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Canfield (solitaire)

Canfield (US) or Demon (UK) is a patience or solitaire card game with a very low probability of winning. It is an English game first called Demon Patience and described as "the best game for one pack that has yet been invented". It was popularised in the United States in the early 20th century as a result of a story that casino owner Richard A. Canfield had turned it into a gambling game, although it may actually have been Klondike and not Demon that was played at his casino. As a result, it became known as Canfield in the United States, while continuing to be called Demon Patience in the United Kingdom and elsewhere. It is closely related to Klondike, and is one of the most popular games of its type.

History
The game is first recorded in 1891 in England by Mary Whitmore Jones as Demon Patience. She describes it as "by far the best game for one pack that has yet been invented," and goes on to say that its "very uncomplimentary name" seems to derive from its ability to frustrate. "Truly a mocking spirit appears to preside over the game, and snatches success from the player often at the last moment, when it seems just within his grasp." Nevertheless, when the player does succeed in getting the patience out, "it is a triumph to have conquered the demon."

In Henrietta Stannard's 1895 novel, A Magnificent Young Man, Mrs. Bladenbrook invites the curate to "show me this wonderful new game of yours". He fails to get it out declaring, "Ah, it is no use." Mrs. Bladenbrook asks, "But you are nearly done?" "But I am not quite done," replies the curate, "that is where the demon comes in. It is well called 'Demon Patience'. I have often tried a dozen times to do it, and failed each time when it has seemed just within my grasp. Believe me... it is the one form of Patience which puts all the others into the shade; it is the one form of which one never tires; it is always interesting, always fresh, always tantalizing."

A 1910 publication of Fry's Magazine edited by C.B. Fry confirms that the game is called Demon patience "because the player is so often beaten by the awkward position of a single card which avoids any appearance at the critical period in a perverse manner which at times is quite demoniacal."

Meanwhile, Demon had travelled to America, where the earliest description of it, published in the 1907 Hoyle's Games, confusingly calls it Klondike, actually the name of a quite different game. The author of Hoyle's Games acknowledges that there are several ways of playing the game but only describes what he speculates is "probably the original form". However, it is merely a gambling version of Demon in which "the banker sells a pack of 52 cards for $52, and... agrees to pay $5 for every card the player gets down in the 'top line'".

How Demon came to be called Canfield in the US is unclear, but it is frequently linked to noted gambler Richard A. Canfield, who, in 1894, took over the Clubhouse in Saratoga Springs, New York. Some time after 1900, he encouraged gamblers to "buy" a deck of cards. Some sources say the cost was $50, Others say it was $52. The gambler would then play a game of solitaire and earn $5 for every card they managed to place into the foundations; if a player was fortunate enough to place all 52 cards into the foundations, the player would win $2,600. On average players made a loss of about five to six cards per game. Canfield offered it as a novelty but it never really took off. The main reasons were the fact that a single game duration took longer than an average casino game and for every gambler playing a game Canfield needed to hire a croupier. In 1907, Canfield sold the casino to the City of Saratoga Springs "at quite a loss".

Sources differ over precisely which game Canfield actually used. He himself called the game "Klondike", but some of the earliest known rules for Klondike go under the name of Canfield. For example, in 1908, George Hapgood's work contains rules for "Demon Patience", plagiarised from Whitmore Jones and describing what is now called Canfield in America, and rules for "Canfield" which describe what is now called Klondike. Confusion subsequently arose because the name Canfield was transferred in North American circles to the British game of Demon, while Britain followed early American sources in giving the name Canfield to the game now known in America as Klondike. More recently, it has been argued that the game originally played at the casino was in fact Klondike, and not the one known in the US today as Canfield.

Method of play
To play the game, one must first deal thirteen cards face down into one packet and then turn the top card up. These cards form a reserve called the "demon", the top card of which is available for play. The next card is dealt on the first of a row of four foundations to the right of the reserve. This card is the first foundation card or base card; the remaining three (currently empty) foundations must be started with a card of the same rank as the first foundation card. Finally, one card is dealt to each of four piles which form a row under the foundations. This is the tableau and the cards remaining in the hand form the stock.

Cards on the tableau are packed in descending order and alternating colour, turning the corner from Ace to King if need be; while the foundations are built up in suit sequence, wrapping from King to Ace if necessary. Cards from the stock are dealt, in packets of three and face up, to a waste pile. After each packet of three is dealt, the top card of the waste pile is played to a foundation pile or the tableau if possible and in accordance with these rules. The top card of the reserve must be used whenever possible to fill any gaps on the tableau or build on a foundation; in case the reserve is used up, it may be filled from cards from the waste pile. Cards may be moved between tableau piles either individually or as a complete sequence, provided the entire column is moved.

One can make unlimited re-deals as long as there are moves, although Richard Canfield himself restricted the number of times that gamblers could re-deal the stock.

The game is won when all cards are placed in the foundations.

Variants
Some variants of the game include:

 * Chameleon, where the reserve only has 12 cards, and there are only three tableau columns. Building in the tableau is down, regardless of suit, and the stock is dealt one at a time with no redeals. All or any cards may be moved from the end of one tableau pile to another.
 * Rainbow, in which the tableau builds down regardless of suit. Cards are turned one at a time and no redeals are allowed (in some sources one can deal from the stock one card at a time and two redeals are allowed in this game).
 * Selective Canfield, where one can deal five cards right after the reserve is dealt. One can place any one of these five into the foundations and the remaining four cards become the tableau.
 * Storehouse (Reserve or Thirteen Up), in which one should remove the deuces (twos) and place them on the foundations. The reserve and the cards on the tableau are then dealt. The stock is dealt one card at a time, and it can be used only twice. Furthermore, the method of building in this game is by suit. The Storehouse variant makes the game easier than Canfield.
 * Superior Canfield, where the entire reserve is visible, and gaps can be filled by any card, not just those from the reserve.
 * Eagle Wing (Thirteen Down'''): similar to Storehouse.
 * Variegated Demon: double pack game in which Aces are always the base cards and there is a tableau of five cards. Sequences or single cards may be moved and there are two redeals.

Other closely related solitaire games include Duchess and the two-deck game American Toad. Beehive is a much simpler solitaire game that uses a Storehouse layout, but requires players to match cards of the same value, and is geared towards children.

Racing Demon, an English game known as Nerts or Pounce in the US, is a real-time variation of Canfield that enables the game to be played competitively between multiple players. It was the inspiration for the commercially produced Dutch Blitz and Ligretto.

Solvability
Under the standard rules using a three card draw, Canfield cannot be completed successfully very often.

Running a computer solver on 50,000 random Canfield deals has shown that about 71% of all games are winnable. In the average game, 39.9 cards were able to be moved to the foundation. Because the reserve cards are hidden, and because the three-at-a-time dealing of cards from the stock means that cards played early in the game can impact which stock cards are available much later, it is very difficult by normal playing standards to come anywhere near theoretically possible win rates. This would make it plausible for expert-level players to claim win rates of around 35%.

In the Storehouse variant, the maximum possible win rate drops to about 44%. In practice, however, Storehouse is a much easier game to win, likely due to getting all four foundations at the start of the game. Most players will be able to win close to 44% of their games, regardless of skill level, a much higher win rate than is usually achieved by casual players of Canfield.

Literature

 * _ (1998), Little Giant Encyclopedia of Games for One or Two, Diagram Group. ISBN 0-8069-0981-1
 * Arnold, Peter (2010). The Complete Book of Card Games. Hamlyn Publishing. ISBN 978-0-600-62191-1
 * Bathe, N.A.C. (2004). Card & Dice Games. Robert Frederick. ISBN 1-889752-06-1
 * Craze, Richard (1995). The Playing Card Kit. Simon & Schuster. ISBN 0-7318-0526-7
 * "Devonia" [pseudo. for Mary Whitmore Jones] (1891). "Demon Patience" in Bazaar, Exchange and Mart. 27 April 1891. London: Bradley.
 * Fry, C.B. (1910). Fry's Magazine: The Illustrated Monthly of Sport, Travel and Outdoor Life, Vol. 12. G. Newnes.
 * Galt, David (1999). 101 Great Card Games, Publications International. ISBN 0-7853-4044-0
 * Hapgood, George (1908). "Demon Patience" in Solitaire and Patience. Philadelphia: Penn. pp. 37 ff. "Canfield", actually modern Klondike, is also described on pp. 180 ff.
 * Kansil, Joli Quentin, ed. (1999). Bicycle Official Rules of Card Games. ISBN 1-889752-06-1
 * Morehead, Philip D., ed. (2001). Hoyle's Rules of Games, 3rd edn. ISBN 0-451-20484-0
 * Morehead, Albert and Geoffrey Mott-Smith. (2001). The Complete Book of Solitaire and Patience. Slough: Foulsham.
 * Parlett, David (1987). The Penguin Book of Card Games. Treasure Press. ISBN 1-85051-221-3
 * Winter, John Strange [pseud. for Henrietta Stannard] (1895). A Magnificent Young Man. Philadelphia: Lippincott.
 * Whitmore Jones, Mary (1892). Games of Patience for One or More Players. 3rd Series. London: L. Upcott Gill.
 * Whitmore Jones, Mary (1892). Games of Patience for One or More Players. 3rd Series. London: L. Upcott Gill.

title: Canfield (solitaire)


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69 Boyz

69 Boyz is an American Miami bass and hip hop duo: Van "Thrill Da Playa" Bryant, from Jacksonville, Florida, and Barry "Fast" Wright, from Orlando, Florida, United States. The group was initiated by Thrill Da Playa with the assistance of producers C.C. Lemonhead and Jay Ski (of Chill Deal, Quad City DJs, and 95 South).

1992–1993: Beginnings
In 1992, Thrill da Playa and Fast Cash teamed up to form 69 Boyz, the group.

1994–1996: 199Quad and Sunset Park
The group had success in the summer of 1994 with its first single, "Tootsee Roll", from their debut album, 199Quad. The song went platinum and reached number 8 on the Billboard Hot 100 and number 9 on the R&B chart. The second single, "Kitty Kitty", peaked at number 51 on the Billboard Hot 100. The band was nominated for three Soul Train Music Awards in 1995.

In 1996, the duo recorded a song for the soundtrack of the film Sunset Park, called "Hoop N Yo Face".

