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Admiralty chart

Admiralty charts are nautical charts issued by the United Kingdom Hydrographic Office (UKHO) and subject to Crown Copyright. Over 3,500 Standard Nautical Charts (SNCs) and 14,000 Electronic Navigational Charts (ENCs) are available with the Admiralty portfolio offering the widest official coverage of international shipping routes and ports, in varying detail.

Admiralty charts have been produced by UKHO for over 200 years, with the primary aim of saving and protecting lives at sea. The core market for these charts includes over 40,000 defence and merchant ships globally. Today, their products are used by over 90% of ships trading internationally.

History
The British admiralty charts are compiled, drawn and issued by the  Hydrographic  Office. This department  of  the Admiralty was established under Earl Spencer by an order in council  in  1795,  consisting  of  the  Hydrographer, Alexander Dalrymple, one assistant  and  a  draughtsman. The initial remit was to organise the charts and information in the office, and to make it available to His Majesty's ships.

Chart design and production
The Hydrographic Department began printing charts in 1800, with the acquisition of its first printing press. Initially charts were produced only for use by the Navy, but in 1821, Thomas Hurd, who had succeeded Dalrymple as Hydrographer in 1808, persuaded the Admiralty to allow sales to the public. The first catalogue of Admiralty charts was published in 1825, and listed 756 charts.

Charts were printed from copper plates. Plates were engraved, in reverse, with a burin. The plate was inked, and the excess ink wiped from the flat surface before printing, so that ink remained only in the engraved lines (intaglio printing). The process allowed very fine detail to be printed, but was slow. When corrections or alterations were needed to a chart, the copper was hammered from behind, the raised section scraped and smoothed, and the new information engraved on the smoothed area. This allowed plates to continue in use for long periods, in some cases for over a hundred years.

Charts often showed a great deal of detail of features on land as well as sea. Depths were shown by individual soundings while hills and mountains were shown by hatch marks. Printing was in black and white, but some charts were hand-coloured, either to emphasise water depth or terrain, or to indicate specific features such as lighthouses. Experiments were made with the use of lithography from the 1820s, but results were not entirely satisfactory. Lithography was less expensive, and some charts were printed in this way, but printing from copper plates continued to be the main method into the 20th-Century, and in both cases from flat-bed printing machines. The most common chart size was early established as the "Double-elephant", about 39 X 25.5 inches, and this has continued to be the case. Chart design gradually simplified over the years, with less detail on land, focusing on features visible to the mariner. Contours were increasingly used for hills instead of hatching.

All printing of Admiralty charts was carried out in England until the first World War. In 1915, the survey ship HMS Endeavour was sent to support the Gallipoli campaign, and carried printing equipment so that charts from her surveys could be rapidly made available to the fleet. In 1938 trials were made with the rotary offset process, using a zinc plate copied from the copper original. These were successful, and by the outbreak of World War II all chart production used this process, which was faster, and reduced wear and tear on the copper original. This development was crucial in meeting the increased wartime demand for charts. During World War II the distribution of printing facilities was on a much larger scale than previously. There was also concern about the safety of the original printing plates in the event of air raids, and high quality baryta paper proofs were made as backups.

From the late 1940s, developments in printing technology made colour printing possible with sufficient accuracy for chart work. The first use of printed (as opposed to hand-drawn) colour was in marking of water depths. Solid pale blue was used for water to the 3 fathom line, and a ribbon of blue for six fathoms.

Metrication of Admiralty charts began in 1967, and it was decided to synchronise this with the introduction of a new style of chart, with increased use of colour, which continues in use today. The most striking change is the use of buff for land. Green is used for drying (intertidal) areas, and magenta to indicate lights and beacons. Thus the chart coloration gave a clear indication to users as to whether they were using a chart with depths in fathoms or feet. While depths and heights were in metres, the nautical mile continued to be an international standard. Derived from the length of 1 minute of latitude, it is defined as 1852 metres.

Surveying
Initially, surveys and explorations continued to be commissioned directly by the Admiralty, for example Flinders' circumnavigation of Australia in 1801–3, and Beaufort's survey of the southern coast of Turkey (then called Karamania) in 1811–1812. Under Hurd, the Hydrographic Office became more involved in surveying work, and by 1817 there were three vessels specifically assigned to the surveying service, HMS Protector, HMS Shamrock (1812), and HMS Congo (1816). This continued, particularly under Francis Beaufort, Hydrographer from 1829 to 1855.

Over the following century the surveying service expanded in both size and reach, becoming a global operation. Several accounts record this history in detail. Llewellyn Styles Dawson was a surveyor particularly noted for his work in China (1865-1870) and a naval assistant in the department for five years (1876-1881). During the latter period he commenced work on the two-volume Memoirs of Hydrography which described the Royal Navy's surveying activities between 1750 and 1885, and presented biographies of the officers involved in the activities. The history was continued to 1917 by Archibald Day, Hydrographer from 1950 to 1955 in his The Admiralty Hydrographic Service from 1795-1919, explicitly described as a continuation of Dawson's Memoirs. Thomas Henry Tizard published a chronological list of the officers and vessels conducting British maritime discoveries and surveys until 1900. These works are all in the public domain. Roger Morris, Hydrographer from 1985 to 1990, published Charts and Surveys in Peace and War 1919-1970, a further continuation of Memoirs. A less formal account of British Naval Hydrography in the 19th-Century is given by Steve Ritchie, Hydrographer 1966–1971, in The Admiralty Chart. Tony Rice has produced a listing and description of the vessels involved in surveying and oceanographic work from 1800 to 1950.

A number of major overseas surveys were completed in the years to 1855, a period dominated by Francis Beaufort, Hydrographer from 1829 to 1855. Owen carried out his survey of East Africa from the Cape of Good Hope to Cape Guardafui on the Horn of Africa in 1822–1825, an operation that cost the lives of more than half of the crew due to tropical illness. The second voyage of the Beagle to South America (1831-6) is mostly famous for the scientific importance of Darwin's observations and collections, but Captain Robert Fitzroy's surveys of the coast of South America from the River Plate to Ecuador via the Straits of Magellan have been described as a "monumental achievement", and as "opening up the South American continent to European trade". Thomas Graves was working in the Mediterranean from 1836 to 1850. Like a number of surveyors before and since, he explored the antiquities and natural history of the numerous places he charted. In 1841-7 Edward Belcher was engaged in the Far East, including making the first survey of Hong Kong. The longest running survey was that of Bayfield, whose survey of the Canadian coasts, the St. Lawrence River and the Great Lakes occupied him from 1816 to 1856.

Surveys in home waters were also important. What Robinson (1962) described as the "Grand Survey of the British Isles" began with the appointment of George Thomas as Head Maritime surveyor. Thomas and a series of able surveyors including Michael Slater, Henry Otter, Charles Robinson, William Hewett and Frederick Beechey surveyed the coasts of Britain and Ireland over the next 30 years. Thomas developed techniques for extending triangulation over the shallow waters of the Thames Estuary and the southern part of the North Sea, allowing the exact positions of treacherous sand banks to be determined for the first time. These surveys added large numbers of new charts, as well as improvements to old ones. By 1855, when Beaufort retired, the survey of the coasts of the United Kingdom was complete, and there were about 2,000 charts in the catalogue, covering all the oceans of the world.

An important survey in 1870 was the Suez Canal. Britain had remained aloof in the early stages of the project, believing it to be impracticable. When the canal was nearing completion, the question arose as to its suitability for naval ships. George Nares in HMS Newport (1867) traversed the canal in both directions taking soundings and making measurements, and also surveyed the approaches. This led to the canal becoming an established route for the Royal Navy.

As well as the "grand surveys" much detailed work was needed. A particular concern was finding isolated rocks. These were easily missed by soundings with lead and line, which did not give any information about the depths between the soundings. In 1887, two ships were lost in the southern Red Sea, fortunately without loss of life, after striking an uncharted reef close to a major shipping lane. Several attempts to find this were made before HMS Stork found it (and nearly struck it) in 1888. It was named Avocet Rock after the first ship to strike it.

Technical developments over the years improved surveying methods and the accuracy of the charts. For depth determination, methods of measuring depth from a moving ship were developed, as well as "sweeping", dragging a horizontal line across an area to detect hazards that might be missed by individual soundings. Echo sounding was introduced in the 1920s, and Percy Douglas, hydrographer from 1924 to 1932, was a strong advocate of this method. As well as increasing productivity, it enabled continuous monitoring along a sounding line, reducing the chance of a hazard being missed. Isolated rocks between sounding lines could still be missed, and it was not until the development of sideways-looking sonar in the 1960s and 70s that this risk could be eliminated.

Features of modern charts
Most navigation today uses GPS chart plotters with electronic charts. Paper charts continue to be issued, and are valuable for passage planning and course plotting.

The scale of the charts can vary according to purpose; large-scale charts often cover approaches to harbours, such as Port Approach Guides, medium-scale charts often cover frequently used coastal areas, and small-scale charts are regularly used for navigation in more open areas. A series of small craft charts are also available at suitable scales.

Admiralty charts include information on: depths (chart datum), coastline, buoyage, land and underwater contour lines, seabed composition, hazards, tidal information (indicated by "tidal diamonds"), prominent land features, traffic separation schemes radio direction finding (RDF) information, lights, and other information to assist in navigation.

Navigation charts at a scale of 1:50,000 or smaller (1:100,000 is a smaller scale than 1:50,000) use the Mercator projection, and have since at least the 1930s. The Mercator projection has the property of maintaining angles correctly, so that a line on the earth's surface that crosses all the meridians at the same angle (a rhumb line) will be represented on the chart by a straight line at the same angle. Thus if a straight line is drawn on the chart from A to B, and the angle determined, the ship may sail at a constant bearing at that angle to reach B from A. Allowances for magnetic variation and magnetic deviation must also be made. However, a rhumb line is not in general the shortest distance between two points, which is a great circle. (The equator and lines of longitude are both great circles and rhumb lines.) When navigating over longer distances the difference becomes important, and charts using the gnomonic projection, on which all great circles are shown as straight lines, are used for course planning. In the past, the gnomonic projection was widely used for navigation charts, and also for polar charts.

Since the late 1970s, all charts at a scale of 1:50,000 or larger have used the transverse Mercator projection, which is the projection used for the Ordnance Survey National Grid. Topography on Admiralty charts of the UK is generally based on Ordnance Survey mapping. For the small areas depicted on such maps, the differences between projections are of no practical importance.

Admiralty charts are issued by the UKHO for a variety of users; Standard Nautical Charts (SNCs) are issued to mariners subject to the Safety of Life at Sea (SOLAS) convention, while chart folios, at a convenient A2 size, are produced for leisure users. Alongside its paper charts, UKHO produces an expanding range of digital products to fulfil the impending compulsory carriage requirements of ECDIS/ENCs, as issued by the International Maritime Organization (IMO).

The digital range comprises Electronic Navigational Charts (ENCs) for use with an Electronic Chart Display and Information System (ECDIS), which can be displayed and interrogated through Admiralty Vector Chart Service (AVCS). The range also includes Admiralty Raster Chart Service (ARCS), which allows paper nautical charts to be viewed in raster form on an ECDIS.

Due to the changing nature of the seabed and other charted features, chart information must be up-to-date to maintain accuracy and general safety. This is ensured by UKHO continually assessing hydrographic data for vital safety information, with urgent updates issued via weekly Notices to Mariners (NMs)

title: Admiralty chart


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Talk:Boolean

Boolean stuff in databases
Would an entry on the use of Boolean operators in databases, search engines and library catalogs fit under this heading as well?

