text:
Contact angle

The contact angle (symbol $θ_{C}$) is the angle between a liquid surface and a solid surface where they meet. More specifically, it is the angle between the surface tangent on the liquid–vapor interface and the tangent on the solid–liquid interface at their intersection. It quantifies the wettability of a solid surface by a liquid via the Young equation.

A given system of solid, liquid, and vapor at a given temperature and pressure has a unique equilibrium contact angle. However, in practice a dynamic phenomenon of contact angle hysteresis is often observed, ranging from the advancing (maximal) contact angle to the receding (minimal) contact angle. The equilibrium contact is within those values, and can be calculated from them. The equilibrium contact angle reflects the relative strength of the liquid, solid, and vapour molecular interaction.

The contact angle depends upon the medium above the free surface of the liquid, and the nature of the liquid and solid in contact. It is independent of the inclination of solid to the liquid surface. It changes with surface tension and hence with the temperature and purity of the liquid.

Thermodynamics

The theoretical description of contact angle arises from the consideration of a thermodynamic equilibrium between the three phases: the liquid phase (L), the solid phase (S), and the gas or vapor phase (G) (which could be a mixture of ambient atmosphere and an equilibrium concentration of the liquid vapor). (The "gaseous" phase could be replaced by another immiscible liquid phase.) If the solid–vapor interfacial energy is denoted by $γSG$, the solid–liquid interfacial energy by $γSL$, and the liquid–vapor interfacial energy (i.e. the surface tension) by $γLG$, then the equilibrium contact angle $θC$ is determined from these quantities by the Young equation: $$\gamma_{\rm SG} - \gamma_{\rm SL} - \gamma_{\rm LG} \cos \theta_{\rm C}=0 \,$$

The contact angle can also be related to the work of adhesion via the Young–Dupré equation: $$\gamma_{\rm LG} (1 + \cos \theta_{\rm C} )= \Delta W_{\rm SLG} \,$$

where $$\Delta W_{\rm SLG}$$ is the solid – liquid adhesion energy per unit area when in the medium G.

Modified Young’s equation
The earliest study on the relationship between contact angle and surface tensions for sessile droplets on flat surfaces was reported by Thomas Young in 1805. A century later Gibbs proposed a modification to Young's equation to account for the volumetric dependence of the contact angle. Gibbs postulated the existence of a line tension, which acts at the three-phase boundary and accounts for the excess energy at the confluence of the solid-liquid-gas phase interface, and is given as:

$$\cos\theta = \frac{\gamma_{\rm SG}-\gamma_{\rm SL}}{\gamma_{\rm LG}} + \frac{\kappa}{\gamma_{\rm LG}} \frac{1}{a}$$

where $κ$ is the line tension in Newtons and $a$ is the droplet radius in meters. Although experimental data validates an affine relationship between the cosine of the contact angle and the inverse line radius, it does not account for the correct sign of $κ$ and overestimates its value by several orders of magnitude.

Contact angle prediction while accounting for line tension and Laplace pressure
With improvements in measuring techniques such as atomic force microscopy, confocal microscopy, and scanning electron microscope, researchers were able to produce and image droplets at ever smaller scales. With the reduction in droplet size came new experimental observations of wetting. These observations confirmed that the modified Young's equation does not hold at the micro-nano scales. Jasper proposed that including a $V dP$ term in the variation of the free energy may be the key to solving the contact angle problem at such small scales. Given that the variation in free energy is zero at equilibrium:

$$0= \frac{dA_{\rm LG}}{dA_{\rm SL}} + \frac{\gamma_{\rm SL} - \gamma_{\rm SG}}{\gamma_{\rm LG}} - \frac{\kappa}{\gamma_{\rm LG}}\frac{dL}{dA_{\rm SL}} - \frac{V}{\gamma_{\rm LG}} \frac{dP}{dA_{\rm SL}}$$