1997–1998: The Wait Is Over
Their second album, The Wait Is Over, was released in July 1998 (which was written and recorded in 1997) and featured the single "Woof Woof", which was written for the feature film Dr. Dolittle. The song reached number 31 on the Billboard Hot 100.

1999–2000: 2069
Their third album, 2069, was released in April 2000 and it featured one single, "How We Roll".

2001–2002: Trunk Funk 101
Their fourth and final album, Trunk Funk 101, came out in September 2001 and like its predecessor also only had one single, "She's Skurred".

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

title: 69 Boyz


text:
User talk:Saladman

Please do not add images to the wikipedia which you do not have rights for, such as. If you can provide rights and a copyright that is usable, please re-tag the image. Avriette 06:48, 9 Apr 2005 (UTC)

title: User talk:Saladman


text:
Division of Hasluck

The Division of Hasluck is an electoral division of the Australian House of Representatives, located in Western Australia.

History
The division was proclaimed at a redistribution of Western Australia's electoral divisions on 20 November 2000, and first contested at the 2001 federal election. The eponyms of the division are Sir Paul Hasluck, the member for the Division of Curtin in the House of Representatives from 1949 to 1969 and subsequently the Governor-General of Australia from 1969 to 1974, and his wife, Dame Alexandra Hasluck, an author.

Hasluck is a marginal seat and changed hands between the Labor Party and Liberal Party at the first four elections it was contested. At the 2013 federal election there was a swing towards the incumbent Liberal member Ken Wyatt, breaking this pattern. Wyatt was the first Indigenous Australian member of the House of Representatives.

Geography
Federal electoral division boundaries in Australia are determined at redistributions by a redistribution committee appointed by the Australian Electoral Commission. Redistributions occur for the boundaries of divisions in a particular state, and they occur every seven years, or sooner if a state's representation entitlement changes or when divisions of a state are malapportioned.

From its creation at the 2001 election to the 2013 election, the Division of Hasluck was a north-south arc across Perth's eastern suburbs from Southern River/Gosnells (in the City of Gosnells) in the south to Caversham/Midland (in the City of Swan) in the north. It also incorporated the more urbanised western parts of what was then the Shire of Kalamunda, such as Forrestfield and Kalamunda, and the Shire of Mundaring.

In the redistribution prior to the 2016 election, the Division of Hasluck ceded its portion of the City of Gosnells south of the Canning River to the newly created Division of Burt and the suburb of High Wycombe to the Division of Swan, among other changes. In turn, it gained most of the less urbanised areas of what was then the Shire of Kalamunda, the remainder of the Shire of Mundaring and further territory in the City of Swan from the Division of Pearce. As a result of adding in more rural and semi-rural areas, the area of the Division of Hasluck increased from 245 km2 to 1,192 km2.

In August 2021, the Australian Electoral Commission (AEC) announced a number of changes to the boundaries of Hasluck. The Gosnells suburbs of Beckenham, Kenwick and Maddington, along with the seat's portion of Gosnells, were transferred to the electorate of Canning, thus removing the City of Gosnells from Hasluck entirely. In addition, the Kalamunda suburbs of Maida Vale and Wattle Grove, along with the seat's portion of Forrestfield, were transferred to the electorate of Swan. Hasluck consequently gained a large portion of the City of Swan from the seat of Pearce, including the suburbs of Aveley, Baskerville, Belhus, Brabham, Brigadoon, Dayton, Ellenbrook, Henley Brook, Herne Hill, Millendon, The Vines, Upper Swan, West Swan and Whiteman, a portion of Lexia, and the remainder of Middle Swan and Red Hill, also gaining the suburb of Bennett Springs from the seat of Cowan. These boundary changes took place as of the 2022 election.

On its current (2022) boundaries, the Division of Hasluck includes the following suburbs:

* Split between Hasluck and Swan.

Electoral results
{{legend|#0047AB|Liberal}} {{legend|#DE3533|Labor}} {{legend|#00A651|Greens}} {{legend|#F36C21|One Nation}} {{legend|#FFED00|Palmer United/United Australia Party}}

title: Division of Hasluck


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Wikipedia:Articles for deletion/Tudor Jenkins

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. - Mailer Diablo 12:51, 15 Apr 2005 (UTC)

Tudor Jenkins

 * Delete - vanity? / insult? / trash? / vandalism? - gren 06:56, 9 Apr 2005 (UTC)
 * Delete. All of the above. Google turns up a few hundred hits on a real Jenkins, who is clearly not this person, and is also not notable enough for inclusion in Wikipedia. Methinks this is mere coincidence. -- 8^D  gab 08:17, 2005 Apr 9 (UTC)
 * Delete, not notable, possible personal attack. Megan1967 04:08, 10 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.


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Mangal Pandey

Mangal Pandey was an Indian soldier who played a key role in the events taking place just before the outbreak of the Indian rebellion of 1857. He was a sepoy (infantryman) in the 34th Bengal Native Infantry (BNI) regiment of the British East India Company. In 1984, the Indian government issued a postage stamp to remember him. His life and actions have also been portrayed in several cinematic productions.

Early life

Mangal Pandey was born in Nagwa, a village of upper Ballia district, Ceded and Conquered Provinces (now in Uttar Pradesh), to a Hindu Brahmin family.

Pandey had joined the Bengal Army in 1849. In March 1857, he was a private soldier (sepoy) in the 5th Company of the 34th Bengal Native Infantry.

Mutiny
On the afternoon of 29 March 1857, Lieutenant Baugh, Adjutant of the 34th Bengal Native Infantry, then stationed at Barrackpore was informed that several men of his regiment were in an excited state. Further, it was reported to him that one of them, Mangal Pandey, was pacing in front of the regiment's guard room by the parade ground, armed with a loaded musket, calling upon the men to rebel and threatening to shoot the first European that he set eyes on. Testimony at a subsequent enquiry recorded that Pandey, unsettled by unrest amongst the sepoys and intoxicated by the narcotic bhang, had seized his weapons and ran to the quarter-guard building upon learning that a detachment of British soldiers was disembarking from a steamer near the cantonment.

Baugh immediately armed himself and galloped on his horse to the lines. Pandey took position behind the station gun, which was in front of the quarter-guard of the 34th, took aim at Baugh and fired. He missed Baugh, but the bullet struck his horse in the flank bringing both the horse and its rider down. Baugh quickly disentangled himself and, seizing one of his pistols, advanced towards Pandey and fired. He missed. Before Baugh could draw his sword, Pandey attacked him with a talwar (a heavy Indian sword) and closing with the adjutant, slashed Baugh on the shoulder and neck and brought him to the ground. It was then that another sepoy, Shaikh Paltu, intervened and tried to restrain Pandey even as he tried to reload his musket.

A British Sergeant-Major named Hewson had arrived on the parade ground before Baugh, summoned by an Indian naik (corporal). Hewson had ordered Jemadar Ishwari Prasad, the Indian officer in command of the quarter-guard, to arrest Pandey. To this, the jemadar stated that his NCOs had gone for help and that he could not take Pandey by himself. In response Hewson ordered Ishwari Prasad to fall in the guard with loaded weapons. In the meantime, Baugh had arrived on the field shouting 'Where is he? Where is he?' Hewson in reply called out to Baugh, 'Ride to the right, sir, for your life. The sepoy will fire at you!' At that point Pandey fired.

Hewson had charged towards Pandey as he was fighting with Lieutenant Baugh. While confronting Pandey, Hewson was knocked to the ground from behind by a blow from Pandey's musket. The sound of the firing had brought other sepoys from the barracks; they remained mute spectators. At this juncture, Shaikh Paltu, while trying to defend the two Englishmen called upon the other sepoys to assist him. Assailed by sepoys who threw stones and shoes at his back, Shaikh Paltu called on the guard to help him hold Pandey, but they threatened to shoot him if he did not let go of the mutineer.

Some of the sepoys of the quarter-guard then advanced and struck at the two prostrate officers. They then threatened Shaikh Paltu and ordered him to release Pandey, whom he had been vainly trying to hold back. However, Paltu continued to hold Pandey until Baugh and the sergeant-major was able to get up. Himself wounded by now, Paltu was obliged to loosen his grip. He backed away in one direction and Baugh and Hewson in another, while being struck with the butt ends of the guards' muskets.

Intervention of General Hearsey
In the meantime, a report of the incident had been carried to the commanding officer of the garrison Major-General John Bennet Hearsey, who then galloped to the quarter-guard with his two officer sons. It was now late afternoon and off-duty sepoys from the 43rd BNI, another regiment forming part of the Barrackpore brigade, had joined the crowd on the parade ground. While all were unarmed, Hearsey saw the possibility of general mutiny and sent orders to British troops to assemble at the Governor-General's residence.

Taking in the chaotic scene at the bell-of-arms (arsenal) of the 34th BNI, Hearsey then rode up to the guard, drew his pistol and ordered them to do their duty by seizing Mangal Pandey. The General threatened to shoot the first man who disobeyed. The men of the quarter-guard fell in and followed Hearsey towards Pandey. Pandey then put the muzzle of the musket to his chest and discharged it by pressing the trigger with his foot. He collapsed bleeding, with his regimental jacket on fire, but not mortally wounded.

With British and Indian officers now in control of the situation Mangal Pandey, "shivering and convulsed", was taken to the regimental hospital for treatment under guard.

Trial and execution
Pandey recovered and was brought to trial less than a week later. When asked whether he had been under the influence of any substances, he stated steadfastly that he had mutinied on his own accord and that no other person had played any part in encouraging him. He was sentenced to death by hanging, along with Jemadar Ishwari Prasad, after three Sikh members of the quarter-guard testified that the latter had ordered them not to arrest Pandey.

Mangal Pandey's execution took place on 8 April 1857, before all of the Indian and British units stationed in Barrackpore. The Delhi Gazette of 18 April described the hanging in some detail, stating that Pandey had refused to make any disclosures and that the occasion "had a most disheartening effect upon the sepoy regiments upon the ground".

Jemadar Ishwari Prasad was separately executed by hanging on 21 April. In contrast to the silent Mangal Pandey, the jemadar expressed regret for his actions and urged the sepoys present to obey their officers in future.