Boolean algebra(s)
There's a discussion going on at Boolean algebra that needs to be taken into account on this page as well. Basically there's an ambiguity between "Boolean algebra" as a calculus; that is, a notation and rules for manipulating the notation, and a Boolean algebra, which is a mathematical structure satisfying certain axioms. This page assumes that we're discussing the first notion, yet links to a page primarily concerned with the second. In particular the passage
 * Boolean involves only the two logical values: TRUE (1) and FALSE (0)

is simply mistaken when discussing the second notion. --Trovatore 18:02, 5 September 2005 (UTC)

Standardized disambiguation page
I've tried to make this look more like a standard dab page. It may still not be perfect (not sure what to do with the boolean-valued function line).

Please don't add actual content here; save that for the specific article. Adjectives rarely make good article titles; a disambiguation page is all that should ever be here. --Trovatore 16:14, 21 September 2005 (UTC)

Spelling
It seems than it's also spelled Boolian. Is this correct? —The preceding unsigned comment was added by 85.130.107.83  (talk • contribs)  20:25, 6 March 2006   (UTC)

 * I would say no. But I might have to change my mind if you can find it in a reputable source, other than a typo. --Trovatore 21:12, 6 March 2006 (UTC)

 * I first found it in the Lisp 1.5 Programmer's manual, there both boolean and boolian are used. Searching google shows that both are in use. Other two links where both spellings are used: Earliest Known Uses of Some of the Words of Mathematics, A catalogue and guide to the Charles S. Peirce Papers

"boolean" or "Boolean"
I believe that the spelling of "boolean" should be standardized to be de-capitalized when used in a sentence. Example: Boolean algebra simplifies circuits. However, they are expressed in boolean expression. The word "boolean" appears to be derived from the person's name George Boole, and just like "diesel" is derived from the person Rudolf Christian Karl Diesel, "volt" from the person Volta, and so on. ChyranandChloe (talk) 02:23, 19 May 2008 (UTC)
 * Well, language isn't always as neatly regular as you might like it to be. The standard usage in mathematics has a capital B, therefore we use a capital B. In computer science, sometimes it's lowercase, and that's OK too. --Trovatore (talk) 05:52, 19 May 2008 (UTC)

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

title: Talk:Boolean


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Wikipedia:Articles for deletion/Alexa Nikolas

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep, and nomination withdrawn. Sjakkalle (Check!)  10:02, 14 Jun 2005 (UTC)

Alexa Nikolas
vanity .--Nabla 01:36, 2005 Jun 4 (UTC) Vote changed to keep.--Nabla 11:19, 2005 Jun 4 (UTC)
 * Send to cleanup . Keep. This is a young actress in Zoey 101. Actually has some minimal content but needs to be cleaned up and stubbed . --khaosworks 01:49, Jun 4, 2005 (UTC)
 * Comment I rewrote the article to an {{actor-stub}}, removing the irrelevant content and adding {{imdb name}}. Zzyzx11 (Talk) 02:17, 4 Jun 2005 (UTC)
 * Keep. Good cleanup and stubbification.  -- Un  focused  04:47, 4 Jun 2005 (UTC)
 * Keep and expand. JamesBurns 05:37, 4 Jun 2005 (UTC)
 * Keep, just added some bio, filmograpy info, and cats. Getting there. <> Who ? ¿ ?  07:03, 4 Jun 2005 (UTC)
 * Keep now a good stub on actress. Well done Zzyzx11 and Who.
 * Keep, looks fine Everyking 03:36, 11 Jun 2005 (UTC)
 * I also think this is a really strange listing, because I don't see how anybody could think it's vanity to begin with. Here's the second sentence from the version that was VfDed: "She plays on the hit show "Zoey 101" as the ditzy, boy crazy preteen Nicole Bristow. Alexa has the same birthday as co-star Jamie Lynn Spears." Hit TV show? Co-star Jamie Lynn Spears? Doesn't sound like vanity to me. Everyking 03:38, 11 Jun 2005 (UTC)
 * I would like you to either explain or remove your remark. Thanks.--Nabla 21:02, 2005 Jun 11 (UTC)
 * There's nothing to explain. The point was that you should be a little more careful in VfDing things. Apparently you didn't even read the second sentence of the article you were VfDing. Everyking 21:13, 11 Jun 2005 (UTC)
 * Well... that's all the explanation I needed. Yet I did read it, but I hope you understand that a nickleodeon show which started this year is not exactly worldwide famous, neither is Jamie Lynn Spears. Also most of the article was about a 13 year old girl who has a dog and likes to dance... Still I do agree it was a hasty nomination. Lesson learned, I hope. Thank you.--Nabla 01:05, 2005 Jun 12 (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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Magnetic deviation

Magnetic deviation is the error induced in a compass by local magnetic fields, which must be allowed for, along with magnetic declination, if accurate bearings are to be calculated. (More loosely, "magnetic deviation" is used by some to mean the same as "magnetic declination". This article is about the former meaning.)

Compass readings
Compasses are used to determine the direction of true North. However, the compass reading must be corrected for two effects. The first is magnetic declination or variation—the angular difference between magnetic North (the local direction of the Earth's magnetic field) and true North. The second is magnetic deviation—the angular difference between magnetic North and the compass needle due to nearby sources of interference such as magnetically permeable bodies, or other magnetic fields within the field of influence.

History
Sailing ships generally had two kinds of compasses: steering compasses, two of which would be mounted in a binnacle in front of the helm for use in maintaining a course; and a bearing compass that was used for taking the bearings of celestial objects, landmarks and the ship's wake. The latter could be moved around the ship, and it was soon observed that the bearing could vary from one part of the ship to another. The explorer Joao de Castro was the first to report such an inconsistency, in 1538, and attributed it to the ship's gun. Many other objects were found to be sources of deviation in ships, including iron particles in brass compass bowls; iron nails in a wooden compass box or binnacle; and metal parts of clothing. The two steering compasses themselves could interfere with each other if they were set too close together. The "bearing compass" was eventually sited in a fixed position in a binnacle with, as far as possible, an all round view and acquired the name "standard compass". It would nonetheless have a different deviation from the "steering compass", so the compass heading shown on the "steering compass" would be different from the compass heading shown on the "standard compass".

The source of deviation could not always be identified. To reduce this source of error, which was due to induced magnetization in the ship, the surveyor John Churchman proposed a solution known as swinging the ship in 1794. This involved measuring the magnetic deviation as the ship was oriented in several compass directions. These measurements could then be used to correct compass readings. This procedure became standard practice in the 19th century as iron became an increasing component of ships.

Once the compass has been corrected using small magnets fitted in the base and with soft iron balls, any residual deviation is recorded as a table or graph: the compass correction card, which is kept on board near the compass.

Archibald Smith in 1862 published Admiralty Manual for ascertaining and applying the Deviations of the Compass caused by the Iron in a Ship. The key insight is that the deviation can be written as a Fourier series in the magnetic heading with terms up to the second frequency components. This means that only five numbers are required to be estimated to determine the full deviation card. This method is still used by professional compass correctors who are employed to correct the compass and produce a deviation card.

title: Magnetic deviation


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Talk:Utilitarianism (book)

Untitled
The following is not about the book Utilitarianism, by John Stuart Mill:

 * Utilitarianism (Latin utilis, “useful”), in ethics, the doctrine that what is useful is good, and consequently, that the ethical value of conduct is determined by the utility of its results. The term utilitarianism is more specifically applied to the proposition that the supreme objective of moral action is the achievement of the greatest happiness for the greatest number. This objective is also considered the aim of all legislation and is the ultimate criterion of all social institutions. The utilitarian theory of ethics is generally opposed to ethical doctrines in which some inner sense or faculty, often called the conscience, is made the absolute arbiter of right and wrong. Utilitarianism is likewise at variance with the view that moral distinctions depend on the will of God and that the pleasure given by an act to the individual alone who performs it is the decisive test of good and evil.

It's at most a stub for an article on utilitarianism, the ethical theory. But there's already a fleshed-out Utilitarianism article. I've moved all of the above to this discussion page and put in its place a stub on the book Utilitarianism. —Radgeek 01:39, 4 Jun 2005 (UTC)

Francis Hutcheson
The greatest happiness principle was actually first devised by Francis Hutcheson in his Inquiry into Virtue. - 192.52.218.34 00:51, 17 October 2006 (UTC)

Aristotle & Mill mean two very different things by "Happiness"
Mill is talking about our common understanding of happiness.

Aristotle is translating the Greek word "εὖδαιμονια," which has less to do with happiness as we understand it and more to do with a person's ability to be a human well. This is emphatically not what Mill means, and Aristotle would more likely consider Mill's happiness to deal more with pleasure, something Aristotle does not consider the highest good.

So perhaps that last paragraph in the article should be edited or removed?

 * Aristotle also meant happiness as almost a way to characterize someone (i.e. my grandpa was a happy man), as supported by his claim that one could not be called happy until after they had finished their life (kicked the bucket). This is in stark contrast to the happiness of J.S. Mill which people attained in their lifetime by being smart or altruistic. All the same I think that comparison between the two is fitting if it's done right. --Polsky215 (talk) 20:21, 21 June 2012 (UTC)

Assessment comment
Substituted at 09:44, 30 April 2016 (UTC)

title: Talk:Utilitarianism (book)


text: Template:Mil-ship-stub

authors: ಮಲ್ನಾಡಾಚ್ ಕೊಂಕ್ಣೊ

title: Template:Mil-ship-stub


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Gary Flandro

Gary Arnold Flandro (born March 30, 1934, in Salt Lake City, Utah) is an American aerospace engineer who is currently the professor for the Boling Chair of Excellence in Space Propulsion (Emeritus) at the University of Tennessee Space Institute. He is also the Vice President and Chief Engineer for Gloyer-Taylor Laboratories (GTL).

Life and work
Flandro earned his B.S. in Mechanical Engineering from the University of Utah in 1957, his Master’s in Aeronautics from the California Institute of Technology in 1960 and his Ph.D. from Caltech in 1967 as supervised by Frank E. Marble. He has worked at UTSI and possessed the Boling Chair of Excellence in Space Propulsion since 1991. Flandro has authored or co-authored 95 conference papers, including traveling to Kyoto, Japan during 2006 to present a paper titled “Understanding Oscillatory Behavior of Liquid Propellant Rockets and Jet Engine Thrust Augmentors," at the Seventh International Symposium on Special Topics in Chemical Propulsion. He has also authored or co-authored 54 refereed papers, four books and two book chapters. He was named a Fellow of the American Institute of Aeronautics and Astronautics on May 13, 2008.

Flandro is an 11th generation pupil of Euler. The lineage is: Euler, Lagrange, Fourier, Lejeune Dirichlet, Lipschitz, Klein, Lindemann, Hilb, Bar, Liepmann, Marble, Flandro.

Flandro’s work has assisted decades of space flight and several missions to the outer planets. His research work with combustion instability of solid rocket motors has “practically solved a challenging issue that had plagued the field for many years,” said Vigor Yang Head, School of Aerospace Engineering Georgia Institute of Technology. Flandro has coauthored several textbooks including: "Basic Aerodynamics: Incompressible Flow" with Howard McMahon and Robert L. Roach of Georgia Tech, and "Combustion Instability in Solid Propellant Rockets" with Edward W. Price of Georgia Tech. It is in regular use in Flandro's short courses at UTSI.