The variation in the pressure at the free liquid-vapor boundary is due to Laplace pressure, which is proportional to the mean curvature. Solving the above equation for both convex and concave surfaces yields:

$$\cos(\theta\mp\alpha) = A + B\,\frac{\cos\alpha}{a} \pm C\sin(\theta \mp \alpha)(1 + \cos\theta)^2\biggl(\frac{\sin\alpha\,(2 + \cos\alpha)}{(1 + \cos\alpha)^2} \mp \frac{\sin\theta\,(2 + \cos\theta)}{(1 + \cos\theta)^2}\biggr)$$

where $$A = \frac{\gamma_{\rm SG} - \gamma_{\rm SL}}{\gamma_{\rm LG}}, \quad B = \frac{\kappa}{\gamma_{\rm LG}}, \quad C = \frac{\gamma}{3\gamma_{\rm LG}}.$$

This equation relates the contact angle, a geometric property of a sessile droplet to the bulk thermodynamics, the energy at the three phase contact boundary, and the mean curvature of the droplet. For the special case of a sessile droplet on a flat surface ($α = 0$):

$$\cos\theta = \frac{\gamma_{\rm SG}-\gamma_{\rm SL}}{\gamma_{\rm LG}} + \frac{\kappa}{\gamma_{\rm LG}} \frac{1}{a} -\frac{\gamma}{3\gamma_{\rm LG}}(2 + \cos\theta - 2\cos^2\theta - \cos^3\theta)$$

In the above equation, the first two terms are the modified Young's equation, while the third term is due to the Laplace pressure. This nonlinear equation correctly predicts the sign and magnitude of $κ$, the flattening of the contact angle at very small scales, and contact angle hysteresis.

Contact angle hysteresis
A given substrate-liquid-vapor combination yields a continuous range of contact angle values in practice. The maximum contact angle is referred to as the advancing contact angle and the minimum contact angle is referred to as the receding contact angle. The advancing and receding contact angles are measured from dynamic experiments where droplets or liquid bridges are in movement. In contrast, the equilibrium contact angle described by the Young-Laplace equation is measured from a static state. Static measurements yield values in-between the advancing and receding contact angle depending on deposition parameters (e.g. velocity, angle, and drop size) and drop history (e.g. evaporation from time of deposition). Contact angle hysteresis is defined as $θA – θR$ although the term is also used to describe the expression $cos θR – cos θA$. The static, advancing, or receding contact angle can be used in place of the equilibrium contact angle depending on the application. The overall effect can be seen as closely analogous to static friction, i.e., a minimal amount of work per unit distance is required to move the contact line.

The advancing contact angle can be described as a measure of the liquid-solid cohesion while the receding contact angle is a measure of liquid-solid adhesion. The advancing and receding contact angles can be measured directly using different methods and can also be calculated from other wetting measurements such as force tensiometry (aka Wilhemy-Plate method).

Advancing and receding contact angles can be measured directly from the same measurement if drops are moved linearly on a surface. For example, a drop of liquid will adopt a given contact angle when static, but when the surface is tilted the drop will initially deform so that the contact area between the drop and surface remains constant. The "downhill" side of the drop will adopt a higher contact angle while the "uphill" side of the drop will adopt a lower contact angle. As the tilt angle increases the contact angles will continue to change but the contact area between the drop and surface will remain constant. At a given surface tilt angle, the advancing and receding contact angles will be met and the drop will move on the surface. In practice, the measurement can be influenced by shear forces and momentum if the tilt velocity is high. The measurement method can also be challenging in practice for systems with high (>30 degrees) or low (<10 degrees) contact angle hysteresis.

Advancing and receding contact angle measurements can be carried out by adding and removing liquid from a drop deposited on a surface. If a sufficiently small volume of liquid is added to a drop, the contact line will still be pinned, and the contact angle will increase. Similarly, if a small amount of liquid is removed from a drop, the contact angle will decrease.

