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Aninoasa

Aninoasa (Aninósza or Aninószabányatelep) is a town in Hunedoara County in the Transylvania region of Romania. The town is located in the Jiu Valley, which is a coal basin, and many of the towns residents are coal miners. Aninoasa administers one village, Iscroni (Alsóbarbatyeniszkrony). It officially became a town in 1989, as a result of the Romanian rural systematization program.

Geography
The town is situated near the confluence of both headwater rivers (Jiul de Vest and Jiul de Est) of the Jiu, north of the Vâlcan Mountains and in the eastern foothills of the Retezat Mountains. Most of the town was built along Aninoasa creek, and the town is actually separated into two areas by the Jiul de Vest. "Anin" means "alder tree" in Romanian.

Aninoasa is located at the southern extremity of Hunedoara County, about 98 km from the county seat, Deva, on the border with Gorj County. The village of Iscroni is crossed by national road DN66A, which leads west to Vulcan, 5 km away, and Lupeni, 11 km away, and east to European route E79 and the city of Petroșani, 7 km to the northeast.

The Iscroni train station serves the CFR Line 214, a 17 km railway from Livezeni (in Petroșani) to Lupeni.

History
Aninoasa is the oldest town in Hunedoara County, being mentioned as far back as 1453 AD.

Demographics
At the 2021 census, the town had a pupation of 3,369. At the 2011 census, 88.18% of inhabitants were Romanians, 7.1% Roma, and 4.18% Hungarians.

Natives

 * Nicolae Guță (born 1967), musician
 * Nicolae Ionescu (1949–1997), footballer
 * Ștefania Stănilă (born 1997), artistic gymnast
 * Andrei Stocker (born 1942), footballer

title: Aninoasa


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Talk:Picardy third

Accidentals
I edited the explanation of the example at the end of the article. It said that the red natural sign replaced what could have been a flat sign, thus making the chord major; however, since the key signature includes a B flat, there would not have been an accidental in the case of a minor chord. Uttaddmb 19:12, 14 September 2005 (UTC)

Kyrie
The Kyrie movement from Mozart's Requiem in D minor K626 ends with a fifth (D and A), there is neither a major nor a minor third, so I'm taking off the part about it. -FraKctured 15:05, Jun 1, 2005 (UTC) Must have got that from an edited edition, sorry! --Lambyuk 22:03, 6 Jun 2005 (UTC)

No such thing as a "reverse" picardy third?
It may be exceedingly rare, but it does exist. See the ending of Mendelssohn's Characteristic Piece, opus 7 no. 7. The piece is in E Major, but ends with an utterly unexpected arpeggiated e minor chord.

Chopin's Nocturnes
Opus 27 no. 1 in c# minor, Opus 48 no. 2 in f# minor and Opus 72 no. 1 in e minor all end in extensive sections in major that cannot be called picardy thirds. Opus 55 no. 1 in f minor is a borderline case. (The two c minor nocturnes are the only minor ones not ending in major.)

38.117.238.82 04:38, 6 December 2006 (UTC)

Use in church music
I had always believed that the use of Picardy thirds in church music was more to do with the reinforcement of the chord created by over/undertones in an organ using just intonation.....any views?

LacyK 21:48, 20 February 2007 (UTC)

Parallel minor in Deceptive cadence? I think not...
It says in the article that a deceptive cadence is in the parallel minor. Either I'm misunderstanding what's being said, or this is wrong. A deceptive cadence may perhaps end on anything, but usually it is on the relative minor or subdominant, not the parallel minor (as far as I know). Plus, the following explanation in the article is of a A minor chord where a C major chord is expected. So I'm going to change the article to reflect this. Tix (talk) 20:51, 11 March 2008 (UTC)

"Sweet Child O' Mine"??
How is "Sweet Child O' Mine" an example of a Picardy third? The song is clearly in a major key and doesn't appear to end with a minor tonic. I will edit the page unless someone explains this. —Preceding unsigned comment added by Ubss347 (talk • contribs) 03:18, 12 July 2008 (UTC)

Requested audio
I have added an audio example to the article. Hyacinth (talk) 05:37, 27 July 2008 (UTC)

Open fifth as an "alternative" to Picardy third?
A paragraph in the introduction says that early composers such as Tallis employed open fifths as an alternative to Picardy thirds. This is historically misleading, as thirds were not considered in Western "art music" to be appropriate for the most stable cadences until the fifteenth century. There's more evidence for the Picardy third as an alternative to the open fifth than vice versa. --Atemperman (talk) 17:58, 17 August 2008 (UTC)

Some sources, for curious souls:, ,. --Atemperman (talk) 18:19, 17 August 2008 (UTC)

Two examples in contemporary popular music, these pieces are well-known.
Smells like teen spirit by Nirvana ends with vocal going ab-g-f and power chords (fifth + octave) Db->F (perceived minor due to the vocal's line. And after a few seconds, we hear a high "a" natural. Unforgiven II by Metallica ends with a major third as well (being in minor key).

Maybe one should add these to the article, it may attract some attention, since these songs are popular.

Bach itself is the best example of picardy third though. —Preceding unsigned comment added by GrandBrand (talk • contribs) 20:02, 5 April 2009 (UTC)

History
The history section is good -- but I was once told that the term originally referred to a cathedral in Picardy with the unique acoustic property that the third of any minor triad, if allowed to reverberate, would quickly fade and be replaced by a major third. That's probably a myth -- I don't even know if it's physically possible -- but even so, perhaps it's worth mentioning and/or debunking. 24.238.113.229 (talk) 22:10, 17 May 2009 (UTC)

Reverse Picardy Third
I moved the below here and added signatures, since it's a discussion. Hyacinth (talk) 07:53, 23 March 2010 (UTC) This is not true! The final dominant chord resolves first to a major tonic which is then 'coloured' into a minor tonic. The "reverse" Picardy third would be a solution of a final dominant chord in a major key resolved directly to an unexpected minor tonic. This is not the case in the example mentioned above. Anyway the Mendelssohn example is special! —Preceding comment added by 82.170.21.15 (talk)
 * The "reverse" Picardy third, where an expected major chord is replaced by its minor equivalent, is almost never used at the end of a work - an example of this rarity is in Mendelssohn's Characteristic Piece Op. 7 No. 7 in E.
 * It is not necessary for a Picardy third to be preceded by a dominant chord, though this the most common case. Other possibilities include a subdominant chord -- or a tonic minor chord, examples of which occur at the closes of Roland de Lassus's motet "Benedic, Domine, domum istam," Paganini's Caprice in G Minor for solo violin, Opus 24 No. 6, and Leoš Janáček's Capriccio for piano left hand and wind ensemble).  This is the precise equivalent of Mendelssohn's "reverse" Picardy third.  —Preceding comment added by Kostaki mou (talk • contribs)

Scientific Explanation
Does this even deserve to be here? It's mostly a misleading explanation of the harmonic series that adds nothing to the article. Honestly the only value I see in this is the laughs I got while reading it. The acoustic properties of a chords and their relationship to the harmonic series is worth discussion, but that is better reserved for articles relating to chords. If someone cannot explain to me why this should be here than I'm inclined to delete the section.Composerjude (talk) 05:18, 23 July 2011 (UTC)
 * It may be possible for the aural effect of the Picardy third to be described scientifically - a major triad can be found in the 4th, 5th, and 6th harmonics of a major chord, while the minor triad can be found higher in the 10th, 12th, and 15th harmonics of its respective chord. (In the language of the harmonic series, this is equivalent to saying the major chord occupies a lower location in the harmonic series relative to the minor chord.) Moreover, minor triads correspond with sadness, angst, and tension, and are found in the undertone series. Major triads are natural harmonic series, and are, unlike minor triads, whose thirds are often intoned in sad or subdued speech, "happier" in their sound.
 * It's a muddled attempt to explain why it is easier for singers (and players of instruments whose pitches can be adjusted "on the fly") to accurately tune the third of a major triad than a minor one. It looks to me like the person who wrote it was thinking in terms of a keyboard instrument, where tuning is preset. The main thing that is missing is an explanation of combination tones, since it is their interaction with the overtones of the sung/played notes that is the crucial thing. I can't immediately think of a source for this, but I'm sure there has got to be one somewhere.—Jerome Kohl (talk) 17:42, 23 July 2011 (UTC)