Aftermath
The seven (out of ten) companies of the 34th B.N.I. Regiment stationed at Barrackpore on 29 March were disbanded "with disgrace" on 6 May as a collective punishment after an investigation by the government, for failing to perform their duty in restraining a mutinous soldier and their officer. That came after a period of six weeks while petitions for leniency were examined in Calcutta. Sepoy Shaikh Paltu was promoted to havildar (sergeant) and decorated with the Indian Order of Merit for his behaviour on 29 March, but he was murdered in an isolated part of the Barrackpore cantonment shortly before most of the regiment was discharged.

The Indian historian Surendra Nath Sen notes that the 34th B.N.I. had a good recent record and that the Court of Enquiry had not found any evidence of a connection with unrest at Berhampore involving the 19th B.N.I. four weeks before (see below). However, Mangal Pandey's actions and the failure of the armed and on-duty sepoys of the quarter-guard to take action convinced the British military authorities that the whole regiment was unreliable. It appeared that Pandey had acted without first taking other sepoys into his confidence but that antipathy towards their British officers within the regiment had led most of those present to act as spectators, rather than obey orders.

Motivation
The personal motivation behind Mangal Pandey's behaviour remains confused. During the incident itself he shouted to other sepoys: "come out – the Europeans are here"; "from biting these cartridges we shall become infidels" and "you sent me out here, why don't you follow me". At his court-martial, he stated that he had been taking bhang and opium, and was not conscious of his actions on 29 March.

There were a wide range of factors causing apprehension and mistrust in the Bengal Army immediately prior to the Barrackpore event. Pandey's reference to cartridges is usually attributed to a new type of bullet cartridge used in the Enfield P-53 rifle which was to be introduced in the Bengal Army that year. The cartridge was thought to be greased with animal fat, primarily from cows and pigs, which could not be consumed by Hindus and Muslims respectively (the former a holy animal of the Hindus and the latter being abhorrent to Muslims). The cartridges had to be bitten at one end before use. The Indian troops in some regiments were of the opinion that this was an intentional act of the British, with the aim of defiling their religions.

Colonel S. Wheeler of the 34th B.N.I. was known as a zealous Christian preacher. The wife of Captain William Halliday of the 56th B.N.I. had the Bible printed in Urdu and Hindi and distributed among the sepoys, thus raising suspicions amongst them that the British were intent on converting them to Christianity.

The 19th and 34th Bengal Native Infantry were stationed at Lucknow during the time of the annexation of Oudh in 1856 because of alleged misgovernment by the Nawab. The annexation had negative implications for sepoys in the Bengal Army (a significant portion of whom came from that princely state). Before the annexation, these sepoys had the right to petition the British Resident at Lucknow for justice – a significant privilege in the context of native courts. As a result of the East India Company's action, they lost that special status, since Oudh no longer existed as a nominally independent political entity.

The 19th B.N.I. is important because it was the regiment charged with testing the new cartridges on 26 February 1857. However, right up to the mutiny the new rifles had not been issued to them, and the cartridges in the magazine of the regiment were as free of grease as they had been through the preceding half-century. The paper used in wrapping the cartridges was of a different colour, arousing suspicions. The non-commissioned officers of the regiment refused to accept the cartridges on 26 February. This information was conveyed to the commanding officer, Colonel William Mitchell; he took it upon himself to try to convince the sepoys that the cartridges were no different from those they had been accustomed to and that they need not bite it. He concluded his exhortation with an appeal to the native officers to uphold the honour of the regiment and a threat to court-martial such sepoys as refused to accept the cartridge. However, the next morning the sepoys of the regiment seized their bell of arms (weapons store). The subsequent conciliatory behaviour of Mitchell convinced the sepoys to return to their barracks.

Court of Enquiry
A Court of Enquiry was ordered which, after an investigation which lasted nearly a month, recommended the disbanding of the 19th B.N.I. The same was carried out on 31 March. The 19th B.N.I. were allowed to retain items of uniform and were provided by the government with allowances to return to their homes. Both Colonel Mitchell of the 19th B.N.I. and (subsequent to the incident of 29 March) Colonel Wheeler of Pandey's 34th B.N.I. were declared unsuited to take charge of any new regiments raised to replace the disbanded units.

Consequences
The attack by and punishment of Pandey is widely seen as the opening scene of what came to be known as the Indian Rebellion of 1857. Knowledge of his action was widespread amongst his fellow sepoys and is assumed to have been one of the factors leading to the general series of mutinies that broke out during the following months. Mangal Pandey would prove to be influential for later figures in the Indian Nationalist Movement like V.D. Savarkar, who viewed his motive as one of the earliest manifestations of Indian Nationalism. Modern Indian nationalists portray Pandey as the mastermind behind a conspiracy to revolt against the British, although a recently published analysis of events immediately preceding the outbreak concludes that "there is little historical evidence to back up any of these revisionist interpretations".

During the rebellion that followed, Pandee or Pandey became the derogatory term used by British soldiers and civilians when referring to a mutinous sepoy. This was a direct derivation from the name of Mangal Pandey.

Film, stage and literature
A film based on the sequence of events that led up to the mutiny entitled Mangal Pandey: The Rising starring Indian actor, Aamir Khan along with Rani Mukerji, Amisha Patel and Toby Stephens, directed by Ketan Mehta was released on 12 August 2005.

The life of Pandey was the subject of a stage play titled The Roti Rebellion, which was written and directed by Supriya Karunakaran. The play was organized by Sparsh, a theatre group, and presented in June 2005 at The Moving Theatre at Andhra Saraswat Parishad, Hyderabad, Andhra Pradesh.

Samad Iqbal, a fictional descendant of Mangal Pandey, is a central character in Zadie Smith's debut novel White Teeth. Pandey is an important influence on Samad's life and is repeatedly referenced and investigated by the novel's characters.

Commemoration

The Government of India commemorated Pandey by issuing a postage stamp bearing his image on 5 October 1984. The stamp and the accompanying first-day cover were designed by Delhi-based artist C. R. Pakrashi.

A park named Shaheed Mangal Pandey Maha Udyan has been set up at Barrackpore to commemorate the place where Pandey attacked British officers and was subsequently hanged.

title: Mangal Pandey


text:
User:Alterego/Databases

This is a list of databases I currently have access to. If you need some information or a citation just leave a message for me or send me an e-mail and i'll see if I can get it for you.

Consider this data current for at least three years after this timestamp --Alterego 06:59, Apr 9, 2005 (UTC)