The Young's equation assumes a homogeneous surface and does not account for surface texture or outside forces such as gravity. Real surfaces are not atomically smooth or chemically homogeneous so a drop will assume contact angle hysteresis. The equilibrium contact angle ($θC$) can be calculated from $θA$ and $θR$ as was shown theoretically by Tadmor and confirmed experimentally by Chibowski as,

$$ \theta_{\rm c} = \arccos\left(\frac{r_{\rm A}\cos\theta_{\rm A} + r_{\rm R}\cos\theta_{\rm R}}{r_{\rm A}+r_{\rm R}}\right) $$

where

$$\begin{align} r_{\rm A} &= \sqrt[3]{ \frac{\sin^3\theta_{\rm A}}{2-3\cos\theta_{\rm A} + \cos^3 \theta_{\rm A}} } \\[4pt] r_{\rm R} &= \sqrt[3]{\frac{\sin^3\theta_{\rm R}}{2-3\cos\theta_{\rm R} + \cos^3 \theta_{\rm R}} } \end{align}$$

On a surface that is rough or contaminated, there will also be contact angle hysteresis, but now the local equilibrium contact angle (the Young equation is now only locally valid) may vary from place to place on the surface. According to the Young–Dupré equation, this means that the adhesion energy varies locally – thus, the liquid has to overcome local energy barriers in order to wet the surface. One consequence of these barriers is contact angle hysteresis: the extent of wetting, and therefore the observed contact angle (averaged along the contact line), depends on whether the liquid is advancing or receding on the surface.

Because liquid advances over previously dry surface but recedes from previously wet surface, contact angle hysteresis can also arise if the solid has been altered due to its previous contact with the liquid (e.g., by a chemical reaction, or absorption). Such alterations, if slow, can also produce measurably time-dependent contact angles.

Effect of roughness to contact angles
Surface roughness has a strong effect on the contact angle and wettability of a surface. The effect of roughness depends on if the droplet will wet the surface grooves or if air pockets will be left between the droplet and the surface.

If the surface is wetted homogeneously, the droplet is in Wenzel state. In Wenzel state, adding surface roughness will enhance the wettability caused by the chemistry of the surface. The Wenzel correlation can be written as $$\cos\theta_m = r\cos\theta_Y$$ where $θ_{m}$ is the measured contact angle, $θ_{Y}$ is the Young contact angle and $r$ is the roughness ratio. The roughness ratio is defined as the ratio between the actual and projected solid surface area.

If the surface is wetted heterogeneously, the droplet is in Cassie-Baxter state. The most stable contact angle can be connected to the Young contact angle. The contact angles calculated from the Wenzel and Cassie-Baxter equations have been found to be good approximations of the most stable contact angles with real surfaces.

Dynamic contact angles
For liquid moving quickly over a surface, the contact angle can be altered from its value at rest. The advancing contact angle will increase with speed, and the receding contact angle will decrease. The discrepancies between static and dynamic contact angles are closely proportional to the capillary number, noted $$Ca$$.

Contact angle curvature
On the basis of interfacial energies, the profile of a surface droplet or a liquid bridge between two surfaces can be described by the Young–Laplace equation. This equation is applicable for three-dimensional axisymmetric conditions and is highly non-linear. This is due to the mean curvature term which includes products of first- and second-order derivatives of the drop shape function $$f(x,y)$$: $$\kappa_m = \frac{1}{2}\frac{(1+{f_x}^2)f_{yy}-2f_x f_y f_{xy} + (1+{f_y}^2)f_{xx}}{(1+{f_x}^2+{f_y}^2)^{3/2}}. $$

Solving this elliptic partial differential equation that governs the shape of a three-dimensional drop, in conjunction with appropriate boundary conditions, is complicated, and an alternate energy minimization approach to this is generally adopted. The shapes of three-dimensional sessile and pendant drops have been successfully predicted using this energy minimisation method.