The Song 'Daedalus' by Thrice
This song contains a picardy third at the end of the intro. The song is in the key of Am and contains the chords Am, Dm, F and G in the intro resolving, the final time, to an A chord. — Preceding unsigned comment added by 2.124.58.105 (talk) 19:37, 29 November 2012 (UTC)

 * Do you have a source? Hyacinth (talk) 20:14, 29 November 2012 (UTC)

Can't play examples
I normally use Safari. This is not exactly a freakish choice. It's the default web browser for Mac OS and it integrates with many other Mac OS features. I tried to hear the examples, but could not succeed. I tried to use the "help" links, but they were useless. I had to hunt around the internet for the explanation and remedy. There are two problems.

1-Safari cannot play Ogg files. Safari is highly compliant with HTML-5 standards. Ogg files are not HTML-5 compliant. You can hear the Ogg examples with other browsers, but not Safari. As other browsers increase their level of HTML-5 compliance, they will lose their ability to play Ogg files. Annoyingly, the help links say nothing about this. In addition, the help links point to plug-ins that are supposed to solve the problem, but they are obsolete and can't be installed.

2-Mac OS does a poor job of playing MIDI files. If they play at all, the volume is far too low and the sound is of poor quality. There is no plugin for Safari that makes it possible to play back MIDI files. It's possible to download and install Quicktime 7, but it doesn't work well. Some third party applications play MIDI files correctly. In Safari, that requires downloading the MIDI file, then opening them it in a third party application.

These problems likely exist in thousands of Wikipedia articles. They are annoying and user-hostile. I'm sure other users have brought them up in other forums

I was able to switch to another browser and hear the Ogg sound files. With another browser, I was prompted to choose the application I wanted to use to play the MIDI files. More trouble than it's worth.108.219.39.17 (talk) 19:08, 23 November 2013 (UTC)

 * I don't think HTML5 specifies what a browser should NOT support. Instead, it only specifies what a browser should support. Also, I can't see how HTML-5 standard doesn't include Ogg files, see HTML5_Audio. --Ahyangyi (talk) 15:19, 20 October 2014 (UTC)

"in this case G# rather than G♭"
This is surely a typo. G natural must be what is intended, not G flat. Kostaki mou (talk) 19:11, 28 August 2014 (UTC)
 * That's what I thought at first (which is why I tagged the statement), but when I tried to look up the source online to verify or correct the error I was unable to access it online and determine whether the chord in question is on E or E♭. If it is the latter, then it is the G♯ that must be a mistake for G♮ (which is why I tagged this, also).—Jerome Kohl (talk) 20:41, 28 August 2014 (UTC)

According to Katherine Monk, the Picardy third in this song "suggests Mitchell is internally aware of romantic love's inability to provide true happiness".
Her logic escapes me. Kostaki mou (talk) 19:29, 22 December 2016 (UTC)

 * Finished the sentence. 14:28, 6 January 2017 (UTC)

Picardy Third in Schubert
I was puzzled by Jerome’s ‘clarification required’ comments in relation to my contribution about Schubert. In response to his question ‘what has this to do with a Picardy Third?’ I would respond that the extract from the Winterreise song fulfils exactly the definition of Picardy Third given in the opening paragraph of the Wikipedia article. To emphasise the point a little, I have added another clear example of Picardy Third in Schubert with an extract from his Piano Duet Fantasia in F minor, backed by a citation from Professor Wollenberg’s book “Schubert’s Fingerprints.”(Spencerpiers (talk) 09:30, 11 October 2017 (UTC)).

History: original research?
The name section in History gives almost no sources and reads like a mixture of original research and pure opinion. Especially, the judgements about the likelihood of various sources in words or in geography read like pure opinion and are given almost no citations. Many of the opinions about words seem arbitrary. Just two examples: 'Not to be ignored is the existence of the proverb "ressembler le Picard"' and especially 'which would thus completely discredit the word picart': no reason, just a feeling by the writer. Zaslav (talk) 05:24, 12 August 2022 (UTC)

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

title: Talk:Picardy third


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Beano (dietary supplement)

Beano is an enzyme-based dietary supplement that is used to reduce gas in the digestive tract, thereby improving digestion and reducing bloating, discomfort, and flatulence caused by gas. It contains the enzyme alpha-galactosidase (α-GAL). It was introduced as a liquid, but that has been discontinued and it is now available only as tablets and strawberry-flavored "Meltaways".

Beano is marketed and distributed by Prestige Consumer Healthcare, Inc.

Mechanism of action
Beano contains the enzyme α-GAL, which is derived from the fungus Aspergillus niger. The enzyme works in the digestive tract to break down the complex or branching sugars (polysaccharides and oligosaccharides) in foods such as legumes (beans and peanuts) and cruciferous vegetables (cauliflower, broccoli, cabbage, and brussels sprouts, among others). The enzyme breaks those complex sugars into simple sugars, making these foods somewhat more digestible, and reducing intestinal gas.

The polysaccharides and oligosaccharides found in these foods might otherwise pass through the small intestine unaffected. Once in the large intestine, those sugars may be metabolized by intestinal flora, fermenting to produce the gases that cause discomfort and flatulence.

Two randomized controlled trials show reduction in gas by subjects taking oral α-GAL. Another study indicates it may interfere with the diabetic medication acarbose.

History
Beano was developed in 1990 by Alan Kligerman of AkPharma after research into gas-causing vegetables that had begun in 1981. The idea for such a product was proposed at least as early as the 1780s in Benjamin Franklin's essay "A Letter To A Royal Academy". In 1991, Kligerman was awarded the inaugural Ig Nobel Prize in Medicine for inventing Beano.

Its patent was acquired by GlaxoSmithKline in 2001 from Block Drug. GlaxoSmithKline sold Beano and 16 other brands to Prestige Brands in 2012.

Beano received on August 29, 1995. The estimated expiration date of the patent is December 5, 2014. , more than four dozen competing products were on the market.

In April 2014, the brand introduced Beano +Dairy Defense. In India, alpha galactosidase tablets are available as Bloateez marketed by Geminova Life.

Use in brewing
Simple sugars are also produced as a consequence of the malting process that eventually produces beer. The complex sugars are not broken down by the yeast, and are eventually consumed by the beer drinker, possibly causing flatulence. Homebrewers have found adding Beano to their brew may produce a beer that has a less malty flavor. The Beano breaks the complex sugars into simple sugars, and these simple sugars are consumed by the yeast, producing alcohol (or some acetic acid in the aerobic reactions in early fermentation).

title: Beano (dietary supplement)


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Template:Football seasons in Sweden

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Usage
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title: Template:Football seasons in Sweden


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USS James Adger

USS James Adger was a sidewheel steamer in the Union Navy during the American Civil War. She retained her former name.

Before being pressed into service by the United States Navy, the SS James Adger was a United States Mail Steamship operating between Charleston, South Carolina and New York City, New York. Owned by James Adger II (James Adger & Co) of Charleston, she was seized while in New York City at the outset of the Civil War and converted for military duty by the Union Navy. There is at least one instance in which the USS James Adger was used to transport a slave, 35-year-old "Margarette," from Charleston to New York. Her owners or shippers were Thomas P. Tainter and John Dickinson; the steamer arrived in NY on 7 July 1852 (see Slave Manifests for the Port of NY, 1822–1852, National Archives Catalog).