 * 1) A2A: Access to Archives
 * 2) ABELL (Annual Bibliography of English Language and Literature)
 * 3) ABI/INFORM Global
 * 4) ABSEES: American Bibliography of Slavic and East European Studies
 * 5) ACS Publications
 * 6) ACLIN (Colorado Virtual Library)
 * 7) ACLS History E-Book (HEB) Project
 * 8) ACM Digital Library
 * 9) Academic Search Premier
 * 10) Access Science: Online Encyclopedia of Science and Technology
 * 11) Access UN
 * 12) AccuNet/Associated Press Multimedia Archive
 * 13) Aerial Photographs of Colorado
 * 14) Aerospace & High Technology Database
 * 15) African-American Newspapers: The 19th Century
 * 16) Agricola
 * 17) Agricultural and Environmental Biotechnology Abstracts
 * 18) AIDSearch
 * 19) Algology Mycology and Protozoology Abstracts
 * 20) Alternative Press Index
 * 21) Alternative Press Index Archive
 * 22) Aluminum Industry Abstracts
 * 23) America: History and Life
 * 24) American Humanities Index
 * 25) American Memory
 * 26) American Periodical Series (APS) I, II, and III 1741-1935:Index of Early American Periodicals
 * 27) Animal Behavior Abstracts
 * 28) L'Annee Philologique
 * 29) Annual Review of Anthropology
 * 30) Annual Review of Political Science
 * 31) Annual Review of Sociology
 * 32) Anthropology Plus
 * 33) Applied Science and Technology Index
 * 34) Aquaculture Abstracts
 * 35) Architectural Index on the Web
 * 36) ARTbibliographies Modern
 * 37) Art Full Text and Art Retrospective
 * 38) ARTFL
 * 39) Article1st
 * 40) Arts and Humanities Citation Index
 * 41) arXiv.org
 * 42) ASCE Publications
 * 43) Associations Unlimited
 * 44) ATLA Religion Database with ATLASerials
 * 45) Avery Index to Architectural Periodicals
 * 46)  Bacteriology Abstracts
 * 47) Barron's Proquest
 * 48) Benson Latin American Collection
 * 49) Berkeley Electronic Press Journals
 * 50) Bibliographie Linguistique
 * 51) Bibliography of Asian Studies
 * 52) Bibliography of British and Irish History Online
 * 53) Bibliography of Native North Americans
 * 54) Bibliography of the History of Art
 * 55) BioEngineering Abstracts
 * 56) Biography and Genealogy Master Index
 * 57) Biography Index
 * 58) Biological Abstracts (EBSCO)
 * 59) Biological Abstracts (SilverPlatter)
 * 60) Biological Sciences and Living Resources
 * 61) Biological Sciences Subfiles (CSA)
 * 62) Biology Digest
 * 63) BioMed Central
 * 64) BioOne
 * 65) BioOne Abstracts and Indexes
 * 66) Blackwell Synergy
 * 67) BNATAX.com
 * 68) Book Review Digest
 * 69) Books In Print
 * 70) Boulder Community Network
 * 71) Boulder Public Library
 * 72) British History Online
 * 73) British Studies Collections
 * 74) Business and Company Resource Center
 * 75) Business Index ASAP
 * 76) Business Knowledge Research
 * 77) Business Source Premier
 * 78) Calcium and Calcified Tissue Abstracts
 * 79) California Digital Library
 * 80) Cambridge Scientific Abstracts (CSA) Databases
 * 81) CCH Internet Tax Research Network
 * 82) The Center for Research Libraries
 * 83) Ceramic Abstracts/World Ceramic Abstracts
 * 84) ChemNetBase
 * 85) Chemoreception Abstracts
 * 86) Chicano Database
 * 87) Child Abuse, Child Welfare & Adoption Database
 * 88) Children's Literature Comprehensive Database
 * 89) China Academic Journals and China Core Newspapers
 * 90) CIAO: Columbia International Affairs Online
 * 91) ClasePeriodica
 * 92) Classical Music Library
 * 93) Collected Algorithms of the ACM
 * 94) CollegeSource Online
 * 95) Colorado Alliance of Research Libraries
 * 96) Colorado by the Numbers
 * 97) Colorado Digitization Program
 * 98) Colorado Virtual Library (ACLIN)
 * 99) Colorado's Historic Newspaper Collection
 * 100) ComAbstracts
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 * 102) Compendex
 * 103) CompPile
 * 104) Computer Database
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 * 112) Core Biomedical Collection
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 * 116) CQ Electronic Library
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 * 118) Criminal Justice Abstracts
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 * 120) CU Health Sciences Library
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 * 122) Declassified Documents Reference Service (DDRS)
 * 123) Defining Gender: 1450 - 1910 (Five Centuries of Advice Literature Online)
 * 124) Design and Applied Arts Index (DAAI)
 * 125) Design and Applied Arts Index (DAAI) Periodicals Directory
 * 126) Digital Dissertations
 * 127) The Digital Library for Earth System Education
 * 128) Digital National Security Archive
 * 129) Digital Sheet Music Collection
 * 130) DOAJ: Directory of Open Access Journals
 * 131) DOE Information Bridge
 * 132) Early American Imprints, Series I. Evans (1639-1800)
 * 133) Early American Imprints, Series II. Shaw-Shoemaker (1801-1819)
 * 134) Early English Books Online (EEBO)
 * 135) Early English Books Online - Text Creation Partnership (EEBO TCP)
 * 136) EBSCOhost (Gateway to all databases)
 * 137) ECO: Electronic Collections Online
 * 138) Ecology Abstracts
 * 139) EconLit
 * 140) eHRAF Collection of Archaeology
 * 141) eHRAF Collection of Ethnography
 * 142) EIU Country Intelligence
 * 143) EIU RiskWire
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 * 145) Electronic Journals Service EBSCOhost
 * 146) Emerald
 * 147) Empire Online
 * 148) emusicquest (Music in Print Series)
 * 149) Encyclopedia of Astronomy and Astrophysics
 * 150) Encyclopedia of Polymer Science and Technology
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 * 152) Engineered Materials Abstracts
 * 153) Engineering Village 2 (Compendex, INSPEC, and more)
 * 154) English Literary Periodicals (ELP): 1681 - 1941
 * 155) English Short Title Catalog (ESTC)
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 * 162) Essay and General Literature Index
 * 163) Ethnic Newswatch
 * 164) EuroDocs: Primary Historical Documents from Western Europe
 * 165) Evans Early American Imprint Collection: Text Creation Partnership (Evans-TCP)
 * 166) Expanded Academic ASAP
 * 167) Finding Guides to the British Studies Collections in the University of Colorado at Boulder Libraries
 * 168) Financial Times
 * 169) FirstSearch Gold
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 * 171) Food Science and Technology Abstracts Retrospective 1969-1989
 * 172) Frost & Sullivan Online
 * 173) Fuente Academica
 * 174) General BusinessFile ASAP
 * 175) General Reference Center Gold
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 * 182) Goethes Werke
 * 183) GoldRush
 * 184) GPO (FirstSearch)
 * 185) GPO Access
 * 186) Grants.gov
 * 187) Greater Western Library Alliance
 * 188) Grimms deutsches Wörterbuch
 * 189) Grove Dictionary of Art
 * 190) Handbook of Latin American Studies
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 * 205) IEL (IEEE/IEE Electronic Library)
 * 206) Immunology Abstracts
 * 207) Index to Early American Periodicals: APS I, II, and III 1741-1935
 * 208) Index to English Literary Periodicals (ELP): 1681 - 1941
 * 209) Index to Theses:a listing of theses with abstracts accepted for higher degrees by universities in Great Britain and Ireland
 * 210) Industrial and Applied Microbiology Abstracts (Microbiology A)
 * 211) Informe!
 * 212) InfoTrac
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 * 214) Ingenta
 * 215) INSPEC
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 * 217) International Index to Music Periodicals (IIMP)
 * 218) International Index to the Performing Arts (IIPA)
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 * 307) PROMT
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 * 316) RDS Tablebase
 * 317) Readers' Guide Full Text
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 * 319) Reference Manual for Telecommunications Engineering
 * 320) Reference USA
 * 321) Regesta Imperii
 * 322) Regional Business News
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 * 324) RI-OPAC (Regesta Imperii OPAC)
 * 325) RILM Abstracts of Music Literature
 * 326) Risk Abstracts
 * 327) RISM: International Inventory of Musical Sources after 1600
 * 328) Routledge Encyclopedia of Philosophy
 * 329) SAE Global Mobility Database
 * 330) Science Citation Index: Web of Science
 * 331) ScienceDirect
 * 332) Scirus
 * 333) Scottish Women Poets of the Romantic Period
 * 334) SilverPlatter Science Files
 * 335) Social Sciences Abstracts/Full Text
 * 336) Social Sciences Citation Index : Web of Science
 * 337) Social Services Abstracts
 * 338) Sociological Abstracts
 * 339) Socrates
 * 340) SoftBase
 * 341) Source OECD
 * 342) SPIE Digital Library
 * 343) SPORT Discus
 * 344) Sports Business Research Network
 * 345) Stanford Encyclopedia of Philosophy
 * 346) STAT-USA
 * 347) SUR Database
 * 348) Taylor and Francis Online Journals
 * 349) The Times Digital Archive 1785-1985
 * 350) TV-NewsSearch (Television News Archive)
 * 351) TOXLINE
 * 352) Toxicology Abstracts
 * 353) Ullmann's Encyclopedia of Industrial Chemistry
 * 354) UN Commodity Trade Statistics Database (UN Comtrade)
 * 355) UN Common Database
 * 356)  United States Government Information
 * 357) UnionLists
 * 358) The United States and its Territories 1870-1925: The Age of Imperialism
 * 359) University of Colorado Digital Sheet Music Collection
 * 360) U.S. Congressional Serial Set
 * 361) U.S. Department of Commerce Boulder Laboratories Library: serving NIST, NOAA, ITS, MAS
 * 362) Virology and AIDS Abstracts
 * 363) Wall Street Journal [current/Eastern edition]
 * 364) Wall Street Journal Archive
 * 365) The Wall Street Transcript (TWST)
 * 366) Washington Post
 * 367) Water Resources Abstracts
 * 368) Web of Science
 * 369) WELDASEARCH
 * 370) WESSWeb
 * 371) Wiley Encyclopedia of Electrical and Electronics Engineering
 * 372) Wiley InterScience Journals
 * 373) WilsonWeb
 * 374) Women and Social Movements in the United States, 1600-2000
 * 375) Women Writers Online, Brown University
 * 376) Women's Resources International
 * 377) World Bank e-Library
 * 378) World Consumer Markets
 * 379) World Development Indicators (WDI) Online
 * 380) World Marketing Data and Statistics
 * 381) World Shakespeare Bibliography
 * 382) WorldAlmanac
 * 383) WorldCat
 * 384) WWW Virtual Library: History
 * 385) Zoological Record
 * 386) Zentralblatt Math

title: User:Alterego/Databases


text:
Division of Hawker

The Division of Hawker was an Australian Electoral Division in South Australia. The division was created in 1969 and abolished in 1993. It was named for Charles Hawker, who was a federal MP 1929–38. It was located in the southern suburbs of Adelaide and took in the suburbs of Ascot Park, Clovelly Park, Edwardstown, Glenelg, Goodwood and Morphettville. Hawker was located between the seats of Hindmarsh and Kingston.

Originally created as a marginal Liberal seat prior to the 1969 election on a notional 5.8 percent two-party margin, the seat was won by Labor's Ralph Jacobi on a 7.9 percent two-party margin from a 13.7 percent two-party swing.

Jacobi was elected during the height of the popularity of the SA state Labor government under Don Dunstan, and held the seat until his retirement at the 1987 election. However, his margins were successively reduced from the late 1970s onward. He survived two redistributions in the Liberals' favour–prior to the 1977 election from a marginal Labor seat to a notional marginal Liberal seat and again prior to the 1984 election from a fairly safe Labor seat to a notional marginal Labor seat.

Jacobi handed the seat to Labor's Elizabeth Harvey, who held the seat for one term before being defeated by Liberal Chris Gallus at the 1990 election on a razor-edge 0.01 percent two-party margin from a 1.2 percent two-party swing, a victory of just 14 votes. Had at least 8 of 14 Australian Democrats supporters ranked Harvey second on their ballots rather than Gallus, Harvey would have been re-elected.

The seat was abolished prior to the 1993 election, with its territory being split between nearby Boothby and Hindmarsh. The Liberal hold on Boothby was reduced from a safe 10.7 two-party margin to a marginal notional 4.5 percent two-party margin while the Labor hold on Hindmarsh was reduced from a marginal 5.3 percent two-party vote to a marginal notional one percent two-party vote. Most of the seat's territory was absorbed by Labor-held Hindmarsh, and Gallus opted to transfer there rather than challenge fellow Liberal Steele Hall for Liberal preselection in Liberal-held Boothby. Gallus was successful for Liberal preselection in Hindmarsh and went on to narrowly win the seat.

title: Division of Hawker


text:
Category:Theatre managers and producers

People engaged in the business side of spoken (straight) theatrical production. See also Category:Theatre directors. There is some overlap between the two fields.

See Category:Opera managers for people engaged in the business side of opera production.

See Category:Film exhibitors for operators of movie theatres.

title: Category:Theatre managers and producers


text:
Yelnya offensive

The Yelnya offensive (August 30 – September 8, 1941) was a military operation by the Soviet Army during the Battle of Smolensk during Operation Barbarossa, the German invasion of the Soviet Union, which began the German-Soviet War. The offensive was an attack against the semi-circular Yelnya salient which the German 4th Army had extended 50 km south-east of Smolensk, forming a staging area for an offensive towards Vyazma and eventually Moscow. Under heavy pressure on its flanks, the German army (Heer) evacuated the salient by 8 September 1941, leaving behind a devastated and depopulated region. As the first reverse that the Heer suffered during Barbarossa and the first recapture of the Soviet territory by the Red Army, the battle was covered by Nazi and Soviet propaganda and served as a morale boost to the Soviet population.