Typical contact angles
Contact angles are extremely sensitive to contamination; values reproducible to better than a few degrees are generally only obtained under laboratory conditions with purified liquids and very clean solid surfaces. If the liquid molecules are strongly attracted to the solid molecules then the liquid drop will completely spread out on the solid surface, corresponding to a contact angle of 0°. This is often the case for water on bare metallic or ceramic surfaces, although the presence of an oxide layer or contaminants on the solid surface can significantly increase the contact angle. Generally, if the water contact angle is smaller than 90°, the solid surface is considered hydrophilic and if the water contact angle is larger than 90°, the solid surface is considered hydrophobic. Many polymers exhibit hydrophobic surfaces. Highly hydrophobic surfaces made of low surface energy (e.g. fluorinated) materials may have water contact angles as high as ≈ 120°. Some materials with highly rough surfaces may have a water contact angle even greater than 150°, due to the presence of air pockets under the liquid drop. These are called superhydrophobic surfaces.

If the contact angle is measured through the gas instead of through the liquid, then it should be replaced by 180° minus their given value. Contact angles are equally applicable to the interface of two liquids, though they are more commonly measured in solid products such as non-stick pans and waterproof fabrics.

Control of contact angles
Control of the wetting contact angle can often be achieved through the deposition or incorporation of various organic and inorganic molecules onto the surface. This is often achieved through the use of specialty silane chemicals which can form a SAM (self-assembled monolayers) layer. With the proper selection of the organic molecules with varying molecular structures and amounts of hydrocarbon and/or perfluorinated terminations, the contact angle of the surface can tune. The deposition of these specialty silanes can be achieved in the gas phase through the use of a specialized vacuum ovens or liquid-phase process. Molecules that can bind more perfluorinated terminations to the surface can results in lowering the surface energy (high water contact angle).

The static sessile drop method
The sessile drop contact angle is measured by a contact angle goniometer using an optical subsystem to capture the profile of a pure liquid on a solid substrate. The angle formed between the liquid–solid interface and the liquid–vapor interface is the contact angle. Older systems used a microscope optical system with a back light. Current-generation systems employ high resolution cameras and software to capture and analyze the contact angle. Angles measured in such a way are often quite close to advancing contact angles. Equilibrium contact angles can be obtained through the application of well defined vibrations.

The pendant drop method
Measuring contact angles for pendant drops is much more complicated than for sessile drops due to the inherent unstable nature of inverted drops. This complexity is further amplified when one attempts to incline the surface. Experimental apparatus to measure pendant drop contact angles on inclined substrates has been developed recently. This method allows for the deposition of multiple microdrops on the underside of a textured substrate, which can be imaged using a high resolution CCD camera. An automated system allows for tilting the substrate and analysing the images for the calculation of advancing and receding contact angles.

The dynamic sessile drop method
The dynamic sessile drop is similar to the static sessile drop but requires the drop to be modified. A common type of dynamic sessile drop study determines the largest contact angle possible without increasing its solid–liquid interfacial area by adding volume dynamically. This maximum angle is the advancing angle. Volume is removed to produce the smallest possible angle, the receding angle. The difference between the advancing and receding angle is the contact angle hysteresis.

Dynamic Wilhelmy method
The dynamic Wilhelmy method is a method for calculating average advancing and receding contact angles on solids of uniform geometry. Both sides of the solid must have the same properties. Wetting force on the solid is measured as the solid is immersed in or withdrawn from a liquid of known surface tension. Also in that case it is possible to measure the equilibrium contact angle by applying a very controlled vibration. That methodology, called VIECA, can be implemented in a quite simple way on every Wilhelmy balance.

Single-fiber Wilhelmy method
Dynamic Wilhelmy method applied to single fibers to measure advancing and receding contact angles.

Single-fiber meniscus method
An optical variation of the single-fiber Wilhelmy method. Instead of measuring with a balance, the shape of the meniscus on the fiber is directly imaged using a high resolution camera. Automated meniscus shape fitting can then directly measure the static, advancing or receding contact angle on the fiber.

Washburn's equation capillary rise method
In case of a porous materials many issues have been raised both about the physical meaning of the calculated pore diameter and the real possibility to use this equation for the calculation of the contact angle of the solid, even if this method is often offered by much software as consolidated. Change of weight as a function of time is measured.

title: Contact angle


text: User talk:63.200.164.30

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

title: User talk:63.200.164.30


text:
George M. Dallas (judge)

George Mifflin Dallas (February 7, 1839 – January 21, 1917) was a United States circuit judge of the United States Court of Appeals for the Third Circuit and of the United States Circuit Courts for the Third Circuit.