Gas giants
During the summer of 1964 at the NASA Jet Propulsion Laboratory (JPL), Flandro was assigned the task of studying techniques for exploring the outer planets of the solar system. His study discovered a rare near-future alignment of the outer planets (Jupiter, Saturn, Uranus, and Neptune) and conceived a multi-planet mission (later named the Planetary Grand Tour) utilizing the gravity-assist technique to reduce the mission duration from forty years to less than ten years. This work was exploited by NASA with the Voyager 1 and Voyager 2 missions, launched in 1977.

Flandro was recognized for this work first by the British Interplanetary Society (1970 M. N. Golovine Award), and later by NASA (1998 Exceptional Achievement Medal, with the citation: "for seminal contributions to the design and engineering of multi-outer-planet missions, including the Grand Tour opportunity for the epic Voyager explorations").

The ideas from this research have had a major effect on subsequent solar system exploration; the missions Galileo (Jupiter satellite tour) and the Cassini (Saturn satellite tour) were made possible by the gravity assist method. Flandro (also in 1965) studied gravity assist trajectories to Pluto; these are the basis for the mission New Horizons launched in January 2006, which arrived at Pluto in 2015.

title: Gary Flandro


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Birmingham–Peterborough line

The Birmingham–Peterborough line is a cross-country railway line in the England, linking Birmingham, Leicester and Peterborough, via Nuneaton, Oakham and Stamford

Since the Beeching Axe railway closures in the 1960s, it is the only direct railway link between the West Midlands and the East of England. The line is important for cross-country passenger services, East of Peterborough, the route gives access from the Midlands to various locations in the east of England, such as Ely, Cambridge and Stansted Airport via the West Anglia lines. It is also strategically important for freight, as it allows container trains from the Port of Felixstowe to travel to the Midlands and beyond.

History
The present route is an amalgamation of lines that were built by separate companies. The sections were:

 * The route from Birmingham to Whitacre Junction was built for the Birmingham and Derby Junction Railway in 1840, which later became part of the Midland Railway.
 * The line from Whitacre junction to Nuneaton was built by the Midland Railway, and opened in 1864.
 * The line between Nuneaton and Wigston was built by the South Leicestershire Railway and was also completed in 1864. The South Leicestershire Railway was taken over by the London and North Western Railway in 1867.
 * The section between Wigston and Syston via Leicester was built for the Midland Counties Railway (a forerunner of the Midland Railway) in 1840. It is now part of the Midland Main Line.
 * The eastern section, the Syston and Peterborough Railway, was built for the Midland Railway and opened in 1846.

The entire route became part of the London, Midland and Scottish Railway in the 1923 grouping, and the LMS was nationalised on 1 January 1948 as part of British Railways.

Most Birmingham-Leicester passenger trains were taken over by diesel units from 14 April 1958, taking about 79 minutes between the two cities.

In 1977 the Parliamentary Select Committee on Nationalised Industries recommended considering electrification of more of Britain's rail network. By 1979 BR presented a range of options to do so by 2000, some of which included the Birmingham to Peterborough Line. Under the 1979–90 Conservative governments that succeeded the 1976–79 Labour government, the proposal was not implemented.

The route was privatised in the 1990s as part of Railtrack and is now part of Network Rail.

Services
In the 1980s, local services were worked by Class 105 Diesel Multiple Units and long-distance services, such as those between Birmingham New Street and Norwich, were operated by formations of Class 31 locomotives with rakes of four Mark 1 carriages. From 1986 the first Sprinter trains operated on the line, Class 150s, subsequently replaced by Class 156 SuperSprinter units from 1988. From this time, the service operated hourly between Birmingham New Street and Ely with alternate services continuing to Cambridge (Stansted Airport from 1991) or Norwich.

Central Trains operated the route from privatisation, and for operational convenience combined services on the route either side of Birmingham New Street, which created through services such as Aberystwyth and Chester to Cambridge and Stansted Airport and Liverpool Lime Street to Stansted Airport, although these were subsequently cut back - services to Aberystwyth ceased in 2001, although a few services continued to terminate at Shrewsbury until 2004, whilst Liverpool was removed in 2003 to improve performance.

The service in 2016 consists of two trains per hour between Birmingham and Leicester, one of the two calling at limited stops to Leicester and continuing to Stansted Airport via Peterborough, Ely and Cambridge, operated by CrossCountry. East Midlands Railway operates a handful of services along the section between Syston and Peterborough (serving Melton Mowbray and Oakham) as part of its London London St Pancras service via Corby. In addition, there are a few services between Nottingham and Norwich operated by EMR which also serve Stamford.

Cross Country services are exclusively worked by Class 170 Turbostar units, while EMR use Class 158 Express Sprinter trains on services to Norwich and Class 222 Meridian trains for London services. In addition, EMR also operate an evening Spalding to Nottingham service which is worked by a Class 153 SuperSprinter.

Freight trains use the route between the West Midlands and the East Anglia, primarily container trains to the Port of Felixstowe and sand trains to King's Lynn.

Felixstowe and Nuneaton freight capacity scheme

The Felixstowe–Nuneaton railway upgrade is a large project with a number of elements that will allow more railfreight traffic between the Haven ports and the Midlands. The work was prompted by the 'Felixstowe South' expansion at the Port of Felixstowe. It is also in response to the predicted increase in the number of high-cube (Hi-cube) shipping containers arriving at the ports that cannot currently be accommodated on the route. The percentage of high-cube containers increased from 30% in 2007 to 50% in 2012. Without loading gauge enhancement these larger containers would have had to be transported by road or via a longer rail route via London that was already operating at capacity. Network Rail completed the gauge enhancement from Ipswich to Peterborough in 2008. Work took place in three phases:
 * Phase 1
 * Nuneaton North Chord (see below)
 * Peterborough to Nuneaton Gauge (W10) (see below)
 * Phase 2a
 * Doubling 8 km of the Felixstowe Branch Line
 * Doubling the Ipswich to Ely Line between Soham Junction and Ely
 * Raising speed restrictions for freight trains between Ipswich and Peterborough
 * Phase 2b
 * Capacity enhancement Peterborough to Nuneaton during CP5

The work, detailed in the Network Rail Freight Route Utilisation Strategy, should be completed by 2014. at an estimated cost of £291 million.

The government is providing £80 million and it will also receive £5 million from Network Rail and £1 million from the East of England Development Agency. It has been estimated that the scheme would take 225,000 lorries off the road.

In February 2010 Network Rail confirmed that it would construct the 1 km 'Bacon Factory Chord' in Ipswich to allow trains to travel between the East Suffolk line and the Ipswich–Ely line without reversing into Ipswich Station and to also perform work to increase capacity between Ely–Peterborough line at a total cost of £50m. It was stated that the work would 'take 750,000 lorries off the roads'.

Peterborough to Nuneaton gauge
Enhancement of a section of the Birmingham–Peterborough line involving the reconstruction of 14 bridges, 11 tracking lowering/slewing schemes and one accommodation bridge. The cost is estimated at £40.5 million. The West Coast Main Line is already cleared to W10 and the route from Nuneaton to Birmingham is already cleared to W12. W10 gauge clearance was achieved on 4 April 2011 and GBRf trains requiring W10 gauge began using the route that day.

Nuneaton North Chord
The Nuneaton North Chord was completed and opened on 15 November 2012. The chord allows freight traffic approaching Nuneaton from Felixstowe via the Birmingham–Peterborough line to proceed north on the West Coast Main Line without conflicting with southbound main-line trains. It consists of a one-mile chord from the existing flyover over the West Coast Main Line to join the line to the north. The cost of this work was £25.6 million. A Transport & Works Act Order for the Nuneaton North Chord was granted by the Secretary of State for Transport in July 2010. Work began in mid-2011.

title: Birmingham–Peterborough line


text:
Category:Naval ship stubs

 * For the naval warships of Australia, use Australia-mil-ship-stub.
 * For the naval warships of Canada, use Canada-mil-ship-stub.
 * For the naval warships of Europe...
 * For the naval warships of Finland, use Finland-mil-ship-stub.
 * For the naval warships of France, use France-mil-ship-stub.
 * For the naval warships of Denmark, use Denmark-mil-ship-stub.
 * For the naval warships of Germany, use Germany-mil-ship-stub.
 * For the naval warships of Italy, use Italy-mil-ship-stub.
 * For the naval warships of Norway, use Norway-mil-ship-stub.
 * For the naval warships of Romania, use Romania-mil-ship-stub.
 * For the naval warships of Russia, use Russia-mil-ship-stub.
 * For the naval warships of Sweden, use Sweden-mil-ship-stub.
 * For the naval warships of the United Kingdom, use UK-mil-ship-stub.
 * For the naval warships of Japan, use Japan-mil-ship-stub.
 * For the naval warships of the United States, use US-mil-ship-stub.

title: Category:Naval ship stubs


text:
Category:Indo-Scythian kings

Kings of the Indo-Scythian Kingdom in the northwestern Indian subcontinent.

title: Category:Indo-Scythian kings


text:
Wikipedia:Articles for deletion/Ljdrama

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was Keep Zzyzx11 (Talk) 06:21, 18 Jun 2005 (UTC)

Ljdrama
A lengthy article about a website that I don't think is really that notable. Wordy with it, and any notable information could easily be fitted within the LiveJournal article. Declaration of possible vested interest: LJ Drama (as it's correctly called) has often made a target of the furry fandom, of which I am part. Loganberry | Talk 01:44, 4 Jun 2005 (UTC)
 * On reflection, vote changed to keep, but with considerable cleanup. Loganberry | Talk 16:57, 8 Jun 2005 (UTC)

 * Keep. It could do with some cleanup, but LJdrama was prominent enough to cause quite a bit of a flap on LJ with its actions. Putting it in the LJ article would not really be relevant (not to mention bloaty) because it's a separate community with its own sites that just imports from and targets LJ. --khaosworks 01:53, Jun 4, 2005 (UTC)
 * Comment It sounds more like internet jargon or slang. If anything, should just be added to a list of slang. The user account on livejournal has been suspended anyway.  <> Who ? ¿ ?  07:09, 4 Jun 2005 (UTC)
 * Hmm. Keep it, I've heard of it lots of places. DS 16:45, 4 Jun 2005 (UTC)
 * Delete. LiveJournal communities are generally not notable.  Almafeta 08:42, 5 Jun 2005 (UTC)
 * Keep Possibly the most notable lj community. It's not even hosted on lj. SchmuckyTheCat 20:05, 5 Jun 2005 (UTC)
 * The above is fair comment... but your recent edit to the actual Ljdrama article is hardly NPOV. Loganberry | Talk 23:25, 5 Jun 2005 (UTC)

 * If kept, needs cleaning-up -- some parts are severely POV (E.g. officially cementing LiveJournal's status as a safe haven where rapists and other convicted sexual predators could conveniently stalk new victims) --Simon Cursitor 07:37, 6 Jun 2005 (UTC)
 * Weak Keep but cleanup. --Badlydrawnjeff 13:35, 6 Jun 2005 (UTC)
 * KEEP seems like this a legitimate site that others are trying to supress. --The_stuart 15:17, 8 Jun 2005 (UTC)
 * Suppress? That's a bit of a loaded statement, isn't it? Loganberry | Talk 16:57, 8 Jun 2005 (UTC)

 * Keep. While "suppress" is a bit much, and the article needs quite a makeover, it is indeed a notable site, and goes far beyond a bit of slang. Ambi 12:15, 10 Jun 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 .

title: Wikipedia:Articles for deletion/Ljdrama


text: File:Clivia miniata1.jpg

title: File:Clivia miniata1.jpg


text:
Granville Mall

Granville Mall can refer to two different locations:
 * Granville Mall, Halifax, a pedestrian mall in Halifax
 * Granville Mall, Vancouver, a transit and pedestrian mall in Vancouver

title: Granville Mall


text:
List of compositions by Maurice Ravel

This is a complete list of compositions by Maurice Ravel, initially categorized by genre, and sorted within each genre chronologically in order of date the composition was completed. The "M." header is clickable and doing so will sort the entire list by order of composition completion date. (Clicking that header again will reverse the order; to return to the genre category order, reload the webpage.) sona Catalogue "M" numbers were assigned by the musicologist Marcel Marnat according to date of composition. Arrangements by Ravel of his own works were assigned the "M" number of the original followed by a letter (a, b, c, etc.). Arrangements by Ravel of other composers' works or of "traditional" music were assigned a separate "MA" number, in order of date of arrangement.