James Adger was built at New York City by William H. Webb in 1851. Her 240 hp side-lever engine was supplied by the Allaire Iron Works.

James Adger was purchased at New York for the sum of $85,000 from Spofford, Tileston & Co., on 20 July 1861, and commissioned at New York Navy Yard on 20 September 1861, Commander John B. Marchand in command.

The Trent Affair, 1861
James Adger departed New York on 16 October 1861 in pursuit of the CSS Nashville, a Confederate cruiser reported to have escaped from Charleston, South Carolina with the South's ministers to England and France, James M. Mason and John Slidell. She arrived at Queenstown, Ireland after an extremely stormy passage in October and spent November cruising in quest of her elusive quarry. The diplomats were apprehended by USS San Jacinto (1850) on 8 November.

While in port, the captain of  James Adger began the legal questions that would be used in the Trent Affair by loudly speaking of his mission while intoxicated on brandy. Earl Russell would hear of his mission and set the Law offices of the Crown to work deciding on the status of diplomats as a form of contraband.

South Atlantic Blockading Squadron, 1861-1863
James Adger arrived Hampton Roads, Va. on 2 December and three days later was ordered to Port Royal, South Carolina for duty in the South Atlantic Blockading Squadron. Rear Admiral Samuel Francis Du Pont ordered Comdr. Marchand to sail in James Adger to Georgetown, S.C., and assume command of the blockade there. She arrived off Georgetown, S.C. on 24 December and served with such efficiency that on 7 March 1862, Comdr. Marchand was ordered to Charleston to command the blockade at that critical port.

At Charleston, smooth teamwork was the key to success, and James Adger was unusually adept in cooperating with other ships in the area to assure the effectiveness of the blockade. As senior ship, she usually remained on station while others chased blockade runners; from time to time, she took part in a capture herself. On 18 March, she joined four other Union ships in capturing Emily St. Pierre attempting to slip into Charleston with a cargo of 2,173 bales of gunny cloth sorely needed for baling cotton, the South's main export and source of foreign credit. She helped USS Keystone State (1853) on 29 May in capturing Elizabeth, a 250 LT steamer trying to enter Charleston with a cargo of munitions. She assisted Keystone State and USS Flag (1861) in driving off and pursuing her old adversary Nashville — now a blockade runner named Thomas L. Wragg — trying to slip into Charleston.

James Adger sailed for Baltimore on 19 September for repairs and departed for the South on 31 December touching at Hampton Roads on 2 January 1863 to take monitor USS Montauk (1862) in tow before proceeding to Beaufort and Port Royal in preparation for an attack on Charleston. Arriving Port Royal on 19 January, the ships learned that Nashville, now a privateer called Rattlesnake, was in the Ogeechee River. James Adger stood out of Port Royal, monitor Montauk in tow on 22 January and steamed to Ossabaw Sound, where she arrived two days later. Montauk ascended the Ogeechee independently to begin operations which resulted in the destruction of Rattlesnake on 28 February. Meanwhile, James Adger — her vital towing service completed — returned to Port Royal on 29 January.

On 2 April, the veteran ship became flagship for Rear Admiral Du Pont while he supervised final preparations for his powerful monitor attack upon Charleston. After the tough ironclads were driven back by incredibly intense fire from Confederate batteries, James Adger towed crippled monitors to Port Royal and on 29 April sailed from Port Royal towing USS Passaic (1862) north for repairs, arriving New York on 4 May.

Back in Port Royal on 16 May, James Adger was assigned blockade duty off Charleston. A month later, she was recalled to Port Royal to embark prisoners captured with Atlanta for passage to Fort Monroe, whence she steamed to Philadelphia for repairs. She arrived Philadelphia 25 June but immediately after coaling sailed in pursuit of Confederate commerce railer CSS Tacony, then operating against Union merchantmen far up the East Coast. She arrived New York on 3 July.

North Atlantic Blockading Squadron, 1863
Four days later, James Adger — not yet repaired — received orders to Wilmington for duty with the North Atlantic Blockading Squadron. Arriving Wilmington on 27 July, she was stationed off New Inlet, where five days later she assisted USS Iroquois (1859) and USS Mount Vernon (1859) in taking Confederate steamer Kate. On 8 November, with the assistance of USS Niphon (1863) she captured Cornubia, an iron side wheeler bringing in a valuable cargo of arms, ammunition, and chemicals. Moreover, a package of documents thrown overboard before the capture, when plucked out of the sea, divulged information so important to the South that Cornubia's captain lamented, "though the Cornubia is a small vessel the Confederate Government could better have afforded to lose almost any other..." The next morning, James Adger took Confederate steamer Robert E. Lee coming into Wilmington from Bermuda with a cargo of arms and Army clothing sorely needed by Lee's soldiers. Schooner Ella, approaching Wilmington with a cargo of salt and yard goods from Nassau, Bahamas, was James Adger's next victim, surrendering on 26 November.

Without the normal overhaul periods due ships and men, service was taking a daily toll in wear and tear. When the ship's long postponed repairs could be delayed no longer, James Adger sailed north and decommissioned at Philadelphia on 28 December for the necessary yard work.

South Atlantic Blockading Squadron, Caribbean, 1864-1865
After recommissioning on 17 June 1864, James Adger served in the South Atlantic Blockading Squadron until the end of the war. On 21 April 1865, Secretary Gideon Welles ordered her to Mariguana Passage (now Mayaguana Passage) in the Bahamas to escort a convoy of California-bound ships. Following a visit to New York, she cruised in the Caribbean off Panama and Colombia from August 1865-February 1866.

James Adger decommissioned at New York Navy Yard on 2 May and was sold at New York to James B. Campbell on 9 October.

As of 2005, no other ship in the United States Navy has been named James Adger.

title: USS James Adger


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Hold the Lion, Please

Hold the Lion, Please is a 1942 Merrie Melodies cartoon, first released on June 6, 1942, distributed by the Vitaphone Corporation and Warner Bros. This is the first Bugs Bunny cartoon where the title does not refer "hare", "bunny", or "rabbit", the character's tenth appearance overall, and Chuck Jones' 39th Warner Bros. cartoon. Tedd Pierce handled writing duties, while Carl W. Stalling composed the music.

The title is a play on the expression used by switchboard operators of the day, asking the caller to "hold the line." The Three Stooges made a short with a similar title, Hold That Lion, which also featured a renegade lion.

Plot
The narrative centers on Leo the lion's endeavor to reaffirm his dominance as the preeminent figure in the jungle, a status challenged by a wager asserting his inability to hunt a rabbit. Employing a carrot as a lure, Leo initiates a pursuit of Bugs Bunny, only to be met with the rabbit's swift recognition of peril, prompting a hasty retreat. Subsequently, amidst Bugs' horticultural activities, Leo orchestrates an ambush, precipitating a frenzied chase.

At the precipice of confrontation, Leo's ferocious demeanor undergoes an abrupt transformation upon the intrusion of his wife, Hortense's, call, which serves to quell his aggression. Subsequently, Leo extends apologies to Bugs before hastening home to his spouse. Conversely, Bugs, depicted as subject to similar domestic dynamics, yields to the authority of his own wife, Mrs. Bugs Bunny, who commands his retreat. Mrs. Bunny's symbolic assertion of dominance, manifest through the donning of trousers, underscores her role as the arbitrating force within their familial dynamic.