Education and career
Born on February 7, 1839, in Pittsburgh, Pennsylvania, Dallas read law in 1859. He entered private practice in Philadelphia, Pennsylvania starting in 1859. He was a Professor of Law for the University of Pennsylvania.

Federal judicial service
Dallas was nominated by President Benjamin Harrison on December 16, 1891, to the United States Court of Appeals for the Third Circuit and the United States Circuit Courts for the Third Circuit, to a new joint seat authorized by 26 Stat. 826. He was confirmed by the United States Senate on March 17, 1892, and received his commission the same day. His service terminated on May 24, 1909, due to his retirement.

Death
Dallas died on January 21, 1917.

title: George M. Dallas (judge)


text:
Talk:Accessory Before the Act

Mindspillage (spill yours?) 03:57, 4 Jun 2005 (UTC)

title: Talk:Accessory Before the Act


text:
2-12-0

Under the Whyte notation for the classification of steam locomotives, 2-12-0 represents the wheel arrangement of two leading wheels on one axle (usually in a leading truck), twelve powered and coupled driving wheels on six axles, and no trailing wheels.

Equivalent classifications
Other equivalent classifications are:
 * UIC classification: 1F (also known as German classification and Italian classification)
 * French classification: 160
 * Turkish classification: 67
 * Swiss classification: 6/7

Germany
While standard German freight train steam locomotives were 2-10-0 types, between 1917 and 1924 the Esslingen locomotive works produced 44 units of the so-called Class K for the Royal Württemberg State Railways (later renumbered to class 59 by the Deutsche Reichsbahn). With a top speed of only 60 km/h these locomotives were designed for heavy duty in mountainous areas such as the Geislinger Steige, with special attention on low load per axle (16 t). During World War II, after electrification of that line the units were used on the Semmering railway in Austria, then part of the German Reich. The last four units were in service until 1957.

France
The Paris-Orleans railway made a compound demonstrator (160-A1) under the orders of André Chapelon which used a six-cylinder, double expansión configuration with 'resuperheat'.

Other
Other 2-12-0s were built for the Austrian State Railways in 1912.

title: 2-12-0


text:
Children's Creativity Museum

The Children's Creativity Museum is an interactive museum for children aged 2–12 years, located in Yerba Buena Gardens, in San Francisco, California. It offers workshops and exhibits that allow children to produce their own media through various interactive, creative processes: stop motion animation, programming robots, music video production, design challenges, art projects, and more. It has around 100,000 museum visitors annually (as of 2016/17). The Children's Creativity Museum is a nonprofit 501(c)(3) organization, with annual revenues of around $2.1 million (as of 2016/17), including $600,000 of funding from the city of San Francisco.

History
The Children's Creativity Museum opened as Zeum on October 31, 1998, as part of a major 87 acre urban renewal project in the South of Market area by the San Francisco Redevelopment Agency. It is housed in a two-story building, constructed on top of the Moscone Convention Center, which includes a 200-seat theatre and 3,000 square feet of exhibition space. The museum includes a 1906 carousel by Charles I. D. Looff.

Zeum changed its name to Children's Creativity Museum in 2011 to increase awareness about the museum's purpose. In a press release announcing the name change, it stated: "Although the name Zeum sounded fun, it didn't provide parents with any clues about what they and their children would experience. With that understanding, our verbal branding team identified two primary goals the new name needed to accomplish: It had to be descriptive enough to indicate who it was for, but also suggestive enough to encompass the broad range of imaginative activities participants could take part in. After vetting over 200 names with Zeum leadership, it was agreed that the name "Children's Creativity Museum" accomplished both goals."