List of compositions
{|class="wikitable sortable" style="text-align: left" !data-sort-type="text"|M. !Title!!Scoring!!Date!!Notes

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Orchestra
1st version
 * -style="vertical-align: top"
 * data-sort-value="47a"|43a
 * Une Barque sur l'océan
 * orchestra
 * 1906
 * orchestration of M 43 No. 3;

1. Prélude à la nuit
 * -style="vertical-align: top"
 * 54
 * Rapsodie espagnole

2. Malagueña

3. Habanera

4. Feria
 * orchestra
 * 1907

partial reorchestration of most of the symphonic poem Antar Op. 9, the movements reordered and interspersed with reorchestrated fragments of the same work, a fragment of the opera Mlada, orchestrated fragments of songs from the Romances Op. 4 and Op. 7, and an extract from Félicien David's composition Le Désert, all included as the basis for new music by Ravel mostly in the style of Rimsky-Korsakov used as interconnecting pieces with the larger Antar movements;
 * -style="vertical-align: top"
 * data-sort-value="58d"|A15
 * Nikolai Rimsky-Korsakov: Antar
 * orchestra
 * 1909
 * incidental music to a 5-act play by Chékry-Ganem;
 * the orchestral score of the song fragments and David's piece are lost, though the song fragments exist in the piano reduction

 * -style="vertical-align: top"
 * data-sort-value="58f"|19a
 * Pavane pour une infante défunte
 * orchestra
 * 1910
 * orchestration of M 19

1. Nocturne
 * -style="vertical-align: top"
 * data-sort-value="60d"|57a
 * Daphnis et Chloé Suite No. 1

2. Interlude

3. Danse guerrière
 * orchestra
 * 1911
 * extracted and arranged from the ballet M 57

 * -style="vertical-align: top"
 * data-sort-value="60e"|60a
 * Ma mère l'Oye
 * orchestra
 * 1911
 * orchestration of M 60

 * -style="vertical-align: top"
 * data-sort-value="61a"|A18
 * Erik Satie: Préludes pour Le Fils des étoiles
 * piano
 * 1910–11
 * originally for piano, new orchestration of No. 1;
 * found;
 * planned new orchestration of all 3 preludes, only first was completed

1. Lever du jour
 * -style="vertical-align: top"
 * data-sort-value="62b"|57b
 * Daphnis et Chloé Suite No. 2

2. Pantomime

3. Danse générale
 * orchestra
 * 1913
 * extracted and arranged from the ballet M 57

 * -style="vertical-align: top"
 * data-sort-value="65a"|A19
 * Modest Mussorgsky: Khovanshchina, opera
 * orchestra
 * 1913
 * orchestration completed, some parts re-orchestrated, and edited, in collaboration with Igor Stravinsky from the score by Nikolai Rimsky-Korsakov

1. Prélude, Op. 28 No. 7
 * -style="vertical-align: top"
 * data-sort-value="67a"|A20
 * Frédéric Chopin: Les Sylphides, ballet

2. Nocturne, Op. 32 No. 2

3. Valse, Op. 70 No. 1

4. chakra, Op. 33 No. 2

5. chakra, Op. 67 No. 3

6. Prélude, Op. 28 No. 7

7. Valse, Op. 64 No. 2

8. Grande valse brillante, Op. 18
 * orchestra
 * 1914
 * new orchestration of various piano pieces arranged as a ballet for Vaslav Nijinsky's new ballet company;
 * lost

1. Préambule
 * -style="vertical-align: top"
 * data-sort-value="67b"|A21
 * Robert Schumann: Carnaval, ballet

2. Valse Allemande and Intermezzo: Paganini

3. Marche des Davidsbündler contre les Philistins
 * orchestra
 * 1914
 * new orchestration of the suite for piano Op. 9 for Vaslav Nijinsky's new ballet company;
 * project abandoned;
 * only 3 of the 20 pieces survive, the remaining 17 are either lost or were never written

 * -style="vertical-align: top"
 * data-sort-value="69c"|43c
 * Alborada del gracioso
 * orchestra
 * 1918
 * orchestration of M 43 No. 4

originally for piano, orchestration for the Sergei Diaghilev ballet Las Meninas (Les Jardins d'Aranjuez)
 * -style="vertical-align: top"
 * data-sort-value="70a"|A23
 * Emmanuel Chabrier: Menuet pompeux
 * orchestra
 * 1917–18
 * No. 9 of Pièces pittoresques;

1. Prélude
 * -style="vertical-align: top"
 * data-sort-value="70b"|68a
 * Le Tombeau de Couperin

2. Forlane

3. Menuet

4. Rigaudon
 * orchestra
 * 1919
 * orchestration of 4 pieces (reordered) from M 68

 * -style="vertical-align: top"
 * data-sort-value="74a"|A24
 * Modest Mussorgsky: Tableaux d'une exposition (Pictures at an Exhibition), suite
 * orchestra
 * 1922
 * originally for piano, orchestration (omitting the last "Promenade")

 * -style="vertical-align: top"
 * data-sort-value="74b"|A25
 * Claude Debussy: Sarabande
 * orchestra
 * 1922
 * No. 2 of Pour le piano, originally for piano, orchestration;
 * published as No. 1 of Sarabande et Danse

 * -style="vertical-align: top"
 * data-sort-value="74c"|A26
 * Claude Debussy: Danse (Tarantelle styrienne)
 * orchestra
 * 1922
 * originally for piano, orchestration;
 * published as No. 2 of Sarabande et Danse

revised version;
 * -style="vertical-align: top"
 * data-sort-value="76c"|43b
 * Une Barque sur l'océan
 * orchestra
 * 1926
 * orchestration of M 43 No. 3;
 * lost, possibly never written

 * -style="vertical-align: top"
 * data-sort-value="81c"|7a
 * Menuet antique
 * orchestra
 * 1929
 * orchestration of M 7

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Concertante

 * -style="vertical-align: top"
 * 66
 * Zaspiak-Bat
 * piano and orchestra
 * 1913–14
 * based on Basque themes;
 * sketches only

 * -style="vertical-align: top"
 * 76a
 * Tzigane, Rapsodie de concert
 * violin and orchestra
 * 1924
 * orchestration of M 76

 * -style="vertical-align: top"
 * 82
 * Concerto for the Left Hand (in D major)
 * piano left-hand and orchestra
 * 1929–30

 * -style="vertical-align: top"
 * 83
 * Concerto in G (major)
 * piano and orchestra
 * 1929–31

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Chamber
1. Allegro
 * -style="vertical-align: top"
 * 12
 * Sonate (No. 1)
 * violin and piano
 * 1897
 * 1st movement only;
 * published posthumously

1. Allegro moderato, très doux
 * -style="vertical-align: top"
 * 35
 * String Quartet in F major

2. Assez vif, très rythmé

3. Très lent

4. Vif et agité
 * string quartet
 * 1902–03

 * -style="vertical-align: top"
 * 46
 * Introduction et Allegro
 * harp, flute, clarinet, and string quartet
 * 1905

1. Modéré
 * -style="vertical-align: top"
 * 67
 * Trio in A minor

2. Pantoum. Assez vif

3. Passacaille. Très large

4. Final. Animé
 * piano, violin, and cello
 * 1914

early version of Allegro (1st) movement of Sonate M 73
 * -style="vertical-align: top"
 * data-sort-value="72c"|73a
 * Duo for Le Tombeau de Claude Debussy
 * violin and cello
 * 1920
 * No. 1 of the multi-composer collection;

1. Allegro
 * -style="vertical-align: top"
 * 73
 * Sonate (in A minor)

2. Très vif

3. Lent

4. Vif, avec entrain
 * violin and cello
 * 1920–22

 * -style="vertical-align: top"
 * 74
 * Berceuse sur le nom de Gabriel Fauré
 * violin and piano
 * 1922

 * -style="vertical-align: top"
 * data-sort-value="75a"|76b
 * Tzigane
 * violin and piano luthéal
 * 1922–24
 * alternate original version of M 76

 * -style="vertical-align: top"
 * 76
 * Tzigane ("Gypsy")
 * violin and piano
 * 1922–24

1. Allegretto
 * -style="vertical-align: top"
 * data-sort-value="78a"|77
 * Sonate (No. 2) in G major

2. Blues. Moderato (A♭ major)

3. Perpetuum mobile. Allegro
 * violin and piano
 * 1923–27

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Piano solo
1. Prélude
 * -style="vertical-align: top"
 * data-sort-value="01"|1
 * Piano Sonata
 * piano
 * 1888
 * 1st movement only;
 * student exercise;
 * lost

 * -style="vertical-align: top"
 * data-sort-value="02"|2
 * Variations on a Theme of Grieg
 * piano
 * 1888
 * theme: Death of Åse from Peer Gynt;
 * student exercise;
 * lost

 * -style="vertical-align: top"
 * data-sort-value="03"|3
 * Variations on a Theme of Schumann
 * piano
 * 1888
 * theme: Chorale Freu dich, o meine Seele from "Album for the Young", Op. 68;
 * student exercise;
 * lost

 * -style="vertical-align: top"
 * data-sort-value="05"|5
 * Sérénade grotesque
 * piano
 * 1892–93
 * discovered and published posthumously
 * discovered and published posthumously

 * -style="vertical-align: top"
 * data-sort-value="07"|7
 * Menuet antique
 * piano
 * 1895

 * -style="vertical-align: top"
 * 11
 * La Parade, ballet
 * piano
 * 1896
 * piano sketch only, comprising 2 waltzes, 2 marches, and a mazurka;
 * discovered and published posthumously
 * discovered and published posthumously

 * -style="vertical-align: top"
 * 14
 * Valse in D major
 * piano
 * 1898
 * lost
 * lost

 * -style="vertical-align: top"
 * 19
 * Pavane pour une infante défunte
 * piano
 * 1899"

 * -style="vertical-align: top"
 * 20
 * Fugue
 * piano
 * 1899"
 * Prix de Rome essay competition;
 * Lost, possibly auctioned score held by Antiquariat INLIBRIS Gilhofer
 * Lost, possibly auctioned score held by Antiquariat INLIBRIS Gilhofer

 * -style="vertical-align: top"
 * 23
 * Fugue in D major
 * piano
 * 1900
 * Possibly still survives as unofficial copies exist online
 * Possibly still survives as unofficial copies exist online

 * -style="vertical-align: top"
 * 24
 * Fugue à quatre voix on a theme of Reber in F major
 * piano
 * 1900
 * lost
 * lost

 * -style="vertical-align: top"
 * 26
 * Prélude et Fugue
 * piano
 * 1900
 * student competition;
 * Lost, possibly auctioned score by Osenat
 * Lost, possibly auctioned score by Osenat