Cast

 * Mel Blanc as Bugs Bunny, Monkey, Giraffe, and Mrs. Bugs Bunny.
 * Tedd Pierce as Leo the Lion.
 * Robert C. Bruce as the Hippo.

title: Hold the Lion, Please


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Flipper (1963 film)

Flipper is a 1963 American adventure film written by Arthur Weiss based upon a story by Ricou Browning and Jack Cowden. Produced by Ivan Tors and directed by James B. Clark, the film centers on a 12-year-old boy living with his parents in the Florida Keys who befriends an injured wild dolphin. The boy and the dolphin become inseparable, eventually overcoming the misgivings of the boy's fisherman father.

Released by Metro-Goldwyn-Mayer on August 14, 1963, the film introduced the popular song Flipper by Dunham and Henry Vars. It was a surprise hit at the box office and inspired the subsequent television series of the same name (1964–1967) and film sequels.

The original dolphin was a female named Mitsy, not Kathy, and was owned by an older couple in Little Torch Key. Mitsy performed all the tricks in the original movie. It took 5 different dolphins to "replace" her in the second movie.

Plot
Sandy Ricks is a young boy living in the Florida Keys who rescues and befriends a dolphin injured by a harpoon. His father, fisherman Porter Ricks disapproves since dolphins compete for fish, which jeopardizes the family income. He is also upset that, after befriending the dolphin, Sandy neglects his chores, especially those assigned by Porter to repair items damaged by the hurricane from which Sandy and Porter escape at the beginning of the film.

Sandy names the dolphin Flipper, and Flipper recovers from the wound and puts on a show to entertain the neighborhood children. Porter, seeing Flipper as both a threat to his nets and fish and a distraction to Sandy's chores, lets the recovered Flipper swim out of the pen to the open sea, despite Sandy's tearful plea to keep the pet that he has come to love.

Flipper returns to the Ricks' pen, much to Sandy's delight, but devours Porter's entire catch of pompano, which were caught only because Flipper guided Sandy to the fish. The loss is keenly felt because of a red plague killing local fish in large numbers. Porter harshly berates Sandy for allowing Flipper to jump into the holding pen of valuable fish waiting to go to market. Reduced to tears, Sandy retreats to his bedroom as Porter's wife Martha reminds Porter that Sandy is just a child.

Determined to make up for the loss, Sandy sets off to find more fish, and is led by Flipper to a large school of fish near a reef. Later, Sandy is rescued from a threatening shark by Flipper, and the grateful father draws closer to his son. Porter is finally convinced that Flipper did indeed help Sandy find fish and that there are enough fish for the local residents as well as the dolphins.

Cast

 * Chuck Connors as Porter Ricks
 * Luke Halpin as Sandy Ricks
 * Kathleen Maguire as Martha Ricks
 * Connie Scott as Kim Parker
 * Jane Rose as Hettie White
 * Joe Higgins as Mr. L. C. Parett
 * Robertson White as Mr. Abrams
 * George Applewhite as Sheriff Rogers
 * Sharon Roberts (Bertram) as pretty girl by water and Sabrina's mom

Production
Co-creator Ricou Browning said that he originally conceived the story after seeing his children intently watching the TV series Lassie, which inspired Browning to create a similar story with a dolphin in place of the dog. After he sent the story to his friend, producer Ivan Tors, Tors expressed interest in making it into a film.

Filmed in color in 1962 and released in 1963, Flipper has several underwater sequences, along with scenes of the trained dolphin performing stunts. Flipper was actually Mitzi (1958–1972), a female trained at the Santini Porpoise School (later the Dolphin Research Center) by Milton and Virginia Santini, who are credited in the film. Mitzi is buried at the Dolphin Research Center,

In addition to Mitzi, four other dolphins were filmed for the production of the movie. Two of the dolphins, Little Bit, a female, and Mr. Gipper, a male, mated at the Santini Porpoise School, yielding a calf named Tursi in 1973 who still lives at the Dolphin Research Center.

Sequels
A film sequel, Flipper's New Adventure, was filmed in late 1963 and released in June 1964. That same year, a television series inspired by the movie, also titled Flipper, began and ran until 1967. A 1990s television revival featured Jessica Alba. In 1996, a movie remake was released, starring Paul Hogan and Elijah Wood.

title: Flipper (1963 film)


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Freedom of religion in the Philippines

Freedom of religion in the Philippines is guaranteed by the Constitution of the Philippines.

In 2022, Freedom House scored the country 4 out of 4 for religious freedom.

Background
The 1987 Constitution of the Philippines declares: The separation of Church and State shall be inviolable. (Article II, Section 6), and, ''No law shall be made respecting an establishment of religion, or prohibiting the free exercise thereof. The free exercise and enjoyment of religious profession and worship, without discrimination or preference, shall forever be allowed. No religious test shall be required for the exercise of civil or political rights.'' (Article III, Section 5).....

The Supreme Court of the Philippines, ruling in 2003 and 2006 in the landmark case of Estrada vs. Escritor, established the doctrine of benevolent neutrality-accommodation. The 2006 ruling, penned by former Chief Justice Puno, explained benevolent-neutrality in the context of U.S. jurisprudence as follows:

The ruling went on to cite a U.S. Supreme Court decision which had held that if prohibiting the exercise of religion is merely the incidental effect of a generally applicable and otherwise valid provision, the First Amendment has not been offended. Though concurring in the decision, Justice O'Connor dissented strongly from the rationale, arguing that a compelling state interest test should have been applied.

Echoing Justice O'Connor's point from the U.S. case, the ruling in Estrada vs. Escritor went on to quote her as having said that strict scrutiny is appropriate for free exercise challenges because “[t]he compelling interest test reflects the First Amendment’s mandate of preserving religious liberty to the fullest extent possible in a pluralistic society.

The ruling then declared Underlying the compelling state interest test is the notion that free exercise is a fundamental right and that laws burdening it should be subject to strict scrutiny, and summarized a three-part compelling state interest test by quoting Michael W. McConnell as follows:

The ruling noted that the then-current prevailing view under U.S. law is that there are no required accommodation under the First Amendment, although it permits of legislative accommodations. Considering Philippine jurisprudence, though, the ruling said:

These landmark decisions in Estrada vs. Escritor established that benevolent neutrality-accommodation is the framework by which free exercise cases must be decided in the Philippines. This amounts to a requirement that any law which conflicts with a violator's sincerely held religious beliefs must pass a strict scrutiny test in order to be enforceable.

History
By passing through the numerous phases of colonial occupation, the relationship between religion and government in the Philippines has repeatedly changed. The country had close ties between the Catholic Church and the government during the Spanish colonial period from 1565 to 1898. The American concept of separation of church and state was introduced during the American colonial period in the Philippine Constitution of 1899 and remains a part of the Philippine constitution today.

Spanish Period
Beginning with the Catholization of most of the Philippines in the 16th century, political power was shared by the Catholic Church and the Spanish civil authorities. The Filipino Jesuit historian Horacio de la Costa mentions that the rules governing the cooperation of the two entities was set in the Patronato Real de las Indias, a combination of law and jurisprudence that governed the delicate relationship of the Holy See and the Spanish monarchy regarding colonial affairs. In the agreements, the Catholic clergy gave the Spanish monarchy the ''responsibility of promoting, maintaining, and defending Catholicism in... all Spanish dominions overseas'' (1). In return, the Spanish were permitted to exercise numerous rights to autonomously govern the colonial Catholic Church virtually independent of Roman jurisdiction. On the other hand, Teodoro Agoncillo, a Filipino historian from the University of the Philippines, mentions that the collaboration enabled the Spanish to readily subjugate the Indios (natives of the Philippines) by a potent combination of secular and religious might. The successful Legazpi conquest of the Philippines in 1565 recognized the power of clergy by bringing along the Augustinian friar, navigator and priest Andrés de Urdaneta, to help control the natives. Other Spanish rulers acknowledged the importance of clergy. A Mexican viceroy (quoted in Agoncillo) said that in each friar in the Philippines, they had a captain and a whole army. However, Church involvement had numerous ill effects, as anti-friar Marcelo H. del Pilar of the late 19th century complains: "... the friars control all the fundamental forces of society in the Philippines. They control the educational system, for they own the University of Santo Tomás, and are the local inspectors of every primary school. They control the minds of the people because in a dominantly Catholic country, the parish rectors can utilize the pulpit and confessionals to publicly or secretly influence the people."