Exhibits
In the Animation Studio, children can mold clay characters and make their own stop-motion animation movie. In this exhibit, museum educators introduce film making concepts: making a storyboard, building the characters, and producing a stop-motion animation. Afterward, visitors can stop by one of five stop-motion animation stations, choose different set backdrops to set the scene, and capture their footage frame by frame using a video camera. Once the movie is complete, copies of the video are emailed to visitors.

In the Tech Lab, children are introduced to coding by learning how to program a robot to complete a series of tasks, navigate mazes, and play games. Each activity is designed to promote creative problem-solving in novice programmers. More experienced coders can program robots to respond to sensor inputs and use loops to avoid obstacles.

In the Innovation Lab, visitors are invited to put their problem-solving and critical thinking skills to the test in working with basic, limited materials to create a prototype for a solution to a problem.

In the Making Music Studio, visitors experiment with instruments and original sounds to make music. Your original music creation changes as you move from one area of the exhibit to another. Families will discover that music comes from unexpected places. Your original score is available to download and take home.

title: Children's Creativity Museum


text:
2-12-4T

In Whyte notation for the classification of steam locomotives by wheel arrangement, a 2-12-4 is a locomotive with one pair of unpowered leading wheels, followed by six pairs of powered driving wheels, and two pairs of unpowered trailing wheels. While it would be possible to make a tender locomotive of this type, all locomotives of this wheel arrangement were tank engines.

Other equivalent classifications are:
 * UIC classification: 1′F2′ (also known as German classification and Italian classification)
 * European classification: 1-6-2
 * French classification: 162

Bulgaria
There are only 20 standard gauge engines with this wheel arrangement that were built for and ran in Europe: class 46 of the Bulgarian State Railways (BDŽ). They were ordered by BDŽ and built according to its specification by two different manufacturers: 12 engines by H. Cegielski in Poznań, Poland in 1931, and 8 by Berliner Maschinenbau (Schwarzkopf) in Berlin, Germany in 1943. Although there is a major difference between the two batches—the first 12 engines are type 1′F2′ h2Gt — tank-engine for freight service, two-cylinder system with simple steam expansion (Zwilling) with superheating, while the remaining 8 are 1′F2′ h3Gt — 3-cylinder (Drilling)—all were put into the same class 46 and numbered 46. 01 – 46. 12 and 46. 13 – 46. 20 . They were designed to haul heavy coal trains on mountainous lines with gradients of about 2.67% (1 in 35.7) and more, and they coped with this hard task very well. Bulgarian railwaymen gave them nickname "Mother Bear" because they looked fat, clumsy and compact. These engines appear to be the most powerful steam locomotives in Europe. Two of them (46.03 of Zwillings and 46.13 of Drillings) are preserved. The Zwilling 46.03 has been restored to working order and made its maiden voyage on steam in May 2015.

Technical specifications:

title: 2-12-4T


text:
2-6-6-0

Under the Whyte notation for the classification of steam locomotives by wheel arrangement, 2-6-6-0 is a locomotive with one pair of unpowered leading wheels, followed by two sets of three pairs of powered driving wheels and no trailing wheels. The wheel arrangement was principally used on Mallet-type articulated locomotives. Some tank locomotive examples were also built, for which various suffixes to indicate the type of tank would be added to the wheel arrangement, for example 2-6-6-0T for an engine with side-tanks.

Overview
The 2-6-6-0 wheel arrangement was most often used for articulated compound steam Mallet locomotives. In a compound Mallet, the rear set of coupled wheels are driven by the smaller high pressure cylinders, from which spent steam is then fed to the larger low pressure cylinders that drive the front set of coupled wheels.

