation reaction with glyoxylic acid followed by cleaving the resulting α-hydroxy acid with an oxidizing agent. Synthesis from catechol requires an additional step, Williamson ether synthesis using dichloromethane.

Reactions
Piperonal, like all aldehydes, can be reduced to its alcohol (piperonyl alcohol) or oxidized to give its acid (piperonylic acid).

Piperonal can be used in the synthesis of some pharmaceutical drugs including tadalafil, L-DOPA, and atrasentan.

Fragrance
Piperonal has a floral odor which is commonly described as being similar to that of vanillin or cherry. For this reason it is commonly used in fragrances and artificial flavors. The compound was named heliotropin after the 'cherry pie' notes found in the heliotrope flower's fragrance (even though the chemical is not present in the flower's true aroma). Perfumers began to use the fragrance for the first time by the early 1880s. It is commonly used to add vanilla or almond nuances, generally imparting balsamic, powdery, and floral aspects to a scent's character.

Piperonyl acetate is a synthetic cherry flavoring.

Use in MDMA manufacture
Due to their role in the manufacture of MDMA, safrole, isosafrole, and piperonal are Category I precursors under regulation no. 273/2004 of the European Community.

title: Piperonal


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User talk:Cap. Freedom

Wow, you're an idiot!

title: User talk:Cap. Freedom