In-fighting continued and reached its peak when the Gomburza, a triad of priests composed of Mariano Gómez, José Burgos, and Jacinto Zamora, were executed by civil authorities in 1872 after being implicated in the failed Cavite Mutiny in that same year. Popular discontent ensued, leading to the Philippine Revolution some twenty years later. The Spanish were unable to cope with multiple uprisings since their limited military was overextended. Bereft of the civil protection, clerics were at their most vulnerable. Rather than accept change, numerous friars "handled the Mausers and Remingtons when the tide of battle was going against the colonial government". As the status quo was being changed, the ties between Church and State began to fall apart.

Filipino nationalists in 1898 framed a constitution for an independent Philippine republic. There were heated discussions on the provision on state and religion. Felipe Calderón presented his draft proposal calling for Catholicism to be made the state religion. According to Jesuit historian John Schumacher, Calderón then attacked the position of Apolinario Mabini, who had insisted on the separation of church and state. The Calderón proposal, however, was defeated by a single vote, and the provision was finally passed. The Malolos Constitution thus stated in Article 5:
 * The State recognizes the freedom and equality of all religions, as well as the separation of Church and State.

American Period
Spain ceded the Philippines to the United States in 1898. By the end of February 1902, American forces had defeated the Philippine forces seeking to establish an independent Philippine republic. The Philippine Organic Act of 1902 provided, among other things, "That no law shall be made respecting an establishment of religion or prohibiting the free exercise thereof, and that the free exercise and enjoyment of religious profession and worship, without discrimination or preference, shall forever be allowed."

Historian Schumacher cites that William Howard Taft, the head of the Second Philippine Commission and the first civil Governor-General of the Philippine Islands, was very much aware of the need to defuse anti-friar feeling throughout the Islands. He requested the Spanish friars be given leave of their parish posts. Many of the friars left voluntarily, and were replaced by native Filipino priests in the lower ranks and American bishops comprising the episcopacy. Negotiations also began for the compulsory sale of vast Church holdings. Although the sale was affected by pressure from influential sectors like some bishops and certain delegates, it achieved Taft's goal of sequestering all lands owned by the Catholic Church, something that the ill-fated Philippine Republic had failed to achieve. After taking the land, Taft intended to redistribute the land. This not only reduced the financial position of the Catholic Church, but also diminished the influential clout it had during the Spanish colonial period.

American jurisprudence reintroduced separation of church and state, relying on the First Amendment and the metaphor of Thomas Jefferson on the ''wall of separation... between church and state'' (10), but the Philippine experience has shown that this theoretical wall of separation has been crossed several times by secular authorities. Schumacher states that in 1906, the Supreme Court of the Philippines intervened in the issue of parish ownership by returning assets seized by the Philippine Independent Church during the Revolution, while certain charitable organizations managed or influenced by the Catholic Church were either returned or sequestered.

Commonwealth Era
The provision of the 1935 charter on religion mimicked the First Amendment to the United States Constitution, but the sentences

 * The free exercise and enjoyment of religious profession and worship, without discrimination or preference, shall be forever allowed. No religious test shall be required for the exercise of civil or political rights were appended and this section became the basis for the non-establishment of religion and freedom of religion in the Philippines.

Post Colonial Era
With the guarantee of religious freedom in the Philippines, the Catholic clergy subsequently remained in the political background as a source of moral influence for many voters during elections until today. Political candidates generally court the clergy for support, although this does not guarantee victory for a candidate. The Philippines was placed under martial law by President Ferdinand Marcos and relations changed dramatically, as some bishops opposed the martial law.

Marcos Era
A new constitution was ratified in 1973 which included the separation of church and state clause, signaling a new development in the body of law on religious affairs. Joaquin Bernas, a Filipino Jesuit specializing in constitutional law, acknowledges that there were complex issues that were brought to court and numerous attempts to use the separation of Church and State against the Catholic Church, but he defends the statement, saying that the fact that he [Marcos] tried to do it does not deny the validity of the separation of church and state.

Sharia District Courts (SDCs) and Sharia Circuit Courts (SCCs) were created in 1977 through Presidential Decree 1083, which is also known as the Code of Muslim Personal Laws. Islamic law only applies to civil cases involving all Muslims nationwide. Cases are handled in the Autonomous Region in Muslim Mindanao and a couple of Mindanao provinces that are not part of ARMM by both sharia district and circuit courts, organised into five sharia districts. Outside these areas, sharia-related cases are processed in civil courts under a session from the five sharia districts. All other cases, including criminal ones, are dealt with by local civil courts.

The Catholic Church was instrumental in winning support for Corazon Aquino who replaced Marcos as president with Cardinal Sin calling for support. Aquino then initiated a new constitutional commission to frame a new charter again for the country. It is noted that Roman Catholic religious and clergy like Christine Tan, R.G.S., a nun, Joaquin Bernas, S.J., and Bishop Teodoro C. Bacani became part of the 1986 Constitutional Commission and left their mark on the promulgation of the charter and its numerous provisions on the Church and state.

Contemporary History
The CBCP was embroiled in a controversy in 2011 over millions of pesos in donations from the Philippine Charity Sweepstakes Office (PCSO) at the behest of then president Gloria Macapagal Arroyo. According to a Commission on Audit report in 2009, some bishops received donations for the purchase of vehicles from the PCSO. Critics claim the donations was given to ensure Church support for Arroyo, who was then buffeted by scandals and repeated threats of impeachment. The bishops were summoned during the Senate Blue Ribbon Committee investigation on the anomalies within the PCSO, with the bishops returning the vehicles donated to them. Senator Teofisto Guingona, chairman of the committee, said that since the vehicles were used for secular purposes, the donation is not considered as a violation of the Constitution, but added that the issue was a "litmus test to the Constitution" since the Constitution prohibits favoring a particular religious organization.

The Muslim population face discrimination, mainly in the area of employment.

Books

 * Review by the Council on Spiritual Practices
 * Review by the Council on Spiritual Practices
 * Review by the Council on Spiritual Practices
 * Review by the Council on Spiritual Practices
 * Review by the Council on Spiritual Practices
 * Review by the Council on Spiritual Practices

title: Freedom of religion in the Philippines


text: Template:The Smiths

title: Template:The Smiths


text:
Talk:Posting style

Corperate footers?
Seems a good place to mention the 'netiquette' surrounding gratuitous corporate footers appended to emails on mailing lists. i.e., please don't! --Dan|(talk) 11:14, 26 October 2009 (UTC)

Saying that an RFC is "just a request for comments" is like saying that evolution is "just a theory". What makes RFC 1855 "informational" is its category. 69.30.58.238 (talk) 22:56, 17 November 2009 (UTC)

"Canonical" quote mark?
A recent edit called the ">" character "the canonical quote mark", apparently because the RFC 3676 calls it so.

However, that use of the adjective "canonical" is appropriate only because the RFC's proposal includes making ">" the *only* valid quote mark, in the proposed "format=flowed" subtype of the "text/plain" MIME type. The RFC needs to make ">" canonical in order to allow quoted lines to be cleanly unquoted, re-wrapped, and re-quoted. I do not think that ">" can be called "canonical" outside that RFC, except perhaps in the loose sense of "most widely used option".