Background
The town of Yelnya was located 82 km south-east of Smolensk situated near heights deemed strategic by General Heinz Guderian, commander of the 2nd Panzer Group, as the springboard for further offensive operations towards Moscow. The 2nd Panzer Group took the heights on 19 July 1941, but ran out of fuel and almost ran out of ammunition. The extended flanks of the bridgehead were subject to frequent counter-attacks of the Red Army while the Army Group Center paused operations in late July to rest and refit.

On 1 August, Stavka (Soviet High Command) authorised formation of the Reserve Front, led by Marshal Georgy Zhukov, with several new armies under his command. These formations were generally poorly trained and had few tanks and artillery pieces. Two of the new armies—the 24th Army under the command of Major General Konstantin Rakutin and the 43rd Army under Lieutenant General Pavel Kurochkin—were to support the Western Front under the command of Semyon Timoshenko. The two formations were to destroy the German forces at Yelnya and advance across the Desna River to retake Roslavl, which had been lost to the 2nd Panzer Group in early August.

The German forces initially located in the salient were the 10th Panzer Division, Waffen-SS Division Das Reich, and 268th Infantry Division, among others. These divisions were replaced by the 137th, 78th and 292nd infantry divisions in addition to the 268th, about 70,000 troops in all with some 500 artillery pieces and 40 StuG IIIs of the 202nd Assault Gun Battalion, the last three a part of the German XX Army Corps. The northern base of the salient was held by the 15th Infantry Division, while the southern base was held by the 7th Infantry Division.

Battle
The first phase of the operation began at the end of the first week in August; the initial attack was a failure and was called off within 48 hours. Nevertheless, the Soviet offensive operations continued up till 20 August and then resumed on August 30, in concert with operations by the Western Front and the Bryansk Front under General Andrey Yeryomenko.

The intent of the 30 August offensive was to assault the bases of the salient, with the 102nd Tank Division and the 303rd Rifle Division forming the outer front of the encirclement, while the 107th and 100th Rifle Divisions of the northern pincer and 106th Motorized Division of the southern pincer formed the inner front of the encirclement. Supporting the 106th in the south was the 303rd Rifle Division. Containing the salient in the central (eastern) sector of the offensive were the 19th Rifle Division and 309th Rifle Division. The 103rd Motorized Division and 120th Rifle Division were deployed on the northern and southern sides of the salient in fortified field positions to cut routes of escape by the German divisions. The 24th Army was allocated only 20 aircraft for reconnaissance and correction of artillery fire for the operation, with no fighter or strike support.

On September 3, under the threat of an encirclement, the German forces started retreating from the salient while maintaining resistance on the flanks. After a week of heavy combat, Hitler permitted Army Group Center's commander Fedor von Bock to evacuate the Yelnya bridgehead; on September 6 Yelnya was retaken by the Red Army. The Soviet offensive continued through September 8, when it was halted at the new German defense line. Although Soviet sources claimed that the German forces were destroyed in the salient, most of them were able to retreat. Nonetheless, the fighting in August and September had caused the XX Army Corps 23,000 casualties and the 4th Army was not able to recover from them for the rest of the year.

Aftermath
British war correspondent Alexander Werth described his visit to the Yelnya area in the aftermath of its recapture in his 1964 book Russia at War 1941–1945. The town of the 15,000 inhabitants had been completely destroyed, and nearly all able bodied men and women had been formed into forced labor battalions and driven to the German rear. Only a few hundred old people and children were allowed to stay in the town. The witnesses described to Werth how, on the night before the Wehrmacht pulled out of the town, they had been locked into the church and observed German soldiers looting houses and systematically setting each on fire. They were freed by the advancing Red Army. Werth described the countryside of the "Yelnya salient" (territory that had been held by the Wehrmacht) as "completely devastated", with "every village and every town destroyed, and the few surviving civilians living in cellars and dugouts".

The Wehrmacht losses included 23,000 casualties of the XX Army Corps for the period from 8 August to 8 September. The Red Army losses for the period from 30 August to 8 September are estimated at 31,853 overall casualties. Historian David Glantz states that although the offensive succeeded in attaining its strategic objective, the operation cost the 24th Army nearly 40 percent of its operational strength. This, combined with other failed Red Army offensives in the Smolensk area, temporarily blunted the German drive but seriously weakened Red Army formations defending the approaches to Moscow. In a lecture to the US Army Heritage and Education Center, Glantz asserted that in the run up to the Battle of Moscow, the Wehrmacht would not have made nearly as much progress as they did if the Stavka had not suffered losses in unsuccessful counter-offensives east of Smolensk. At the same time, in the 2015 edition of When Titans Clashed: How the Red Army Stopped Hitler (co-written by Glantz and Jonathan House), the authors state that while "Western Front's losses undermined its ability to contain a future German offensive (...), the damage it did to Bock's army group [contributed to the later] German collapse at the gates of Moscow".

In German and Soviet propaganda
The Yelnya offensive was the first substantial reverse that the Wehrmacht had suffered during Barbarossa. Nazi propaganda presented the retreat as a planned operation; in September 1941, a German infantryman wrote:

"Officially it was called a 'planned withdrawal' (...). But to me it was so much bullshit. The next day, we heard on the radio, in the 'news from the front' [the Wehrmachtbericht] about the 'successful front correction' in our Yelnya defensive lines and the enormous losses we inflicted on the enemy. But no single word was heard about a retreat, about the hopelessness of the situation, about the mental and emotional numbness of the German soldiers. In short, it was again a 'victory'. But we on the front line were running back like rabbits in front of the fox. This metamorphosis of the truth from 'all shit' to 'it was a victory' baffled me, and those of my comrades who dared to think."

For its part, Soviet propaganda hailed the offensive as a major success and wanted to draw worldwide attention to it. Thus, the Yelnya battle was the first occasion on which foreign correspondents in the Soviet Union were allowed to visit the front. Seven of eight of them visited the area between 15 and 22 September 1941. In the words of Werth, the battle was built up in the Soviet Press "out of all proportion to its real or ultimate importance". He nonetheless highlights the operation's impact on the Soviet morale, noting (emphasis in the original):

"Here was not only, as it were, the first victory of the Red Army over the Germans; here was also the first piece of territory —perhaps only 100 to 150 mi2— in the whole of Europe reconquered from Hitler's Wehrmacht. It is strange to think that in 1941 even that was considered an achievement."

Creation of the Guards
The Yelnya offensive is associated with the creation of the elite Guards units in the Red Army when the 100th Rifle Division and 127th Rifle Division were renamed into 1st Guards Rifle Division and 2nd Guards Rifle Division. On 26 September 1941 the 107th Rifle Division and 120th Rifle Division were also renamed the 5th Guards Rifle Division and 6th Guards Rifle Division.

title: Yelnya offensive


text:
Daikan-yama Station

Daikan-yama Station (代官山駅) is a railway station on the Tokyu Toyoko Line in Shibuya, Tokyo, Japan, operated by the private railway operator Tokyu Corporation.

Station layout
This station consists of two opposed side platforms serving two tracks. This station can only accommodate eight-car-length trains.

History
Daikan-yama Station opened on 28 August 1927, 18 months after the Tokyu Toyoko line opened. On March 15, 2013, the Shibuya Station above-ground train platforms closed down to serve the new underground platforms at the same station to serve the through service from the Tokyo Metro Fukutoshin Line through services. As a result, the line between Daikan-yama and Shibuya Stations had to be replaced with a new section of underground track. On the morning of 16 March 2013, Tokyu Corporation started construction on converting the upwards slope at Daikan-yama station downwards. This included doing the same to the tracks and platforms to accommodate the new underground section. A total of 1,200 engineers worked 3 hours and 25 minutes throughout the night to lower the slope downwards.

Surrounding area
The station serves an area where many foreign embassies are located. The area is also famous for its stylish neighborhoods with many sidewalk cafes, patisseries, restaurants, and from high fashion boutiques to vintage clothing shops. Between Shibuya and Ebisu stations, it is located on the western plateau of Shibuya on the Tōyoko Line nestled between the Meguro and Shibuya Rivers.

title: Daikan-yama Station


text:
Steve Keene

Steve Keene (born 1957) is an American painter known as a prolific creator of affordable art.

Early life and education
Originally from Charlottesville, Virginia, Keene earned a BFA from Virginia Commonwealth University and a MFA from Yale University.

Career
When Keene was a volunteer DJ at the college radio station WTJU in Charlottesville, Virginia in the 1990s, he became friends with musician David Berman and future members of the band Pavement, and seeing them hustle to sell CDs and merchandise shaped his approach to producing and selling art. According to the bio on his webpage, Keene said, "I want buying my paintings to be like buying a CD: it’s cheap, it's art and it changes your life, but the object has no status. Musicians create something for the moment, something with no boundaries and that kind of expansiveness is what I want to come across in my work."

Described as the "assembly-line Picasso" by Time, Keene's approach is to paint quickly, lining up plywood panels and painting the same image on each. By this method, he reportedly uses around "five gallons of paint a week and 100 sheets of 4-by-8-foot plywood, which he cuts up into 'canvases,' every month."

Keene began his career selling his work at indie rock shows. He purposely kept the price of the work inexpensive, he said, "so that people would buy them, and I wouldn't have to take them back home."

In addition to selling pieces by quantity on his website, he has created album art, video sets, stage sets, and posters for bands including Silver Jews, Pavement, The Apples in Stereo, Soul Coughing, The Klezmatics, and Dave Matthews Band.

Keene has painted live as part of exhibitions and residencies across the country. In November 1997 he "worked in the window of the Goldie Paley Gallery at the Moore College of Art and Design in Philadelphia." He painted more than 10,000 pieces as part of the exhibition "The Miracle Half-Mile" at the Santa Monica Museum of Art, and then did another painting residency at the museum in August 2011. The Brooklyn Public Library named Keene its 2014 Artist-in-Residence, for which he exhibited "Steve Keene’s Brooklyn Experience" in the Central Library's Grand Lobby, led art workshops for children, and painted live outside of the Central Library for several weekends during the summer. To honor Keene during the Library residency, Brooklyn Borough President Eric Adams declared June 14, 2014 as Steve Keene Day.

His work has also been exhibited internationally in England, Germany, and Australia, and has been on display in two of David Chang's restaurants.

As of 2021, Keene estimates he has sold or given away more than 300,000 paintings.

The Steve Keene Art Book
In early 2023, The Steve Keene Art Book, produced/edited/curated by Daniel Efram, was co-published by Efram's Tractor Beam and Hat & Beard Press.