 * -style="vertical-align: top"
 * 27
 * Fugue in F major
 * piano
 * 1900
 * Prix de Rome competition;
 * May be the "D Minor Fugue" in the Morgan Library & Museum Collection.
 * Possibly still survives as unofficial copies exist online
 * Possibly still survives as unofficial copies exist online

 * -style="vertical-align: top"
 * 30
 * Jeux d'eau
 * piano
 * 1901

 * -style="vertical-align: top"
 * 32
 * Fugue in B♭ major
 * piano
 * 1902
 * Prix de Rome competition;
 * Published in Irony and Sound by Stephen Zank
 * Published in Irony and Sound by Stephen Zank

 * -style="vertical-align: top"
 * data-sort-value="34b"|A3
 * Frederick Delius: Margot la Rouge, opera
 * piano
 * 1902
 * reduction of orchestra part for piano

 * -style="vertical-align: top"
 * 36
 * Fugue in E minor
 * piano
 * 1903
 * Prix de Rome competition;
 * Lost, possibly the incomplete E flat major fugue held by Lion Heart Autographs
 * Lost, possibly the incomplete E flat major fugue held by Lion Heart Autographs

 * -style="vertical-align: top"
 * 42
 * Menuet in C♯ minor
 * piano
 * 1904

1. Modéré
 * -style="vertical-align: top"
 * data-sort-value="42f"|40
 * Sonatine

2. Mouvement de menuet

3. Animé
 * piano
 * 1903–05
 * first movement written for a competition sponsored by a Parisian magazine

1. Noctuelles
 * -style="vertical-align: top"
 * 43
 * Miroirs

2. Oiseaux tristes

3. Une Barque sur l'océan

4. Alborada del gracioso

5. La Vallée des cloches
 * piano
 * 1904–05

 * -style="vertical-align: top"
 * 44
 * Fugue in C major
 * piano
 * 1905
 * Prix de Rome competition;
 * Possibly still survives as unofficial copies exist online
 * Possibly still survives as unofficial copies exist online

1. Ondine
 * -style="vertical-align: top"
 * 55
 * Gaspard de la nuit

2. Le Gibet

3. Scarbo
 * piano
 * 1908
 * based on 3 poems by Aloysius Bertrand

 * -style="vertical-align: top"
 * 58
 * Menuet sur le nom d'Haydn
 * piano
 * 1909

 * -style="vertical-align: top"
 * data-sort-value="58e"|A15a
 * Nikolai Rimsky-Korsakov: Antar, incidental music
 * piano
 * 1909
 * reduction for piano of M A15

 * -style="vertical-align: top"
 * data-sort-value="58g"|57d
 * Daphnis et Chloé, ballet
 * piano
 * 1910
 * original version for piano of M 57

 * -style="vertical-align: top"
 * 61
 * Valses nobles et sentimentales
 * piano
 * 1911

1. Nocturne
 * -style="vertical-align: top"
 * data-sort-value="62c"|57c
 * Danse gracieuse de Daphnis, suite

2. Interlude et Danse guerrière

3. Scène de Daphnis et Chloé
 * piano
 * 1913
 * transcription from Daphnis et Chloé ballet M 57

 * -style="vertical-align: top"
 * 63
 * À la manière de...

 * piano
 * 1912–13
 * the Chabrier piece is a paraphrase on an aria from Gounod's Faust

 * -style="vertical-align: top"
 * 65
 * Prélude
 * piano
 * 1913

1. Prélude
 * -style="vertical-align: top"
 * data-sort-value="69b"|68
 * Le Tombeau de Couperin

2. Fugue

3. Forlane

4. Rigaudon

5. Menuet

6. Toccata
 * piano
 * 1914–17

 * -style="vertical-align: top"
 * 72b
 * La Valse
 * piano
 * 1920
 * transcription of M 72

 * -style="vertical-align: top"
 * 80b
 * Fanfare for L'éventail de Jeanne, children's ballet
 * piano
 * 1927
 * reduction for piano of M 80

 * -style="vertical-align: top"
 * 81a
 * Boléro
 * piano
 * 1929
 * transcription of M 81

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Piano duo

 * -style="vertical-align: top"
 * data-sort-value="00a"|A1
 * Camille Saint-Saëns: La jeunesse d'Hercule, symphonic poem, Op. 50
 * piano four-hands
 * 1887
 * originally for orchestra, arrangement

 * -style="vertical-align: top"
 * data-sort-value="08"|8
 * Habanera
 * two pianos
 * 1895
 * published as No. 1 of Sites auriculaires, with M 13;
 * used later as No. 3 of Rapsodie espagnole M 54a
 * used later as No. 3 of Rapsodie espagnole M 54a

 * -style="vertical-align: top"
 * 13
 * Entre Cloches
 * two pianos
 * 1897
 * published as No. 2 of Sites auriculaires, with M 8
 * published as No. 2 of Sites auriculaires, with M 8

 * -style="vertical-align: top"
 * data-sort-value="16a"|17a
 * Shéhérazade
 * piano four-hands
 * 1898
 * original version of Overture M 17

originally for orchestra and female chorus, arrangement; 1st version
 * -style="vertical-align: top"
 * data-sort-value="34a"|A2
 * Claude Debussy: Sirènes
 * two pianos
 * 1902
 * No. 3 of Nocturnes;

1. Prélude à la nuit
 * -style="vertical-align: top"
 * data-sort-value="53a"|54a
 * Rapsodie espagnole

2. Malagueña

3. Habanera

4. Feria
 * two pianos
 * 1907
 * original version of M 54;
 * III. Habanera, identical to M 8

 * -style="vertical-align: top"
 * 56
 * Pavane de la Belle au bois dormant
 * piano four-hands
 * 1908
 * inspired by Charles Perrault;
 * used later as No. 1 of Ma mère l'Oye M 60

1. Nuages
 * -style="vertical-align: top"
 * data-sort-value="58c"|A14
 * Claude Debussy: Trois nocturnes

2. Fêtes

3. Sirènes composed with Debussy's stepson and pupil Raoul Bardac;
 * two pianos
 * 1909
 * originally for orchestra, arrangement;

III. Sirènes, 2nd version

1. Pavane de la belle au bois dormant
 * -style="vertical-align: top"
 * 60
 * Ma mère l'Oye ("Mother Goose"), children's pieces

2. Petit Poucet

3. Laideronnette, impératrice des pagodes

4. Les Entretiens de la belle et de la bête

5. Le Jardin féerique
 * piano four-hands
 * 1908–10
 * inspired by the tales of Charles Perrault and Madame d'Aulnoy;
 * I. Pavane, identical to M 56

 * -style="vertical-align: top"
 * data-sort-value="60a"|A16
 * Claude Debussy: Prélude à l'après-midi d'un faune
 * piano four-hands
 * 1910
 * originally for orchestra, transcription

 * -style="vertical-align: top"
 * 70
 * Frontispice
 * two pianos five-hands
 * 1918
 * for S.P. 503: Le Poème du Vardar by Ricciotto Canudo

 * -style="vertical-align: top"
 * 72a
 * La Valse
 * two pianos
 * 1920
 * transcription of M 72

 * -style="vertical-align: top"
 * data-sort-value="80c"|80a
 * Fanfare
 * piano four-hands
 * 1927
 * transcription of M 80

 * -style="vertical-align: top"
 * 81b
 * Boléro
 * piano four-hands
 * 1929
 * transcription of M 81

 * -style="vertical-align: top"
 * 82a
 * Concerto for the Left Hand
 * two pianos
 * 1930
 * reduction of orchestra part of M 82 for piano

 * -style="vertical-align: top"
 * 83a
 * Concerto in G
 * two pianos
 * 1932
 * reduction of orchestra part of M 83 for second piano

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Stage

 * -style="vertical-align: top"
 * 17
 * Shéhérazade, Ouverture de féerie
 * orchestra
 * 1898
 * originally intended as an opera, after "One Thousand and One Nights";
 * abandoned, only Overture completed and premiered separately as a concert piece

 * -style="vertical-align: top"
 * 18
 * Olympia
 * opera
 * 1898–99"
 * after E. T. A. Hoffmann's Der Sandmann ("The Sandman");
 * sketches destroyed except for a Symphonie horlogère incorporated into the opening of L'heure espagnole M 52

 * -style="vertical-align: top"
 * data-sort-value="60c"|52
 * L'Heure espagnole ("The Spanish Hour")
 * opera
 * 1907–11
 * libretto: Franc-Nohain

 * -style="vertical-align: top"
 * data-sort-value="61b"|49
 * La Cloche engloutie ("The Sunken Clock")
 * opera
 * 1906–12
 * after Gerhart Hauptmann's Die versunkene Glocke;
 * planned work, sketches (if any) were destroyed by Ravel

 * -style="vertical-align: top"
 * data-sort-value="61c"|57
 * Daphnis et Chloé
 * ballet
 * 1909–12

 * -style="vertical-align: top"
 * data-sort-value="61d"|61a
 * Adélaïde ou le langage des fleurs (Adelaide, or The Language of Flowers)
 * ballet
 * 1912
 * orchestration of Valses nobles et sentimentales M 61

1. Prélude. Très lent
 * -style="vertical-align: top"
 * 62
 * Ma Mère l'Oye ("Mother Goose")

2. Premier tableau. Danse du rouet et scène

3. Deuxième tableau. Pavane de la belle au bois dormant

4. Interlude

5. Troisième tableau. Les Entretiens de la belle et de la bête

6. Interlude

7. Quatrième tableau. Petit Poucet

8. Interlude

9. Cinquième tableau. Laideronnette, impératrice des Pagodes

10. Interlude

11. Sixième tableau. Apothéose. Le Jardin féerique
 * ballet
 * 1911–12
 * orchestral version (M 60a) with new music added (2 new opening pieces plus 4 new interludes);
 * III. identical to M 60a I;
 * V. identical to M 60a IV;
 * VII. identical to M 60a II;
 * IX. identical to M 60a III;
 * XI. identical to M 60a V

 * -style="vertical-align: top"
 * 72
 * La Valse, Poème chorégraphique
 * ballet
 * 1919–20
 * sketches 1906
 * sketches 1906

 * -style="vertical-align: top"
 * data-sort-value="76b"|71
 * L'Enfant et les sortilèges, Fantaisie lyrique ("The Child and the Spells"), operetta-ballet
 * 8 solo voices, mixed choir, children's choir, and orchestra with piano luthéal
 * 1917–25
 * libretto: Colette

 * -style="vertical-align: top"
 * 80
 * Fanfare for L'éventail de Jeanne, children's ballet
 * ballet with small orchestra
 * 1927
 * No. 1 (Prélude) of the collective composition (by 10 French composers)

 * -style="vertical-align: top"
 * 81
 * Boléro
 * ballet
 * 1928

 * -style="vertical-align: top"
 * 85
 * Morgiane, oratorio-ballet
 * vocal soloists, choir, and orchestra
 * 1932
 * libretto after "One Thousand and One Nights";
 * sketches only

1. Chanson romanesque
 * -style="vertical-align: top"
 * data-sort-value="85b"|84
 * Don Quichotte à Dulcinée, song cycle

2. Chanson épique

3. Chanson à boire
 * baritone and orchestra
 * 1933
 * text: Paul Morand, originally intended as film music for G.W. Pabst's 1933 film Don Quixote but Ravel's music was not used;
 * unfinished, originally projected as 4 songs plus incidental music, but only 3 songs completed

 * -style="vertical-align: top"
 * 86
 * Jeanne d'Arc ("Joan of Arc")
 * opera
 * 1930s
 * after Joseph Delteil's Jeanne d'Arc, planned for the Paris Opéra;
 * unrealised project