By the way, observing that the previous edition of this proposal (RFC 2646, 1999) failed to get wide approval and is being retracted, I suspect that RFC 3676 will not become a standard either. Its proposal will only work perfectly if all participants in a discussion use agents that are compliant to it, and only if the original message is generated and tagged as "format=flowed". Even those agents will not work properly with the gazillion older messages that are sitting in people's folders and internet archives, which are either non-compliant or not tagged as "flowed". Note that any failure of a mail agent to properly handle quoted text in a non-compliant message will be perceived by users (rather rightfully, I would say) as a "bug" of the agent, rather than of the message. All the best, --Jorge Stolfi (talk) 04:22, 15 February 2010 (UTC)

 * Nope. text/plain; format=flowed is very carefully designed to be compatible with the normal text/plain format.  It is widely used by Mac OS mail clients.  And RFC 2646 is not "being retracted", as you claim, it's been obsoleted by 3676, with the latter a superset of the former. Jec (talk) 20:54, 30 May 2011 (UTC)

External links modified
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Proposed merge of Usenet quoting into Posting style
this unsourced article stub is mostly already covered in Posting_style fgnievinski (talk) 16:39, 16 March 2023 (UTC)
 * I think you mean Posting style. --84.241.139.251 (talk) 12:11, 26 June 2023 (UTC)
 * Oh, never mind, that's the relevant subsection inside the section you mentioned. --84.241.139.251 (talk) 12:12, 26 June 2023 (UTC)
 * Support. Usenet quoting already mentions that it is generic enough for both Usenet and email, the same as Posting style. Maiacosis (talk) 18:13, 17 September 2023 (UTC)
 * ✅ Klbrain (talk) 15:43, 1 November 2023 (UTC)
 * Note, though, that there was little to merge, as most was duplicated and none of it was referenced! Klbrain (talk) 15:43, 1 November 2023 (UTC)

BBS?
During the Bulletin Board System (BBS) era, a common quoting style was to begin a line with the initials of the poster, followed by a ">"; this made it very easy to see who was responding to whom.

aen> text (comment by Alfred E. Neuman) jss> aen> text (comment by AEN, quoted by John Stewart Stutz) jss> text (response by jss) Should the article discuss that style, or is that TMI? -- Shmuel (Seymour J.) Metz Username:Chatul (talk) 11:11, 3 April 2023 (UTC)
 * Do you have reliable source(s)? Might make the add/not add decision easier. --84.241.139.251 (talk) 12:15, 26 June 2023 (UTC)

Recommend to Stick with it
"Because Mom usually adds comments at the top of an email response. So if one day she adds a comment to the bottom, I probably wouldn't expect / notice it." Jidanni (talk) 07:01, 16 July 2024 (UTC)

 * Are you suggesting that this be added to the article? —Tamfang (talk) 23:15, 16 July 2024 (UTC)

title: Talk:Posting style


text:
Harnasie

Harnasie, Op. 55, is a ballet-pantomime written by the Polish composer Karol Szymanowski between 1923 and 1931, to a libretto by Jerzy Rytard and his wife and Jarosław Iwaszkiewicz, the librettist of Szymanowski's opera, King Roger.

The story is set in the Tatra mountains and is based on the legend of the abduction of a bride by the robber Harnaś and his band (the "Harnasie" of the title). Szymanowski first visited Zakopane in the Tatras in 1921 and studied the music and folklore of the Gorals people. The score makes extensive use of folk-song and employs a choir with tenor solo.

The ballet comprises two acts, preceded by a prelude. There are only three principal characters: a shepherd, a girl and the robber (Harnaś). In the first scene, the shepherd is driving his sheep to pasture and the girl encounters Harnaś. In the second scene, Harnaś kidnaps the girl from her wedding. The third scene, in the robber's den, concludes in an epilogue with a lively dance.

The ballet was first performed on 11 May 1935 at Národní Divadlo in Prague in a choreography by Jelizaveta Nikolská, a second production, choreographed by Serge Lifar follwed on 27 April 1936 at Palais Garnier in Paris.. There it proved an exceptional success for Szymanowski nearly a year before his death. The Polish premiere took place at Teatr Wielki in Poznań on 9 April 1938 in a choreography by Maksymilian Stakiewicz.

Themes

 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf
 * Orchesterwerke Romantik Themen.pdf

title: Harnasie


text:
User talk:KHCY

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! -- Infrogmation 15:10, 1 Jun 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:KHCY


text:
Smokybrown cockroach

The smokybrown cockroach (Periplaneta fuliginosa) is a large species of cockroach, winged, and growing to a length of 32 - 35 mm.

Characteristics

Although closely related to the American cockroach (Periplaneta americana), the smokybrown cockroach is readily distinguishable from it by its uniformly light to dark brown–mahogany coloration. Furthermore, unlike the P. americana, which possesses a light-rimmed pattern on its thorax, the smokybrown cockroach's thorax is dark and shiny.

Diet
The smokybrown cockroach is a detritivore and can feed off a wide array of organic (including decaying) matter. Like most cockroaches, it is a scavenger, whereby it feeds on many different types of foods including dry earthworms, pet food, pet waste such as feces and urine, paper, and many types of ripe fruits.

Habitat and distribution
The smokybrown cockroach is very common in Japan, as well as the southern United States and tropical climates; notably, it can be found in Florida, Eastern North Carolina, Louisiana, Mississippi, Texas, and other Gulf coastal states, and along the southern Mississippi River. The cockroach can also be found in Australia, such as in warmer cities like Sydney and Brisbane. Most notably in South America, these cockroaches are seen in Argentina to Paraguay geographical range. The cockroach has also been recently reported in Asia, Europe, Australia, and Northern America.

The smoky brown cockroach prefers warmer climates and is not cold-tolerant. It may, however, be able to survive colder climates by going indoors. It often lives around the perimeter of buildings especially places where these insects can feed and confine themselves.

Behavior and adaptations
The smokybrown cockroach may come indoors during daylight hours to look for food and even to live; generally, however, in warm weather, it will move outdoors. They tend to lose moisture twice as fast as their relative, Periplaneta Americana, therefore requiring environmental conditions with constant moisture to avoid drying out. Their activity patterns are mostly restricted to evening hours when humidity is highest. The movement to and from shelters is greatest when temperatures exceed 20 °C and often becomes less when temperatures are lower than 20 °C. Since adults are less susceptible than nymphs to the effects of higher temperatures, adults are more often found away from the perimeters of the house. Often during reproductive periods, females ready for egg dispersal infest homes to protect their offspring and find a convenient place to oviposit. This adaptation is advantageous to these cockroaches, as egg production often becomes limited when temperatures reach 15 °C.

Oviposition
P. fuliginosa can reproduce through sexual reproduction and in some cases through parthenogenesis, which is a form of asexual reproduction. In cases where females do not have access to mates, females reproduce by parthenogenesis, however, this form of reproduction is not as commonly seen as sexual reproduction. Females can oviposit an average of 10 or more oothecae in favorable environments, but this is highly dependent on the cockroaches' body fat, thereby as her body mass decreases fewer ootheca are oviposited in a season. The oothecae, dark brown color, commonly ranges from 11 - 14 mm in length. On average female cockroaches without mates live longer, than females with a mate. In a study done, it was found that on average adult females lived 117–174 days, whereas females without a mate lived to 131–236 days after reaching adulthood. The higher energy costs associated with oogenesis and the prevalence of oviposition point to a shorter lifespan. Furthermore, an extended oviposition period occurs, as a result, fewer eggs are formed. Sexual reproduction also leads to lower instances of oothecae defects without the presence of eggs compared to reproducing asexually.