30-Year Retrospectives in New York & Los Angeles
In 2022, to assist with launching the book, Keene participated in 30-year retrospectives in both Los Angeles, Calif., and Brooklyn, N.Y. Curated and produced by Efram, these events featured over one hundred pieces at each event (many of which ended up in book as well as pieces from local collections), experiential painting in situ by Keene, and music performances in the spaces.

Press Coverage

 * The New York Times "Steve Keene Made 300,000 Paintings in a Home Full of Easels
 * New York Times "Steve Keene Made 300,000 Paintings in a Home Full of Easels - non-paywall
 * The New Yorker "Mile-a-Minute Plywood Painter Steve Keene Has a Retrospective"
 * The New Yorker "Mile-a-Minute Plywood Painter Steve Keene Has a Retrospective"- non-paywall
 * Rolling Stone "Steve Keene Is Your Favorite Band’s Favorite Painter"
 * Pitchfork "Meet the Wildly Prolific Painter Who’s Made Album Covers for Pavement, Silver Jews, and More"
 * Variety "Steve Keene, Indie Rock Illustrator for Pavement, More, Releases Book"
 * Forbes "Kickstarter-Funded ‘The Steve Keene Art Book’ To Be Published In June"
 * Billboard "The Steve Keene Art Book: Indie Rock Painter Tribute Book Excerpt"

title: Steve Keene


text:
Ntare IV of Nkore

Ntare IV of Nkore (died 1727), sometimes referred to as Ntare IV Nyakikoto Kitabanyoro, was the Omugabe of Nkore, a historic state located in what is now Uganda, from 1699 to 1727. The term "Omugabe" is translated in various ways, but is most commonly equated to "king".

The famous Ntare School in Mbarara has been named after this Omugabe.

title: Ntare IV of Nkore


text:
Edmonton Northwest (federal electoral district)

Edmonton Northwest is a future federal electoral district in Alberta. A riding of the same name was previously represented in the House of Commons of Canada from 1988 to 1997.

Geography
Edmonton Northwest was first created in 1987 from parts of Edmonton East, Edmonton North, Edmonton West and Pembina ridings, comprising the northwest part of the city of Edmonton. It was abolished in 1996 when it was redistributed into Edmonton West and Yellowhead ridings.

Edmonton Northwest was re-created by the 2022 Canadian federal electoral redistribution, combining the Edmonton portion from St. Albert—Edmonton with several northerly communities of Edmonton West.

Demographics
According to the 2021 Canadian census

Languages: 66.7% English, 5.6% Tagalog, 4.7% Arabic, 2.5% Cantonese, 2.1% French, 1.4% Spanish, 1.4% Vietnamese, 1.4% Mandarin

Religions: 48.2% Christian (25.1% Catholic, 2.9% Christian Orthodox, 2.0% United Church, 1.7% Pentecostal, 1.6% Anglican, 1.2% Lutheran, 13.7% Other), 31.5% No religion, 13.7% Muslim, 2.5% Buddhist, 1.8% Hindu

Median income: $45,600 (2020)

Average income: $54,450 (2020)


text:
Division of Henty

The Division of Henty was an Australian Electoral Division in Victoria. The division was created in 1913 and abolished in 1990. It was named for the Henty family of Portland, the first European settlers in Victoria. It was located in the south eastern suburbs of Melbourne, including at various times Brighton, Caulfield, Malvern and Oakleigh. For most of its history it was a safe seat for the Liberal Party and its predecessors. A 1969 redistribution cut the seat back to the Oakleigh area, and from then on it was somewhat more marginal. In 1974 it elected Joan Child, the first female Labor member of the House of Representatives and the first female Speaker.

title: Division of Henty


text: Category:Tourist attractions in Sheffield


text:
José Antonio Camacho

José Antonio Camacho Alfaro (born 8 June 1955) is a Spanish former football left-back and manager.

He spent 15 professional years at Real Madrid, appearing in more than 500 official matches with the team and helping win 19 major titles, including nine La Liga championships. Subsequently, he embarked in a lengthy manager career, which included two very brief spells with his main club.

Camacho earned more than 80 caps with Spain, representing the country in two World Cups and as many European Championships. He also managed the national team for four years, taking them to the quarter-finals in the 2002 World Cup.

Club career
Camacho was born in Cieza, Murcia. After playing youth football at Albacete, he moved to La Liga giants Real Madrid at age 18, being almost immediately cast into the first team and its starting XI, his debut being handed by manager Luis Molowny on 3 March 1974 as he played the full 90 minutes in a 1–0 away loss against Málaga.

During his spell with Real Madrid, Camacho appeared in nearly 600 official matches (414 in the league alone), forming a proficient left-wing partnership with Rafael Gordillo, who featured mainly as a midfielder. In January 1978, he suffered a serious injury in training, which put his career on hold for nearly two years, but returned strong, being instrumental as the capital side won consecutive UEFA Cups.

International career
Camacho played 81 games for the Spain national team, making his first appearance just 19 years old. His debut came on 5 February 1975 in a 1–1 draw against Scotland for the UEFA Euro 1976 qualifiers, in Valencia.

For the following 13 years, Camacho was a defensive mainstay for the national side, being selected – and always as first-choice – to the 1982 and 1986 FIFA World Cups, as well as Euro 1984 and 1988. After the 2–0 group stage loss to West Germany in the latter competition, he retired from the international scene aged 33.

Beginnings
Following his retirement as a player in 1989, Camacho began coaching, first in Real Madrid's coaching staff. His first professional experiences were spent at Rayo Vallecano and Espanyol, both of which he helped promote to the top division.

In the summer of 1998, Camacho took over Real Madrid's first team, but left after only 22 days over disagreements with the club's management.

Spain national team
Camacho succeeded Javier Clemente as national team manager in September 1998, after a shock 3–2 loss in Cyprus in a Euro 2000 qualifier. The tide quickly turned under the new boss, who led the side to the final stages where they bowed out to eventual champions France in the quarter-finals.

Two years later, Camacho's team lost in the same stages to South Korea, now in the 2002 World Cup. Following the controversial defeat he announced his resignation, being replaced by Iñaki Sáez.

Benfica
Camacho returned to club action subsequently, being appointed at Benfica from Portugal on 1 December 2002 in the place of sacked Jesualdo Ferreira. Two years later, his team won the Taça de Portugal against José Mourinho-led Porto in extra-time, ending Benfica's longest silverware drought, as well as finishing second in the Primeira Liga.

A tough tackler in his playing days, Camacho also showed a human side when he cried profusely after Miklós Fehér died on the pitch, shortly after entering Benfica's match at Vitória de Guimarães.

Real Madrid and Benfica return
For the 2004–05 season, Camacho returned to Real Madrid on a two-year contract as a replacement to sacked Carlos Queiroz. However, things quickly went wrong again in his second spell after a 3–0 defeat at Bayer Leverkusen in the group stage of the UEFA Champions League, and a 1–0 league loss at Espanyol four days later also in September; shortly after, he resigned and was replaced by assistant Mariano García Remón.

Following Fernando Santos' mutual agreement termination of contract with Benfica, after a 1–1 away draw with Leixões in 2007–08 Portuguese League's opener, Camacho returned to Benfica. However, following a poor string of results, and claiming he was no longer able to motivate the team, he announced he would leave the club minutes after drawing a home match against bottom-placed União de Leiria on 9 March 2008.

Osasuna
After working as co-commentator on Spanish TV network Cuatro during Spain's victorious Euro 2008 campaign (he would also work for the channel during the 2010 World Cup, which ended with the national team's triumph as well), Camacho replaced José Ángel Ziganda at the helm of Osasuna on 13 October 2008.

On 14 February 2011, following a 1–0 away loss against Real Sociedad that placed the Navarrese inside the relegation zone, Camacho was fired. They eventually finished in ninth position.

China national team
On 13 August 2011, Camacho took over the reins of the Chinese national team, signing a three-year deal for a reported annual salary of US$8 million. The Chinese Football Association head Wei Di explained the decision as being part of a long-term plan to help the country catch up with Japan and South Korea, while Chinese Soccer Administrative Centre vice-president Yu Hongchen said that Camacho would keep his job even if he did not qualify for the 2014 FIFA World Cup.

China failed to qualify for the World Cup, after only finishing third in the third qualifying round with three wins and three losses. Camacho was also in charge as a Chinese young squad lost 8–0 to Brazil on 10 September 2012 in a friendly match, the national team's worst-ever defeat which also meant the drop to an all-time low 109th position in the FIFA World Rankings.

In the first game of the 2015 AFC Asian Cup qualification campaign, Camacho and China lost 1–2 against Saudi Arabia. Following a 5–1 shock friendly loss to Thailand on 15 June 2013, he was relieved of his duties.

One reason cited for Camacho's shortcomings in Asia was the limitation of football boots. The Chinese FA ordered that all the national team players were to wear Adidas, whilst most players in the Chinese Super League wore Nike, thus creating discomfort.

Gabon national team
Camacho was appointed as Gabon manager 43 days before the start of the 2017 Africa Cup of Nations which was to take place in that country, replacing Jorge Costa. The team exited in the group stage, with three draws.

Camacho was relieved of his duties on 12 September 2018, due to poor results.

Player
Real Madrid
 * La Liga: 1974–75, 1975–76, 1977–78, 1978–79, 1979–80, 1985–86, 1986–87, 1987–88, 1988–89
 * Copa del Rey: 1973–74, 1974–75, 1979–80, 1981–82, 1988–89
 * Supercopa de España: 1988, 1989
 * Copa de la Liga: 1985
 * UEFA Cup: 1984–85, 1985–86

Spain
 * UEFA European Championship runner-up: 1984

Manager
Benfica
 * Taça de Portugal: 2003–04

title: José Antonio Camacho


text:
Big Fun (Miles Davis album)

Big Fun is an album by American jazz trumpeter Miles Davis. It was released by Columbia Records on April 19, 1974, and compiled recordings Davis had made in sessions between 1969 and 1972. It was advertised as a new album with "four new Miles Davis compositions" One of three Davis albums released in 1974 and largely ignored, it was reissued on August 1, 2000, by Columbia and Legacy Records with additional material, which led to a critical reevaluation.