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Choral

 * -style="vertical-align: top"
 * 22
 * Callerhoe
 * cantata
 * 1900
 * Prix de Rome essay competition;
 * partially lost
 * partially lost

 * -style="vertical-align: top"
 * 25
 * Les Bayadères
 * soprano, mixed choir, and orchestra
 * 1900
 * Prix de Rome competition
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 28
 * Tout est lumière
 * soprano, mixed choir, and orchestra
 * 1901
 * Prix de Rome competition
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 29
 * Myrrha, cantata
 * soprano, tenor, baritone, and orchestra
 * 1901
 * text: Fernand Beissier;
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 31
 * Semiramis
 * cantata
 * 1902
 * student competition;
 * partially lost
 * partially lost

 * -style="vertical-align: top"
 * 33
 * La Nuit
 * soprano, mixed choir, and orchestra
 * 1902
 * Prix de Rome competition
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 34
 * Alcyone
 * soprano, alto, tenor, and orchestra
 * 1902
 * text: Eugène et Edouard Adenis;
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 37
 * Matinée en Provence
 * soprano, mixed choir, and orchestra
 * 1903
 * Prix de Rome competition
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 38
 * Alyssa, cantata
 * soprano, tenor, baritone, and orchestra
 * 1903
 * text: Marguerite Coiffier;
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 45
 * L'Aurore
 * tenor, mixed choir, and orchestra
 * 1905
 * Prix de Rome competition
 * Prix de Rome competition

 * -style="vertical-align: top"
 * 59
 * Saint François d'Assise
 * soloists, choir, and orchestra
 * 1909–10
 * lost
 * lost

1. Nicolette
 * -style="vertical-align: top"
 * 69
 * Trois chansons

2. Trois beaux oiseaux du paradis

3. Ronde
 * mixed choir unaccompanied
 * 1914–15
 * lyrics by Ravel

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Solo voice with orchestra

 * -style="vertical-align: top"
 * 39a
 * Manteau des fleurs
 * voice and orchestra
 * 1903?
 * orchestration of M 39

1. Asie
 * -style="vertical-align: top"
 * 41
 * Shéhérazade, poems

2. La Flûte enchantée

3. L'Indifférent
 * soprano/tenor and orchestra
 * 1903
 * text: Tristan Klingsor

1st version
 * -style="vertical-align: top"
 * data-sort-value="47b"|47a
 * Noël des jouets
 * voice and orchestra
 * 1906
 * orchestration of M 47;

revised version
 * -style="vertical-align: top"
 * data-sort-value="62a"|47b
 * Noël des jouets
 * voice and orchestra
 * 1913
 * orchestration of M 47;

1. Soupir
 * -style="vertical-align: top"
 * 64
 * Trois poèmes de Stéphane Mallarmé, song cycle

2. Placet futile

3. Surgi de la croupe et du bond
 * medium voice, piccolo, 2 flutes, clarinet, bass clarinet, string quartet, and piano
 * 1913
 * text: Stéphane Mallarmé

1. Nahandove
 * -style="vertical-align: top"
 * 78
 * Chansons madécasses ("Madagascan Songs"), song cycle

2. Aoua

3. Il est doux
 * soprano, flute, cello, and piano
 * 1925–26
 * text: Evariste-Désiré Parny de Forges

 * -style="vertical-align: top"
 * data-sort-value="85c"|75a
 * Ronsard à son âme
 * voice and orchestra
 * 1935
 * orchestration of M 75

 * -style="vertical-align: top"
 * colspan="5" style="background: lightgray" data-sort-value="99"|

Solo voice with piano

 * -style="vertical-align: top"
 * data-sort-value="04"|4
 * Ballade de la reine morte d'aimer, song
 * voice and piano
 * 1893
 * text: Roland de Marès

 * -style="vertical-align: top"
 * data-sort-value="06"|6
 * Un grand sommeil noir, song
 * deep voice and piano
 * 1895
 * text: Paul Verlaine

 * -style="vertical-align: top"
 * data-sort-value="09"|9
 * Sainte, song
 * voice and piano
 * 1896
 * text: Stéphane Mallarmé

 * -style="vertical-align: top"
 * 10
 * D'Anne jouant l'espinette, song
 * voice and harpsichord/piano
 * 1896
 * text: Clément Marot

 * -style="vertical-align: top"
 * 15
 * Chanson du rouet, song
 * voice and piano
 * 1898
 * text: Leconte de Lisle

 * -style="vertical-align: top"
 * 16
 * Si Morne!, song
 * voice and piano
 * 1898
 * text: Émile Verhaeren

 * -style="vertical-align: top"
 * 21
 * D'Anne qui me jecta de la neige, song
 * voice and piano
 * 1899"
 * text: Clément Marot

 * -style="vertical-align: top"
 * 39
 * Manteau des fleurs, song
 * voice and piano
 * 1903
 * text: Paul Gravollet

 * -style="vertical-align: top"
 * data-sort-value="42a"|A4
 * Quel galant m'est comparable, song
 * voice and piano
 * 1904
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * published as No. 3 of Cinq mélodies populaires grecques ("Five Greek Folk Songs")

 * -style="vertical-align: top"
 * data-sort-value="42b"|A5
 * Chanson des cueilleuses de lentisques, song
 * voice and piano
 * 1904
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * published as No. 4 of Cinq mélodies populaires grecques ("Five Greek Folk Songs")

 * -style="vertical-align: top"
 * data-sort-value="42c"|A6
 * À vous, oiseaux des plaines, song
 * voice and piano
 * 1904
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * lost

 * -style="vertical-align: top"
 * data-sort-value="42d"|A7
 * Chanson du pâtre épirote, song
 * voice and piano
 * 1904
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * lost

 * -style="vertical-align: top"
 * data-sort-value="42e"|A8
 * Mon mouchoir, hélas, est perdu, song
 * voice and piano
 * 1904
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * lost

 * -style="vertical-align: top"
 * 47
 * Noël des jouets ("The Toys' Christmas"), song
 * voice and piano
 * 1905
 * lyrics by Ravel

 * -style="vertical-align: top"
 * 48
 * Les grands Vents venus d'outre-mer, song
 * voice and piano
 * 1906
 * text: Henri de Régnier

1. Le Paon
 * -style="vertical-align: top"
 * 50
 * Histoires naturelles ("Natural Histories"), song cycle

2. Le Grillon

3. Le Cygne

4. Le Martin-pêcheur

5. La Pintade
 * medium voice and piano
 * 1906
 * text: Jules Renard

 * -style="vertical-align: top"
 * data-sort-value="50a"|A9
 * Chanson de la mariée, song
 * voice and piano
 * 1905–06
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * published as No. 1 of Cinq mélodies populaires grecques ("Five Greek Folk Songs")

 * -style="vertical-align: top"
 * data-sort-value="50b"|A10
 * Là-bas, vers l'église, song
 * voice and piano
 * 1905–06
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * published as No. 2 of Cinq mélodies populaires grecques ("Five Greek Folk Songs")

 * -style="vertical-align: top"
 * data-sort-value="50c"|A11
 * Tout gai!, song
 * voice and piano
 * 1905–06
 * text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
 * published as No. 5 of Cinq mélodies populaires grecques ("Five Greek Folk Songs")

 * -style="vertical-align: top"
 * 51
 * Vocalise-étude en forme de habanera, song
 * deep voice and piano
 * 1907

 * -style="vertical-align: top"
 * 53
 * Sur l'herbe, song
 * voice and piano
 * 1907
 * text: Paul Verlaine

 * -style="vertical-align: top"
 * data-sort-value="58a"|A12
 * Chanson écossaise: Ye banks and braes o' bonnie Doon ("Scottish Song"), song
 * voice and piano
 * 1909
 * text: Robert Burns, in English

 * -style="vertical-align: top"
 * data-sort-value="58b"|A13
 * Tripatos: Kherya pou dhen idhen ilyos, song
 * voice and piano
 * 1909
 * text: Greek traditional, in Greek

1. Chanson espagnole: Adios men homino ("Spanish Song")
 * -style="vertical-align: top"
 * data-sort-value="60b"|A17
 * Chants populaires ("Folk Songs"), songs

2. Chanson française: Janeta ount anirem gardar ("French Song")

3. Chanson italienne: M'affaccio la finestra ("Italian Song")

4. Chanson hébraïque: Mejerke, main Suhn ("Hebrew Song") 2. text: French traditional, in Limousin;
 * medium voice and piano
 * 1910
 * 1. text: Spanish traditional, in Galician;

3. text: Italian traditional, in Italian;

4. text: Hebrew traditional, in Yiddish and Hebrew

 * -style="vertical-align: top"
 * 64a
 * Trois poèmes de Stéphane Mallarmé, song cycle
 * voice and piano
 * 1913
 * transcription of M 64

1. Kaddich: Yithgaddal weyithkaddash
 * -style="vertical-align: top"
 * data-sort-value="67c"|A22
 * Deux mélodies hébraïques ("Two Hebrew Songs"), songs

2. L'énigme éternelle: Fragt die Velt die alte Casche 2. text: Hebrew traditional, in Yiddish
 * voice and piano
 * 1914
 * 1. text: Hebrew traditional, in Aramaic;

 * -style="vertical-align: top"
 * 69a
 * Trois chansons
 * medium voice and piano
 * 1915
 * arrangement of M 69

 * -style="vertical-align: top"
 * 75
 * Ronsard à son âme, song
 * voice and piano
 * 1923–24
 * text: Pierre de Ronsard

 * -style="vertical-align: top"
 * 79
 * Rêves, song
 * voice and piano
 * 1927
 * text: Léon-Paul Fargue

 * -style="vertical-align: top"
 * data-sort-value="85a"|84a
 * Don Quichotte à Dulcinée, song cycle
 * baritone and piano
 * 1932–33
 * original version of M 84
 * }

title: List of compositions by Maurice Ravel


text:
Prophylaxis (chess)

In chess, prophylaxis consists of a move or series of moves done by a player to prevent their opponent from taking some action. Such preventive moves, or prophylactic moves, aim not only to improve one's position but also to restrict the opponent in improving their own.

Many standard and widespread opening moves can be considered prophylactic. One common prophylactic idea is the advance of the near a castled king, which can be done to provide luft and/or to prevent a pin; another is to transfer one's king to the b-file after castling queenside so as to protect an unmoved a-pawn, among other purposes.

Prophylaxis is a distinctive feature of, often preventing opponents from entering risky, double-edged lines, as well as punishing opponents who play too aggressively. Using prophylaxis is an essential skill at advanced levels of play. Famous practitioners of prophylactic play include Aron Nimzowitsch, Tigran Petrosian, and Anatoly Karpov; even players, such as Mikhail Tal and Garry Kasparov, make use of prophylaxis.

Etymology
The term prophylaxis comes from the Greek προφύλαξις, profýlaxis, "guarding or preventing beforehand".

Example
The diagram shows a common opening known as the Sicilian Defense, Najdorf Variation, arising after the moves 1.e4 c5 2.Nf3 d6 3.d4 cxd4 4.Nxd4 Nf6 5.Nc3 a6. Black's fifth move is a prophylactic move that intends to prevent White from placing a knight or bishop on b5.

title: Prophylaxis (chess)


text:
Sunda stink badger

The Sunda stink badger (Mydaus javanensis), also called the Javan stink badger, teledu, Malay stink badger, Malay badger, Indonesian stink badger and Sunda skunk, is a mammal native to Indonesia and Malaysia. Despite the common name, stink badgers are not closely related to true badgers, and are, instead, Old World relatives of the skunks. Coincidentally, its local name sigung in Sundanese is a false cognate to skunk which is of Algonquian origin.