Mating behaviour
Females release volatile sex pheromones stimulating the mating behavior of P. fuliginosa males, which receive the chemical signals through sensory receptors located on their antennae. These pheromones are made up of synthetic Periplanone-D, which is a major sex excitatory component of the pheromone chemical composition. In addition, the males often participate in perching, whereby their body conformation includes a pointing downward of the head, forelegs extended, as their antennae become aligned 45° from their vertical position. Whereby, in female mate calling the cockroaches' body is up high, the dorsal end of the abdomen bend towards the ground, and wings are held at a 45° angle. These male cockroaches allocate significantly more time and energy to mating behaviors than females as the production of female pheromones is costly. Moreover, spending 20% of their time perching, whereby in retrospect females only spend 8% of their time mate calling.

Cuticle physiology
Temperature and levels of humidity are factors that greatly influence the smoky brown cockroaches' cuticular water loss, therefore these insects are attracted to highly humid areas to reduce the permeability of their cuticle. The amount of lipid composition of the cockroach also directly correlates to lower body transpiration, in addition, but provides these species with a more water barrier easing the permeability of the cuticle. Therefore, as the water levels drop from sun exposure, the circulation of materials in the blood is also slowly diminishing. Over time even when restricted to certain habitats due to the physiology of their cuticle, they are able to acclimatize through homeostasis seen by decreased salivary gland production. P. fuliginosa, are able to upkeep homeostasis in fluctuating moisture regions by changing their drinking habits, and the water flow rate of fecal matter, as well as cuticle transpiration. The cuticle is made up of many layers where much secretion is stored between the various plates. These thick layers have various glandular cells, along with pores that connect through the cuticle to secrete the sticky protein substance. The secretions of the hypodermal layer play a role in the nymph male defenses towards adult cockroaches.

Pest status
P. fuliginosa are considered pests in many geographical areas around the world, including the Southern United States and Japan, as they are very effective at invading urban homes, restaurants, hospitals, and many other crowded places. With their rapid invasion into homes, they are known as sanitary pests and have adapted to toxic bait traps being ineffective at eradicating these species.

Impact to humans
These species can be detrimental to human health, thereby due to their proximity of inhabitance to humans they are a vector for diseases including parasitism of nematodes. They are harmful due to their ability to feed on fecal matter, which transmits parasites and many diseases. The parasitic nematode, Leidynema appendiculata, is known to parasitize the smoky brown cockroach, in which they invade and live in the cockroach's gut. The eggs of the nematode are passed through the cockroach's feces and spread to other hosts by cockroaches eating the excrement. The invasion of homes by these cockroaches greatly increases the prevalence of asthma, pathogen exposure, and allergens seen. Exposure to the cockroach's feces, the shed outer layer of the exoskeleton, and other body parts mainly cause the transfer of parasites and allergens. In addition, human exposure to these parasitic nematodes can cause conditions such as colitis, and infections of the female reproductive tract.

Management practices
One of the control measures to avoid these inhabitants is the use of insecticides, thereby spraying around the exterior of the house with a 3 m-wide barrier. In addition, it has also been suggested to use these insecticides every month in the cracks, around windows, and any other accessible entry points for these, cockroaches to enter. New insights have been set in using virus technology to control the smoky brown cockroach. The use of the densovirus is an interesting technology to use as many methods are ill-equipped to minimize the impacts of the smoky brown cockroach as they can change their sensory behavior to insecticides over time. In a study done, when P. fuliginosa are exposed to the artificially extracted densovirus from a diseased cockroach, high mortality occurred with exposure to low doses. The use of a biocontrol agent rather than insecticides is more advantageous as it is safer for humans and other organisms indirectly affected, additionally, targets P. fuliginosa directly.

title: Smokybrown cockroach


text:
File:Kilkeel narrow church.jpg

Narrow church at Kilkeel.

title: File:Kilkeel narrow church.jpg


text:
Allium drummondii

Allium drummondii, also known as Drummond's onion, wild garlic and prairie onion, is a North American species of onion native to the southern Great Plains of North America. It is found in South Dakota, Kansas, Nebraska, Colorado, Oklahoma, Arkansas, Texas, New Mexico, and northeastern Mexico.

Allium drummondii is a bulb-forming perennial. The flowers appear in April and May, in a variety of colors ranging from white to pink. It is common, considered invasive in some regions.

Uses
This species of Allium is gathered by Native Americans for its small edible bulbs. These contain a considerable amount of inulin, a non-reducing sugar that humans cannot digest. Because of this, these onions must be heated for a long period of time in order to convert the inulin into digestible sugars.

title: Allium drummondii


text:
User:Sime0n

About Me

 * Real name: Simeon (Chinese: simplified 关明德, traditional 關明德 Cantonese: Gwāan Mìhngdāk Pinyin: Guān Míngdé)

this is my wikipedia entry for my internet username.

title: User:Sime0n


text:
Exeter Central railway station

Exeter Central railway station is the most central of the stations in the city of Exeter, Devon, United Kingdom. It is 171 mi down the line from London Waterloo. The station is smaller than Exeter St Davids on the west side of the city. Great Western Railway manages the station and operates most services, with South Western Railway providing the rest. It is the second busiest station in Devon, and the fourth busiest in South West England.

From 1860, when it was opened by the London and South Western Railway, until 1933, when it was rebuilt, it was known as Exeter Queen Street.

History
The London and South Western Railway (LSWR) opened its Exeter Extension from Yeovil Junction on 19 July 1860 and its station at Queen Street in the city centre became the terminus for services from London Waterloo station, known as Exeter Queen Street. From 1 May 1861 it was also the terminus for trains on the new Exeter and Exmouth Railway. This was also operated by the LSWR but the physical junction between the two lines was at Exmouth Junction, 1.1 mi east of Queen Street.

The final piece of the LSWR's network in Exeter was opened on 1 February 1862 when a steep line descended from the west end of Queen Street station to reach the Bristol and Exeter Railway's station at Exeter St Davids which had been opened in 1844. Here the LSWR connected with the Exeter and Crediton Railway and over that line eventually reached Plymouth, Padstow, Bude, and Ilfracombe Most trains to these destinations changed locomotives at Queen Street and many had carriages added or removed too. A locomotive shed was situated at the station but it was replaced by a new maintenance depot at Exmouth Junction in 1887. The space was later used for enlarged carriage sidings; further carriage sidings were situated at the west end of the station beyond the Queen Street bridge.

The original station had just a single platform with two tracks which were covered by a large train shed. A second platform and train shed was added in 1874 and two sidings were laid to give a total of four tracks between the platforms. The LSWR became a part of the Southern Railway (SR) in 1923 and two years later the eastbound platform was lengthened from 600 ft to 1210 ft, taking it beyond the New North Road bridge at the east end of the station. A fire damaged the original wooden buildings on the westbound platform in 1927 and work on rebuilding the station started in 1931. The train sheds were demolished and new brick buildings were officially opened on 1 July 1933 when the station was renamed Exeter Central. At this time there were four platform tracks – east-facing terminal platforms 1 and 4 and through platforms 2 and 3 – and two additional through lines in the centre of the station.

On 1 January 1948 the SR was nationalised to become the Southern Region of British Railways but in 1963 the Southern Region lines west of Salisbury were transferred to the Western Region and by 1967 services from London Waterloo were reduced with very few running beyond Exeter St Davids. The entrance at the east end of the station from New North Road was closed in 1966. Goods yards had been provided on the north side of the line, both behind the eastbound platform and also on the other side of the Queen Street bridge. General goods traffic was withdrawn on 4 December 1967 but cement traffic continued until January 1980. The eastbound through line (the 'up through') was taken out of use on 9 November 1969, as was the 'down through' on 13 October 1984.