Background and recording
Big Fun presents music from three phases of Miles Davis's early-seventies "electric" period. The album is named for a composition Davis recorded in 1973, but it was not released until 2007 on the box set The Complete On the Corner Sessions.

Sides one and four ("Great Expectations/Orange Lady" and "Lonely Fire") were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. They also mark the first time since the beginning of Miles Davis's electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the middle and low registers.

"Ife"—named after James Mtume's daughter —was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It has a drum and electric bass groove (which in fact at one point breaks down due to mistiming) and a plethora of musicians improvising individually and in combinations over variations on the bassline.

Recording
Recorded on March 3, 1970, "Go Ahead John" is an outtake from Davis's Jack Johnson sessions. The recording is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland on bass, Jack DeJohnette on drums, and John McLaughlin on guitar with wah-wah pedal. It was one of the rare occasions in which Davis recorded without a musical keyboard. It was recorded in five sections, ranging from three to 13 minutes, which producer Teo Macero subsequently assembled in post-production four years later for Big Fun. DeJohnette provides a funky, complex groove, Holland plays bass with one constant note repeated, and McLaughlin plays in a staccato style with blues and funk elements. According to one music writer, the track's bass parts has "a trancelike drone that maintains" the predominantly Eastern vibe of the album.

Davis's trumpet and McLaughlin's guitar parts were heavily overdubbed for the recording. The overdubbing effect was created by superimposing part of Davis's trumpet solo onto other parts of it, through something Teo Macero calls a "recording loop". Macero later said of this production technique, "You hear the two parts and it's only two parts, but the two parts become four and they become eight parts. This was done over in the editing room and it just adds something to the music [...] I called [Davis] in and I said, 'Come in, I think we've got something you'll like. We'll try it on and if you like it you've got it.' He came in and flipped out. He said it was one of the greatest things he ever heard". DeJohnette's drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and forth between the left and right speakers on the recording. In his book Running the Voodoo Down: The Electric Music of Miles Davis, Davis-biographer Phil Freeman describes this technique as "100 percent Macero" and writes of its significance to the track as a whole, stating:

"This doesn't create the effect of two drummers. It's just disorienting, throwing the ear off balance in a way that forces the listener to pay close attention. The drums cease to perform their traditional function. Jack DeJohnette's beats, funky and propulsive on the session tapes, are so chopped up that their timekeeping utility is virtually nil. Macero has diced the rhythm so adroitly that we are not even permitted to hear an entire drum hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again, practically useless as rhythmic indicators. Thus, the pace is maintained by Dave Holland's one-note throb and the occasional descending blues progression he plays. The feeling one gets from "Go Ahead John" becomes one of floating in space."

Composition
Titled as an exhortation by Davis to McLaughlin, "Go Ahead John" features a basic, blues motif, centered around E and B♭, as well as modulations introduced by Davis into the D♭ scale. The recording begins with McLaughlin's funky wah-wah lines, backing Grossman's sharp, restrained playing, with Davis's first trumpet solo entering at four minutes with scattered ideas. In his book Milestones: The Music and Times of Miles Davis, Jack Chambers writes that the recording's first 11 minutes and its closing four-and-a-half minutes "resemble Willie Nelson [from Jack Johnson] as a head arrangement built on a riff, with the riff sustained this time by McLaughlin's steady wah-wah in the background. Approximately six minutes into it, McLaughlin's guitar solo succeeds Davis's first solo, as the band vamps. Music journalist Todd S. Jenkins writes of this passage in the recording, "Thanks to the then-new wonders of noise gate technology, Jack DeJohnette’s drums and cymbals flit back and forth rapidly from left to right in the mix. With each switch, the guitar’s volume blasts in and out, over and over again, during McLaughlin’s relentlessly acidic solo". Following the passage, an unrelated theme opens with two minutes of a slow blues segment by Davis that is spliced into the recording, accompanied solely by occasional notes from Holland; According to Jack Chambers, Davis's blues solo "becomes a duet with himself by overdubbing, and then builds into a quintet performance lasting ten more minutes". Phil Freeman wrote of this "doubling effect", stating "Miles's two solos fit together perfectly, creating a feel similar to that of New Orleans jazz, with two trumpets weaving intricate, complementary lines around each other".

In Milestones: The Music and Times of Miles Davis, Chambers writes of Davis's segment and the complex production of "Go Ahead John", "In spite of the gimmickry, the blues segment manages to state some old verities in a new context, and state them powerfully. Most jazz listeners can hope that someday Go Ahead John will be unscrambled and re-presented to them as, among other things, an unhurried blues by Davis accompanied only by Holland". Down Beat critic John Ephland interprets the recording to be "Miles' most obvious allusion to the Godfather of Soul, James Brown", adding that "Conjuring up images of Brown's 'I Can't Stand Myself' and 'I Got the Feelin',' from '67 and '68, respectively, 'Go Ahead John' shuffles, swirls, gets down and runs rampant, with some very creative editing, courtesy of producer Teo Macero". Allmusic editor Thom Jurek writes of the recording, "There is no piano. What's most interesting about this date is how it prefigures what would become 'Right Off' from Jack Johnson. It doesn't have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece". In Running the Voodoo Down: The Electric Music of Miles Davis, Phil Freeman calls the recording "one of the best things Miles and Macero created during the 1970s", writing that "It's a singular achievement in production, one that presents Miles in a different light than anything else in his catalog".

Release and reception
Released on April 19, 1974, by Columbia Records, Big Fun debuted at number 193 on the U.S. Billboard Top LPs chart and sold 50,000 copies in its first week. It ultimately reached number 179 on the chart and number six on Billboard's Top Jazz LPs chart. According to Todd S. Jenkins of All About Jazz, "The long, ever-droning, darkly exotic electric music, and in fact the very idea of just four songs taking up four full sides of an album, was not too appealing to critics or the general market at a time when short, sharp disco tunes were beginning to chart like wildfire. So Big Fun received generally weak reviews".

In a positive review, Billboard stated "Much of the existentialism in musical forms that has characterized Miles Davis' recent offerings are embodied in this new album, but Davis has the creativity of mind and expertise of profession to break away from the conventional and still remain an exciting, interesting, innovative and acceptable artist. This album is in that genre". Bob Palmer of Rolling Stone commented that "essentially Big Fun is the most consistently appealing, varied and adventurous Miles Davis album since Live/Evil, commands attention as such, and will doubtless give Davis's many imitators something to think about".

Legacy and reappraisal
In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau believed three of the album's "side-long" compositions "wind down prematurely", but "for the most part this is uncommonly beautiful stuff, and it gets better". He singled out "Lonely Fire" as a highlight, writing that "after meandering at the beginning [it] develops into lyrical mood music reminiscent in spirit and fundamental intent of Sketches of Spain". The Rolling Stone Album Guide (2004) said the album "defies easy categorization, although its dark, moody tracks boast a strong undercurrent of Indian classical rhythms in addition to the expected swathes of rock and funk".

Alternative Press called the album "essential....colorful and exotic" and wrote that it represents "the high water mark of his experiments in the fusion of rock, funk, electronica and jazz". The Penguin Guide to Jazz described it as "an entertaining simulation of a top-drawer R&B band, just about pushed into the jazz zone", with the key elements of Davis's "electronic" sound. Stylus Magazine's Edwin C. Faust commented that "a world without this music would be a considerably emptier place" and cited it as Davis's "greatest achievement" with regard to an album's "overall effect". Faust viewed that critics who originally found it "scattered" and "unfocused" might not have without "the knowledge of recording dates and band line-ups", while elaborating on its significance to Davis's catalogue:

""Big Fun has a very consistent vibe throughout. In contrast to its title, the album is moody and hauntingly lyrical—not entirely unlike In a Silent Way. Imagine the foreboding nature of Bitches Brew, with the primitive and funky undercurrent of On the Corner, but also with the majestic melodies of In a Silent Way cresting the surface. Plus, Big Fun is tied together by a stronger Eastern vibe than any of Davis’s other albums ... Big Fun is the work of a true musical craftsman and an even truer artist.""

Down Beat critic John Ephland commented that "there is indeed a sense of adventure, of taking chances with so much talent, and with such skeletal designs", adding that "Big Fun reinforces the notion that Miles' primary contributions to music have come via orchestrating, organizing, enabling. How this music was put together proves to be as interesting as any solo or ensemble work [...] Incidentally, the digital sound quality is consistently high throughout". AllMusic editor Thomas Jurek was less enthusiastic. He found "some outstanding playing and composing here", but criticized "the numerous lineups and uneven flow of the tracks", writing that "despite the presence of classic tracks like Joe Zawinul's 'Great Expectations', Big Fun feels like the compendium of sources it is".

Track listing
All compositions by Miles Davis, except "Mulher Laranja" and "Recollections", composed by Joe Zawinul.

Original release

Double CD edition

Note: Some issues mistakenly omit "Mulher Laranja" (better known as "Orange Lady"), along with its composer, from the liner notes and tracklist. However, the piece does appear on all editions of the album.