Description
Sunda stink badgers have a similar body shape to badgers, but are significantly smaller, being 37 to 52 cm in total length, and weighing from 1.3 to 3.6 kg. Their fur is coarse, and black or very dark brown over most of the body, with a white stripe running from the top of the head to the tail. The tail is short, measuring about 3.6 cm, and is covered in pure white fur. The width of the stripe varies considerably between individuals, but is usually narrow, and may be discontinuous. As the name indicates, stink badgers have an anal scent gland that secretes a foul-smelling substance, which the animal can spray up to 15 cm. Females have six teats.

Distribution and habitat
Named for the Sunda Islands, Sunda stink badgers are found in Java, Sumatra, Borneo, and the northern Natuna Islands. Sunda stink badgers can be found across a wide variety of habitats, including forest edges or areas of secondary forest. Historically, they were thought to be restricted to high elevations of over 2000 m, and only rarely on lowland plains. This is now known not to be true, and more recent surveys have shown Sunda stink-badgers are often found in elevations well below 2000m. Sunda stink badgers have been reported as low as 250 m above sea level on Java, at relatively low elevations in Sarawak., and have even been recorded at elevations as low as 10m in the Lower Kinabatangan floodplains, Sabah, Borneo at seemingly high densities.

Three subspecies are recognized:

 * M. j. javanensis (Sunda stink badger) - Java and Sumatra
 * M. j. lucifer (Bornean stink badger) - Borneo
 * M. j. ollula (Natuna Islands stink badger) - northern Natuna Islands

Behaviour and ecology
The Sunda stink badger is omnivorous and highly nocturnal. The animal portion of its diet consists of invertebrates, eggs, and carrion. At night, it roots through soft soil using its snout and claws searching for worms and ground-dwelling insects. During the day, it sleeps in short burrows, less than 60 cm in length, which it either digs or takes over from other animals, such as porcupines. Females have been reported to give birth to litters of two or three young.

title: Sunda stink badger


text:
Maserati Ghibli

Maserati Ghibli is the name of three different cars produced by Italian automobile manufacturer Maserati: the AM115, a V8 grand tourer from 1967 to 1973; the AM336, a V6 twin-turbocharged coupé from 1992 to 1998; and the M157, an executive saloon from 2013 onwards.

Ghibli is the Libyan Arabic name for the hot dry south-westerly wind of the Libyan desert.

Ghibli (AM115)
The original Ghibli (Tipo AM115) is a two-door, 2+2 V8-engined grand tourer. American magazine Sports Car International named it number nine on its list of Top Sports Cars of the 1960s.

History

The Ghibli was first unveiled as a 2-seater concept car at the November 1966 Turin Motor Show. Its steel body, characterized by a low, shark-shaped nose, was designed by a young Giorgetto Giugiaro, then working at Ghia. The car featured pop-up headlamps, leather front sport seats, alloy wheels and 205R15 Pirelli Cinturato N72 tyres. Two rear seats consisting of nothing more than a cushion without a backrest were added to the production model, allowing the Ghibli to be marketed as a 2-door 2+2 fastback coupé. Deliveries started in March 1967.

The car was powered by a front placed quad-cam 4719 cc dry sump V8 engine mated to a five-speed ZF manual transmission, with a three-speed automatic transmission being optional. The engine had a power output of 310 PS. It had a 0-60 mph time of 6.8 seconds and a top speed of 250 km/h.

Spyder

The 2-seat Ghibli Spyder went into production in 1969. Its convertible top folded under a flush fitting body-colour tonneau cover behind the front seats. A detachable hardtop was available as an option.

Ghibli SS

The Ghibli SS was introduced in 1969. Its new engine was stroked up by 4 mm to displace 4930 cc and was rated at 335 PS at 5,500 rpm and 481 Nm of torque at 4,000 rpm. Its top speed of 280 km/h made it the fastest Maserati road car ever produced at the time. SS models have an additional /49 designation (ex. AM115/49). A Spyder version was introduced in the same year. Total production amounted to 45 Spyders and 425 coupés.

Production
In all, 1,170 coupés and 125 Spyders (including 45 Spyder SS) were produced. The Ghibli went out of production in 1973; it was succeeded the following year by the Bertone-designed Khamsin.

Specifications
The Ghibli used a tubular frame with a spot welded on body. Front suspension used double wishbone type, coaxial dampers and coil springs, and an anti-roll bar. At the rear there was a live axle on semi-elliptic springs, with a single longitudinal torque arm, hydraulic dampers and an anti-roll bar. Magnesium wheels were standard, originally fitted with Pirelli Cinturato 205 VR15 tyres (CN72) until 1972 when it changed to 215/70VR15 Pirelli Cinturato CN12, while Borrani wire wheels were optional. Even by the standards of its time and class, the car consumed copious volumes of fuel, but Maserati fitted the car with two independent 50 L fuel tanks, which could be filled via flaps on either side of the roof pillars.

Ghibli (AM336)
The Ghibli name was resurrected with the unveiling of the 1992 Ghibli (Tipo AM336), a two-door, four-seater coupé offered with twin-turbocharged V6 engines. Like the V8 Shamal flagship, it was an evolution of the previous Biturbo coupés; the interior and basic bodyshell were carried over from the Biturbo.

History
The Ghibli was launched at the 62nd Turin Motor Show in April 1992. The Ghibli was powered by updated 24-valve twin-turbocharged engines which had seen use on the Biturbo range: a 2.0-litre V6 coupled to a six-speed manual transmission for the Italian market, and a 2.8-litre V6 for export, at first coupled with a 5-speed manual, then from 1995 with the 6-speed manual. A 4-speed automatic was optional. The coupé was built for luxury as well as performance, and its interior featured Connolly leather upholstery and burr elm trim.

At the 1994 Geneva Motor Show, Maserati launched an updated Ghibli. A refreshed interior, new wing mirrors, wider and larger 17-inch alloy wheels of a new design, fully adjustable electronic suspension and ABS brakes were added. The Ghibli Open Cup single-make racing car was announced in late 1994.

Two sport versions were introduced in 1995. The first was the Ghibli Kit Sportivo, whose namesake handling kit included wider tyres on OZ "Futura III" split-rim wheels, specific springs, dampers and anti-roll bars. The second was the limited edition Ghibli Cup, which brought some features of the Open Cup racer into a road-going model; it debuted at the December 1995 Bologna Motor Show. It has a 1996 cc engine rated at 330 PS.

At the time the Ghibli Cup had the highest ever specific power output of any street legal car at undefined PS per litre, surpassing the Bugatti EB110 and Jaguar XJ220. Chassis upgrades included tweaked suspension and Brembo brakes. Visually the Cup was recognisable from its 5-spoke split-rim Speedline wheels and badges on the doors. Only four exterior colours were available: red, white, yellow and French blue. The sporty theme continued in the Cup's cabin with black leather, carbon fibre trim, aluminium pedals and a MOMO steering wheel.

Ghibli GT
A second round of improvements resulted in the Ghibli GT in 1996. It was fitted with 7-spoke 17" alloy wheels, black headlight housings, and had suspension and transmission modifications.

On 4 November 1996 on the Lake Lugano, Guido Cappellini broke the flying kilometre's World Speed Record on water in the 5-litre class, piloting a composite-hulled speedboat powered by the biturbo V6 from the Ghibli Cup and belonging to Bruno Abbate's Primatist/Special Team. The boat ran the kilometre at an average speed of 216.703 km/h. To celebrate the world record Maserati made 60 special edition Ghiblis called the Ghibli Primatist, featuring special Ultramarine blue paintwork and an interior trimmed in two-tone blue/turquoise leather and polished burr walnut trim.

Production of the second generation Ghibli ended in Summer 1998. It was replaced in the Maserati range by the 3200 GT.

Ghibli Open Cup
A single-make racing series for the Ghibli, the Open Cup, was run two seasons—1995 and 1996. Twenty-five Ghibli Open Cup racing cars were prepared. They were based on the two-litre model, with their tipo AM 577 engines tuned to 320 PS by using roller-bearing turbochargers, a freer-flowing exhaust, and remapped fuel computers; a roll cage, Sparco racing seats, a Momo racing steering wheel, aluminium shifter knob and pedals, 5-point belts, automatic fire extinguishing system, an aluminium sump guard, carbon fibre air-intakes, a modified fuel system and 17-inch 5-spoke Speedline wheels completed the outfitting. In 1995 eight races were held, two in Italy and six across Europe. In 1996, the car received a modification upgrade, resulting in similar track times to those of the Ferrari 355 Challenge. After the end of the 1995 racing season, several of the original 23 cars were used in national GT events.

Specifications
Like the Biturbo, the Ghibli had unibody steel construction, with a conventional longitudinally-mounted, front-engine, rear-wheel-drive layout. Suspension was of the MacPherson strut type at the front and semi-trailing arms at the rear, with coil springs, double-acting dampers and anti-roll bars on both axles. The differential and rear suspension arms were supported by a bushing-insulated subframe. It also featured ventilated disc brakes on all four wheels, and steering was servo-assisted rack and pinion.

The engine was the latest evolution of Maserati's all-aluminium alloy, DOHC 4 valves per cylinder 90° V6 engine, fitted with water-cooled IHI twin-turbochargers and two air-to-air intercoolers, one per each cylinder bank. Weber-Magneti Marelli IAW electronic fuel injection and ignition system was used. The gearbox was a Getrag-supplied 6-speed manual transmission from the Shamal on 2-litre cars, while 2.8 litre cars initially used a 5-speed ZF unit and were update with the Getrag gearbox in 1995. At the rear axle there was Maserati's "Ranger" Torsen limited slip differential from the Biturbo, with an added oil cooler.

Ghibli (M157)
The current third generation of the Ghibli (Tipo M157) was unveiled at the 2013 Shanghai Motor Show. The Ghibli is offered with three different 3.0-litre V6 engines: a twin-turbocharged 330 PS or 410 PS petrol and a 275 PS turbodiesel, making the Ghibli the first Maserati production car to be powered by a diesel engine. An eight-speed automatic transmission is standard on all models; all wheel drive is available with the most powerful V6, although not in right hand drive markets.

title: Maserati Ghibli


text:
Dynamite (Jamiroquai album)

Dynamite is the sixth studio album by English funk and acid jazz band Jamiroquai. It was released on 15 June 2005 in Japan, 20 June 2005 in the United Kingdom, 21 July 2005 in Australia and 20 September 2005 in the United States.

Album information
The album was released after the 2004 film Napoleon Dynamite featured the Jamiroquai song "Canned Heat" in its climactic dance scene. "Feels Just Like It Should" was the first single, reaching No. 8 in its first week on the UK charts. It has since become a No. 1 hit on the Billboard dance charts in the United States. The single was also certified Gold in Japan for selling 100,000 copies. The second single, "Seven Days in Sunny June", was released in the UK in August 2005, peaking at No. 14 on the UK Singles Chart. The song also features in the film The Devil Wears Prada. On 7 November 2005, "(Don't) Give Hate A Chance" was released as the third single from the album. The politically driven video for the track was Jamiroquai's first animated clip; it features a Buffalo Man, complete with buffalo-horned hat, sunglasses, and tracksuit. The clip helped the track score Top 20 showings in UK charts such as the Smash Hits and Hit40UK charts, both of which take in radio and video airplay as well as sales. The track reached No. 27 on the official UK Singles Chart. The album was recorded in many locations, including singer Jay Kay's personal Chillington Studios.