On 2 July 1984 the entrance from New North Road was reopened, and later a new ramped footbridge was installed to give direct access from there to the east end of both platforms. Sectorisation in the 1980s saw Exeter Central become the most westerly station managed by Network SouthEast but it was later transferred to Regional Railways sector which operated the services to Exmouth. Privatisation therefore saw it pass to Wales & West and then Wessex Trains.

Locomotive shed
The three-track locomotive shed was sited to the east of the station on the south side of the line. The original 170 ft shed was extended to 234 ft in 1872 and further modernised facilities were brought into use five years later. Despite these alterations the space was too small to handle all the locomotives working in and out of the station so a new maintenance depot was opened at Exmouth Junction in 1887. A few sidings and the turntable was retained at Queen Street. This turntable was 42 ft long but in 1888 it was replaced by a 50 ft example.

Description
The station is situated below road level to the east of Queen Street, where the main entrance is situated centrally in the 259 ft curved brick building erected in 1933 on the south side of the line. The ticket office is placed in the original 1933 booking hall, which leads via a passageway to the covered footbridge that spans the tracks parallel to Queen Street. Lifts are located near the steps down to the platforms, the first of which leads down to platform 2 which is used by all trains towards St Davids but can also handle trains in the opposite direction. At platform level the old Queen Street C signal box built in 1925 and taken out of use in 1970 can still be seen standing at the end of platform 3 between the footbridge and Queen Street. Beyond this the line can be seen dropping steeply at 1 in 37 (2.7%) and curving northwards towards the 184 yd St Davids Tunnel. The level areas alongside this line used to be a goods yard (on the right) and carriage sidings (on the left).

The wide and long platforms – they are long enough to handle 14-coach trains – are covered for most of their length by simple canopies. At the eastern end of platform 2 is the bay platform 1, although this is seldom used nowadays as most trains approaching from this end continue at least as far as St Davids. At the far end of the platform a ramp leads up to another footbridge and another entrance, again on the south side of the line, from New North Road.

Ticket barriers were installed in early 2011 at both the main entrance and the New North Road entrance.

Passenger volume
Exeter Central is the second busiest station in Devon, handling around 88,000 fewer passengers than Exeter St Davids in 2018/19.

Comparing the year from April 2007 to that which started in April 2002, passenger numbers increased by 29%. The statistics cover twelve month periods that start in April.

Services
Exeter Central is served by hourly trains on the West of England line operated by South Western Railway from London Waterloo station to Exeter St Davids.

Local services are provided by Great Western Railway on the Avocet Line from Exmouth to Exeter St Davids (from where they continue to Paignton), which run half-hourly; on the Tarka Line from Exeter Central to Barnstaple, which run hourly and as of May 2022 hourly services to Okehampton.

Signalling
In the 1860s there was just a single track to the East but two tracks to the West; all the points and signals were operated on the ground. The first signal boxes were brought into use in 1875 when three controlled the extensive layout: 'Queen Street A' and 'Queen Street B' at the east end of the station, with 'Queen Street C' situated at the west end between the two platforms. These signal boxes were all closed in the 1920s. The C box was replaced by a new one at the west end of the eastbound platform on 13 September 1925. The A and B boxes were replaced by a new, larger box on the north side of the line beyond the New North Road bridge on 15 November 1927. This was named 'Queen Street A' and the C box was renamed 'Queen Street B'; six years later they were renamed again as 'Exeter Central A' and 'Exeter Central B'.

The B box was closed on 23 February 1970 and the A box was then renamed just 'Exeter Central'. This too closed on 6 May 1985 when control was transferred to the new panel signal box at St Davids. With this change came resignalling; the westbound platform 2 was signalled for trains to run in either direction as was the westbound line to St Davids. The signals are interlocked so that trains cannot start from either St Davids or Central until their route is clear right through to their platform at the other station; a feature replicated from the days of steam locomotives with less power or brakes than today's diesels when it was undesirable for trains to come to a stand on this steeply graded section of line.

title: Exeter Central railway station


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Ejectment

Ejectment is a common law term for civil action to recover the possession of or title to land. It replaced the old real actions and the various possessory assizes (denoting county-based pleas to local sittings of the courts) where boundary disputes often featured. Though still used in some places, the term is now obsolete in many common law jurisdictions, in which possession and title are sued by the actions of eviction (also called possession proceedings) and quiet title (or injunctive and/or declaratory relief), respectively.

Originally, successful ejectment meant recovery of possession of land, for example against a defaulting tenant or a trespasser, who did not have (or once had no longer did) any right to remain there. It has continued to be used for this, though in some jurisdictions the terminology has changed.

Legal fiction
Over time, actions of ejectment were applied to try land claims in place of older real actions such as the assize of novel disseisin. A practice developed of trying the title to ownership of land by means of a special ejectment chiefly for ensuring a low court and had the added advantage of some confidentiality among the landed gentry.

The claimant granted (or so professed) a lease to a friend which had passed to a fictitious person (such as John Doe), who became the nominal plaintiff: the real claimant (plaintiff) was thereby the "lessor of the plaintiff". The action was vicarious. The action was brought against the real defendant or, more usually, for semi-secrecy and to ensure the low court, against another fictitious person (e.g. William Styles), in many papers termed the "casual ejector", who both sides' papers would state evicted the first fictitious tenant(s) by virtue of an (equally fictitious) lease granted by the real defendant. The title of the action would then be "Doe dem. [name of real claimant] v. [Defendant] or [fictitious counter-tenant]". E.g. ''Doe dem. John Hurrell Luscombe Yates, Hawker, and Mudge (1822) 5 B. & Ald. 544'' (England; 1822),

A letter was sent in the name of the casual ejector to the real defendant, inviting him to defend the case on behalf of his supposed tenant. The defendant's right to appear depended on the existence of the fictitious lease (an existence he would willingly assert or, failing to do, lose by default). This enabled the rights of the real parties to be litigated in a low court.

As explained by Maitland:

"A claims land against X, why should he be compelled to say that he, A, demised the land to John Doe, who was ejected, and bring the action in John Doe's name---why should it not be enough, in an action of trespass, to say that A himself was ejected? The answer to that is I think this--if you are a freeholder claiming land you should bring a writ of entry, or a writ of right. If you, being freeholder, have been ejected, that is a disseisin, you should bring the assize of novel disseisin. The law has provided you with abundant remedies, both proprietary and possessory---you must use them. If to us it seems that such an answer as this is unsatisfactory we should try to look at the matter from X's point of view. Has he not, so to speak, a vested interest in the maintenance of the old procedure? You are proposing to use against him an action in which he may be imprisoned and outlawed, while, supposing that he is in the wrong, the law has provided other forms of action which do not permit this procedure against his person... [A] dodge was discovered by which the action of ejectment (ejectione firmae) could be made generally available as a means of enabling any claimant to recover possession of land... You are in possession of land of which I say that I am the true owner, the tenant in fee simple. If this is correct I have as a general rule a right to enter... I do in fact enter and then and there make a lease for years to a third person, John Doe. John Doe stays on the land until ousted by you, and then brings the action, trespass in ejectment or, briefly, ejectment. To succeed in his action he must prove (1) my right to enter, (2) the lease, (3) his entry under the lease and (4) his ouster by you. When all this is proved he recovers his term with damages. Upon this form there is a variation. I put John Doe as tenant upon the land and he is ousted not by you but by a fourth person, William Stiles. Doe then has the action of ejectment against Stiles, but there is a rule that no plaintiff shall proceed in ejectment without notice being given to the person actually in possession and an opportunity being given him to appear as a defendant if he pleases. Where Doe sues Stiles, Stiles informs you of the action and you, if you do not want to see the land adjudged to Doe, defend the action in Stiles's stead. In the end my title as against you is put in issue in the action."

Such fictitious actions have been abolished in many jurisdictions as a result of the provision of alternative remedies.

title: Ejectment