Musicians

 * "Great Expectations/Orange Lady" (19 November 1969 – Columbia Studio E)

 * Miles Davis – trumpet
 * Steve Grossman – soprano saxophone
 * Bennie Maupin – bass clarinet
 * John McLaughlin – electric guitar
 * Khalil Balakrishna – electric sitar
 * Bihari Sharma – tabla, tamboura
 * Herbie Hancock – electric piano
 * Chick Corea – electric piano
 * Ron Carter – double bass
 * Harvey Brooks – Fender bass guitar
 * Billy Cobham – drums
 * Airto Moreira – percussion

 * "Ife" (12 June 1972 – Columbia Studio E)

 * Miles Davis – electric trumpet with wah wah
 * Sonny Fortune – soprano saxophone, flute
 * Bennie Maupin – clarinet, flute
 * Carlos Garnett – soprano saxophone
 * Lonnie Liston Smith – electric piano
 * Harold I. Williams Jr. – electric piano
 * Michael Henderson – electric bass
 * Al Foster – drums
 * Billy Hart – drums
 * Badal Roy – tabla
 * James Mtume – African percussion

 * + "Recollections" (6 February 1970 – Columbia Studio B)

 * Miles Davis – trumpet
 * Wayne Shorter – soprano saxophone
 * Bennie Maupin – bass clarinet
 * John McLaughlin – electric guitar
 * Joe Zawinul – electric piano (left)
 * Chick Corea – electric piano (right)
 * Dave Holland – electric bass guitar
 * Billy Cobham – triangle
 * Jack DeJohnette – drums
 * Airto Moreira – cuíca, percussion

 * + "Trevere" (28 November 1969 – Columbia Studio E)

 * Miles Davis – trumpet
 * Steve Grossman – soprano saxophone
 * Bennie Maupin – bass clarinet
 * Chick Corea – electric piano
 * Larry Young – organ, celeste
 * Khalil Balakrishna – electric sitar
 * Bihari Sharma – tamboura
 * Harvey Brooks – electric bass guitar
 * Dave Holland – double bass
 * Jack DeJohnette – drums
 * Billy Cobham – drums
 * Airto Moreira – cuíca, berimbau

 * "Go Ahead John" (3 March 1970 – Columbia Studio E)

 * Miles Davis – trumpet
 * Steve Grossman – soprano saxophone
 * John McLaughlin – electric guitar
 * Dave Holland – bass guitar
 * Jack DeJohnette – drums

 * "Lonely Fire" (27 January 1970 – Columbia Studio B)

 * Miles Davis – trumpet
 * Wayne Shorter – soprano saxophone
 * Bennie Maupin – bass clarinet
 * Khalil Balakrishna – sitar, Indian instruments
 * Chick Corea – electric piano
 * Joe Zawinul – electric piano, Farfisa organ
 * Dave Holland – double bass
 * Harvey Brooks – Fender bass guitar
 * Jack DeJohnette – drums
 * Billy Cobham – drums
 * Airto Moreira – Indian instruments, percussion

 * + "The Little Blue Frog" (28 November 1969 – Columbia Studio E)

 * Miles Davis – trumpet
 * Steve Grossman – soprano saxophone
 * Bennie Maupin – bass clarinet
 * John McLaughlin – electric guitar
 * Chick Corea – electric piano
 * Larry Young – organ, celeste
 * Khalil Balakrishna – electric sitar
 * Bihari Sharma – tamboura
 * Harvey Brooks – electric bass guitar
 * Dave Holland – double bass
 * Jack DeJohnette – drums
 * Billy Cobham – drums
 * Airto Moreira – cuíca, berimbau

 * + "Yaphet" (19 November 1969 – Columbia Studio E)

 * Miles Davis – trumpet
 * Steve Grossman – soprano saxophone
 * Bennie Maupin – bass clarinet
 * John McLaughlin – electric guitar
 * Herbie Hancock – electric piano (left)
 * Chick Corea – electric piano (right)
 * Khalil Balakrishna – electric sitar
 * Bihari Sharma – tamboura, tabla
 * Harvey Brooks – electric bass guitar
 * Ron Carter – double bass
 * Billy Cobham – drums, triangle
 * Airto Moreira – cuíca, berimbau

Additional personnel

 * 2-LP original

 * Teo Macero – original record producer
 * Seth Rothstein – project director
 * Frank Laico, Stan Tonkel – original audio engineer
 * Russ Payne, Stan Weiss, John Guerriere – original mix engineer
 * Steve Berkowitz – A&R for Legacy
 * Patti Matheny, Darren Salmieri – A&R coordination
 * Corky McCoy – original cover art

 * 2-CD reissue

 * Bob Belden – reissue producer
 * Seth Foster – reissue digital remastering at Sony Music Studios, NYC
 * Bennie Maupin – reissue main liner notes
 * Swing Journal Co., Ltd. Japan – reissue backcover photography
 * Uve Kuusik – reissue liner notes photography
 * Howard Fritzson – reissue art direction
 * Randall Martin – reissue design
 * Rachel Dicono – packaging manager
 * John Jackson – production assistance

title: Big Fun (Miles Davis album)


text:
Christian Churches Together

Christian Churches Together in the USA (CCT) is an organization formed in 2006 to "broaden and expand fellowship, unity and witness among the diverse expressions of Christian traditions in the USA" and represents over 27 million Christians.

Christian Churches Together was created as a space for dialogue and cooperation among churches and ecumenical Christian organizations. It does not attempt to combine Christian faiths or compromise their distinctiveness. Rather, it provides a context in which churches can develop relationships with other churches with whom they presently have little or no contact. Christian Churches Together includes most, if not all, the Christian traditions in the USA (including Catholic, Orthodox, Historic Protestant, Evangelical/Pentecostal, and Historic Black churches). It also includes non-denominational Christian organizations. The major activity of the organization is the Annual Forum. In the past few years, topics addressed at the annual forum included gospel perspectives of life, immigration, mass incarceration, poverty and racism. CCT only speaks out on issues in which all the churches agree, coming to a decision by way of the consensus model.

Mission statement
CCT brings together the diversity of Christian churches and organizations in the U.S. to foster loving relationships, cultivate theological learning, and discern through consensus how we bear witness to the reconciling power of Jesus.

Vision statement
Christian Churches Together enables churches and national Christian organizations to grow closer together in Christ in order to strengthen our Christian witness in the world.

The CCT process
Based on these vision and mission statements, a process for organizing the ministry of CCT is essential. This process was designed with the hope it will be applicable both to the national CCT and to local expressions that may come into existence. This process will be a “work in progress,” and it will assume several things:

1. We are always calling ourselves to humility before Christ and each other. This reminder, in the form of both worship and proclamation, must be built into the beginning of every gathering, and woven throughout our time together.

2. We are continually looking for new groups of Christians to include in the ministry, with a special emphasis of including more young adults. We will set the goal of having 20% of attendance at forums being persons under age 35 by the time of the 2026 Forum. This will require intentional conversations with the leadership of all faith communions and Christian organizations.

3. This spirit of inclusion also extends to other ecumenical groups, organizations and regional councils within the United States. Therefore, CCT will keep in mind how we can reach out to those groups and partner with them in whatever we do. Conversations will be held and specific invitations issued. The hope is the CCT process will be replicated across the country in regional and/or state ecumenical councils and associations.

4. CCT will make decisions by consensus. Emphasis will be placed on building relationships and understanding, and we know disagreements will happen. Only when there is consensus will joint action be taken. Members are encouraged, however, to take action within their own faith communions and within created coalitions.

5. It is important CCT work on the “religious literacy” of Christians in the US, and therefore the concept of receptive ecumenism, through which we learn from each other about theologies, histories and organizations, will always be held as foundational. To that end there will be an annual inclusion of “experts” on the designated topic at hand. This means inviting well-known persons from within our Family Groups, who are on the right, center and left of the topic or issue. They will be invited to help with Bible study, theology and dialogue. This is important, because knowledge of specific issues is not necessarily the forte of persons who ecumenically represent faith communions and Christian organizations. The tools these experts would bring will be essential to the conversations.

6. It is possible bylaw changes may be necessary as we implement this new process. When that is the case, the Bylaws Committee will work on these changes and bring them for discussion to a Forum, so consensus around them can be built. In the interim, we will begin to live into the changes described and allow for some flexibility.

Leadership
The current executive director of Christian Churches Together is Dr. Monica Schaap Pierce, who is a member of the Reformed Church in America. Her predecessors were Rev. Carlos Malave and Rev. Richard (Dick) Hamm.

History
In 2001, a number of US churches leaders began discussing the possibility of forming a new organization that would provide a broader-based space than that provided by the National Council of Churches or the National Association of Evangelicals. On September 7–8, 2001, various American church leaders met informally in Baltimore to explore whether or not the time had come to “create a new, more inclusive body.” At the meeting no votes were taken, but there was a strong desire among the participants for a broader structure of some kind that would include all the major groupings of churches.

This conversation continued in Chicago (April 4 – 6, 2002), Pasadena (January 27 – 29, 2003), Houston (January 7 – 9, 2004), and Los Altos (June 1 – 3, 2005) with an ever expanding and more diverse group of Christian leaders. As a result of these efforts, 34 churches and organizations formed Christian Churches Together in the US in Atlanta on March 30, 2006. In 2017, the Bruderhof Communities, the Redeemed Christian Church of God and the International Justice Mission joined CCT.

Participants in CCT includes churches and associations of churches that are national in scope, as well as national Christian organizations and worldwide churches such as the Salvation Army which has a territory (national division) in the United States. Participant churches and organizations must accept and endorse the theological basis and purposes of CCT. They agree to attend meetings on a regular basis and to pay the dues established.

Member churches and organizations
, the members are:
 * Antiochian Orthodox Christian Archdiocese
 * Archdiocese of the Syriac Orthodox Church of Antioch
 * Armenian Orthodox Church in America
 * Bread for the World
 * Christian Church (Disciples of Christ)
 * Christian Reformed Church in North America
 * Church of God (Anderson, Indiana)
 * Church of the Brethren
 * Cooperative Baptist Fellowship
 * Evangelical Lutheran Church in America
 * Christians for Social Action
 * Greek Orthodox Archdiocese of America
 * Habitat for Humanity International
 * Hope for You
 * International Council of Community Churches
 * International Justice Mission
 * International Pentecostal Holiness Church
 * Mennonite Church USA
 * Moravian Church
 * National Baptist Convention of America
 * National Baptist Convention, USA
 * National Hispanic Christian Leadership Conference
 * Orthodox Church in America
 * Reformed Church in America
 * Sojourners
 * The Bruderhof
 * The Episcopal Church USA
 * Korean Presbyterian Church Abroad
 * Presbyterian Church (USA)
 * The Salvation Army
 * The United Methodist Church
 * The Vineyard USA
 * United Church of Christ
 * US Conference of Catholic Bishops
 * Zomi Baptist Churches

title: Christian Churches Together


text:
Talk:HMS Sceptre (P215)

expansion
adding a table with specifications and an image would be a good thing. will try to do so if i have time. added to watch list Avriette 07:14, 9 Apr 2005 (UTC)

title: Talk:HMS Sceptre (P215)


text:
Ntare IV

Ntare IV may refer to:

 * Ntare IV of Burundi, Ntare IV Rutaganzwa Rugamba, king of Burundi (1796–1850)
 * Ntare IV of Nkore, king of Nkore in Uganda (1699–1727)

title: Ntare IV


text: Category:Sport in Sheffield

title: Category:Sport in Sheffield


text: Talk:Mystic River (film)

title: Talk:Mystic River (film)