Reception
The album peaked at No. 3 in the United Kingdom, becoming the first Jamiroquai album to chart outside the top two spots. Uncut gave the album 3 out of 5 stars, claiming "Jay Kay returns with another blast of super-slick soul". Vibe wrote that "The space cowboys return with a vengeance, sounding funky as ever."

Track listing

 * Japanese bonus track
 * 13. "Feels So Good" (Knee Deep Remix Edit) – 3:42

 * DualDisc
 * 1) "Dynamite in Enhanced Stereo" – 54:59
 * 2) "Feels Just Like It Should" (video) – 4:34
 * 3) "Seven Days in Sunny June" (video) – 3:59
 * 4) "Feels Just Like It Should" (The Making Of) – 22:59

 * Australian tour edition bonus disc
 * 1) "Don't Give Hate a Chance" (Steve Mac Classic Remix)
 * 2) "Don't Give Hate a Chance" (Freemasons Remix)
 * 3) "Don't Give Hate a Chance" (Freemasons Dub)
 * 4) "Seven Days in Sunny June" (Ashley Beedle Heavy Disco Dub)
 * 5) "Seven Days in Sunny June" (Kraak & Smaak Remix)
 * 6) "Seven Days in Sunny June" (Blackbeard Remix)
 * 7) "Feels Just Like It Should" (Mark Ronson Remix 2 )
 * 8) "Feels Just Like It Should" (Timo Maas Remix)

Note: "Time Won't Wait" was not on the initial European and Australian release; in most regions, it was later added as a standard track. Additionally, some CD-r promos of the album include the track "Beatbox" (0:34) as Track 12.

Personnel
Adapted credits from the liner notes of Dynamite.

Jamrioquai Additional musicians
 * Jay Kay – lead vocals (all tracks), backing vocals (tracks 1–3, 6, 10–11), synthetic bass vocals (1), backing vocal arrangements (2, 4–8, 12)
 * Rob Harris – guitar (tracks 1–8, 10–12)
 * Matt Johnson – keyboards (1–6, 8, 10–12), piano (tracks 5, 8–9, 12), synthesizer bass (6), Fender Rhodes piano (7)
 * Derrick McKenzie – drums (tracks 1, 3, 5–6, 8, 10–12), additional hi-hat percussion (2)
 * Sola Akingbola – percussion (tracks 1, 3, 5, 10, 12)
 * Alex Meadows – bass (tracks 2, 10)
 * Derrick McIntyre – bass (tracks 3, 5, 8, 12) additional bass (11)
 * Randy Hope-Taylor – bass (track 7), additional bass (8)
 * Miaer Lloyd aka DJ Snare – scratch DJ (track 6)
 * Nathan Haines – flute, saxophone (track 7)
 * Benjamin Wright – string section leader (tracks 5, 7–9, 12), string arrangements (5, 7–9, 12), brass section leader (12), brass arrangements (12)
 * Mike Spencer – music programming (tracks 1–8, 10–12)
 * Bridgette Blades – backing vocals (tracks 2, 5, 11–12)
 * Alexandra Brown – backing vocals (tracks 2, 5, 11–12)
 * Vann Johnson – backing vocals (tracks 2, 5, 11–12)
 * Samantha Smith – backing vocals (track 4)
 * Valerie Etienne – backing vocals (tracks 5, 7, 10)
 * Hazel Fernandez – backing vocals (tracks 5, 7, 10)
 * Audrey Martells – backing vocals (tracks 8)

Technical
 * Mike Spencer – producer (all tracks), engineer (tracks 1, 3, 5, 7–10, 12), audio mixing (all tracks)
 * Jay Kay – producer (2, 6, 8), artwork
 * Rick Pope – recording engineer (tracks 1, 3, 5, 8, 10, 12)
 * Reginald Dozier – recording engineer (tracks 7, 9)
 * Nick Ferrero – recording engineer (track 9)
 * Pablo Arraya – additional recording engineer (all tracks)
 * Richard Bignell – additional recording engineer (all tracks)
 * Tom Coyne – mastering
 * Charlie Lightening – photography

title: Dynamite (Jamiroquai album)


text:
The Killing Moon

"The Killing Moon" is a song by the English rock band Echo & the Bunnymen. It was released on 20 January 1984 as the lead single from their fourth studio album, Ocean Rain (1984). It is one of the band's highest-charting hits, reaching number 9 in the UK Singles Chart, and often cited as the band's greatest song. Ian McCulloch has said: "When I sing 'The Killing Moon', I know there isn't a band in the world who's got a song anywhere near that." In a retrospective review of the song, AllMusic journalist Stewart Mason wrote: "The smart use of strings amplifies the elegance of the tune, bringing both a musical richness and a sense of quiet dignity to the tune."

The song appeared on the soundtrack to the 2001 science fiction film Donnie Darko.

Lyrics
According to the liner notes of Echo & the Bunnymen's box set Crystal Days: 1979–1999 (2001), Ian McCulloch woke up one morning with the phrase "fate up against your will" in mind. In a 2015 interview McCulloch said: "I love (the song) all the more because I didn’t pore over it for days on end. One morning, I just sat bolt upright in bed with this line in my head: 'Fate up against your will. Through the thick and thin. He will wait until you give yourself to him.' You don’t dream things like that and remember them. That’s why I’ve always half credited the lyric to God. It’s never happened before or since." McCulloch attributed the use of astronomical imagery in the song to a childhood interest in space.

Music
The chords of the song were based on David Bowie's "Space Oddity", played backwards. The arrangement of the song was partially inspired by balalaika music that Les Pattinson and Will Sergeant had heard in Russia. The guitar solo had been recorded separately by Sergeant whilst tuning up and was inserted in the song at the suggestion of producer David Lord. The strings on the track are a combination of Adam Peters' cello and keyboards played by the producer. The song is in Aeolian dominant.

Track listing

 * UK 12"
 * 1) "The Killing Moon" (All Night Version) – 9:11
 * 2) "The Killing Moon" – 5:50
 * 3) "Do It Clean" (Recorded live at the Royal Albert Hall London 18 July 1983) – 6:36

Other media and cover versions
"The Killing Moon" was featured in the 2001 film Donnie Darko, setting the tone for the opening scene as Donnie enters the town. For the director's cut of the film in 2004, Richard Kelly was unable to secure the rights to "The Killing Moon" a second time, and instead substituted "Never Tear Us Apart" by INXS. The Digital Fix film review opined that the Bunnymen song worked much better in the scene. Artists that have covered the song include notable versions by Pavement and Chvrches.

title: The Killing Moon


text:
User talk:Bush's DNA

Please do not vandalize Wikipedia articles. Georgia guy 01:50, 4 Jun 2005 (UTC)

title: User talk:Bush's DNA


text:
Talk:Bashir Ali Mohammad

Untitled
I have removed the following as I don't think it is needed in an encyclopedia:

 * He is known to be an extremely creative entrepreneur. For example, the group have recently invested in a chain of retail stores under the name of "Ideas by Gul Ahmed". Their company Arwen Tech is personally being looked after by one of Ali Mohammad's three children, his son Ziad Bashir who is an extremely active director looking to make fast inroads into the Business Process Outsourcing sector. Arwen Technologies that made it into the 09 May 2005 issue of Business Week regarding Pakistan's rapidly developing outsourcing sector.
 * See Business Week MAY 92005 "Pakistan: Better Late Than Never In Outsourcing"

 * In a recent KSA convention Mr. Bashir Ali Mohammad, Chairman & CEO, Gul Ahmed Textile Mills from Pakistan said, “South Asia is one of the least integrated nations in the world, the volume of trade within the subcontinent is insufficient and this is a cause for major concern. If we can’t get together, we can't get competitive with the rest of the world. We have to learn to collaborate to face the ruthless climate of globalization and improve our services within."
 * See KSA-technopak April 25 - April 26 2005 "Emergence and Role of Regional Clusters"

Any comments? Andreww 08:20, 16 Jun 2005 (UTC)

External links modified
Hello fellow Wikipedians,

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 * Added archive https://web.archive.org/20070928051210/http://66.201.122.226/2005/08/14/nat1.htm to http://66.201.122.226/2005/08/14/nat1.htm

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title: Talk:Bashir Ali Mohammad


text:
User talk:Don Young's DNA

Please do not vandalize Wikipedia articles. Georgia guy 01:51, 4 Jun 2005 (UTC)

title: User talk:Don Young's DNA


text:
User:Affrocow

About Me
I am a fourteen year old student living in Calgary, AB.

My Political Views
I am a moderate conservative, anti-hippie, and a strong beleiver in people taking their own initiative to make their way in life. I am also a libertarian, and believe that the government have "No place in the bedrooms of our nation," (Pierre Trudeau). Nor do they have a place in our offices or shopping centers. I believe that if people want to succeed they have to build a support base for themselves, not have a pre-built government ladder to climb up at their leisure.

Why I Hate Hippies
First I'd like to say I have nothing against political protesters, just hippies. "Aren't they the same," you might say? No. Hippies wander barefoot in large groups chanting paranoid idioms, while political protesters do useful things, like protest effectively. While dirty hippies wave banners and block doorways, rainforests die. And no amount of free love or body odour will stop that. Silly clothes, bad hygiene, and a heart full of love wont solve the problems of the world. My message to all you hippies out there: You think that by not showering you'll save the ocean. You wont, you'll just smell.

My Economic System
In our society I believe conservative libertarianism is the best system, in a utopian society I believe that the system I pioneered, Social Collectivism would be more effective. Social Collectivism is a totalitarian socialist system. This does go against my general political viewpoint in many respects, but in a truly utopian society every man would be accounted for evenly, hence the Liberalism. But even in a utopia, a system would be required to implement the even distribution of basic needs, a central principle of Social Collectivism, therefore a totalitarian government would be required. Follow the link below to further investigate what Social Collectivism consists of.

Social Collectivism

title: User:Affrocow


text: Template:Navbox diacritical marks

title: Template:Navbox diacritical marks


text:
User talk:Lisa Murkowski's DNA

Please do not vandalize Wikipedia articles. Georgia guy 01:53, 4 Jun 2005 (UTC)

title: User talk:Lisa Murkowski's DNA


text:
User talk:Rightdeen

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 Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! ,SqueakBox 01:53, Jun 4, 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:Rightdeen


text:
Ever to Excel

"Ever to Excel" is the English translation of the Ancient Greek phrase 'αἰὲν ἀριστεύειν' aièn aristeúein. It has been used as motto by a number of educational institutions.

Origin and etymology
The phrase is derived from the sixth book of Homer's Iliad, in which it is used in a speech Glaucus delivers to Diomedes. During a battle between the Greeks and Trojans, Diomedes is impressed by the bravery of a mysterious young man and demands to know his identity. Glaucus replies: "Hippolochus begat me. I claim to be his son, and he sent me to Troy with strict instructions: Ever to excel, to do better than others, and to bring glory to your forebears, who indeed were very great ... This is my ancestry; this is the blood I am proud to inherit."

Usage as a motto
It is the motto of the Hellenic National Defence General Staff. The phrase has also been used as the motto of a number of schools and universities, mainly in the United Kingdom, notably the University of St Andrews, but also in the United States and Canada. These include schools such as Caistor Grammar School, the Edinburgh Academy, Kelvinside Academy and Old Scona Academic High School, also primary school in Malaysia, SK Sg Karangan as well as universities such as Boston College.

title: Ever to Excel