Indonesia
The Java Staatsspoorwegen (SS/JSS) operated its first of 2-6-6-0Ts in the 1904. The first batch was delivered between 1904 and 1909 from Schwartzkopff and Hartmann. The second batch, delivered between 1910 and 1911, was built by Werkspoor. The front water tanks of the first batch are square, those on the second batch are sloped. These were successor of the first Mallets the SS Class 500s (DKA BB10s), which were delivered in 1900 and worked on the  gauge heavy mountain lines of West Java. Just after arrived on Java, these engines classified as SS Class 312–387, but later renumbered as SS Class 520 (521–543) and worked for mixed passenger and freight trains on Purwakarta–Bandung and Cicalengka–Banjar lines. After Japanese occupation and Indonesian Independence, these locomotives were renumbered to CC10 and used by Djawatan Kereta Api (DKA) or The Department of Railway of the Republic of Indonesia until the era of Perusahaan Jawatan Kereta Api (PJKA). By the end of the service, the CC10s were allocated in Rangkasbitung and Cibatu depots. All of CC10s were withdrawn from active service in 1980s and scrapped.

In 1927–1928, the Java Staatsspoorwegen imported 16 2-6-6-0 Mallet locomotives from the Swiss Locomotive and Machine Works and 14 from Werkspoor, N.V. for the mountain lines in West Java. These were a compact version of the Bull Moose SS Class 1250 (DKA DD52). They worked on Cibatu–Garut–Cikajang and Purwakarta–Padalarang lines. The experience gained by the JSS modifying earlier Mallets helped them design these locomotives to use standard parts that could be exchanged with other SS locomotives. These locomotives also known as De Bergkoningin or The Queen of the Mountain. They were known as Si Gombar by locals due to the ability on the mountain lines and its huge size. The Class 1600 proved more powerful than other SS locomotives, and able to haul trains weighing 1,300 tons at a speed of 55 kph, and being able to negotiate tight curves. These locomotives were used throughout Java. During the Japanese occupation of the Dutch East Indies in 1942, all of JSS locomotives were renumbered based on the Japanese numberings. The Class 1600s were renumbered CC50. This numbering system remained in use after the Independence of Indonesia by Djawatan Kereta Api (DKA) - the Department of Railways of the Republic of Indonesia until the era of Perusahaan Jawatan Kereta Api (PJKA) or Indonesian Railway Bureau Company. By 1971, these locomotives were located at Cibatu, Banjar, Purwakarta, Purwokerto, Ambarawa, Madiun and Sidotopo (Surabaya) locomotive depots.

Preservation
The steam era in Indonesia ended in the early 1980s. The remaining locomotives were dumped in station sheds. The last CC50 retired in 1984 after the closure of Cibatu-Garut line.

In 1981, CC5022 from Purwokerto depot was donated by PJKA to the Railway Museum (Netherlands), as a symbol of friendship between Indonesia and the Netherlands. This locomotive was returned to its original colonial number 1622. In 2023, only three CC50s remain: 01 and 22 built by Werkspoor and SLM 29. CC5001 is preserved at the Transportation Museum of Taman Mini Indonesia Indah, CC5022 at Netherlands Railway Museum and CC5029 at Ambarawa Railway Museum.

New Zealand
The sole NZR E class locomotive of 1906 was the only 2-6-6-0T locomotive ever built for and used by the New Zealand Railways Department. It was built at the Petone Workshops in Wellington and was designed for use on the world famous Rimutaka Incline. Numbered 66, making it E 66, it spent the first part of its working life in the Wellington region hauling trains up and down the Rimutaka Incline. It was eventually transferred to the Wellington-Johnsonville section for banking duties, even though it was not designed for that type of work. In 1917, E 66 was withdrawn from service and scrapped. It did not survive long enough for preservation.

South Africa
The South African Railways (SAR) operated 57 Mallet locomotives with this wheel arrangement, spread over six classes, all of them.
 * In 1909, the Natal Government Railways (NGR) placed a single experimental 2-6-6-0 Mallet articulated compound steam locomotive in service. Built by the American Locomotive Company (ALCO), this was the first Mallet type compound steam locomotive to enter service in South Africa. The locomotive had Walschaerts valve gear, a bar frame and used saturated steam. At the time it was the most powerful locomotive in the country. In 1912, when it was assimilated into the SAR, it was designated Class MA.
 * In 1910, following on the satisfactory performance of the experimental Mallet, the NGR placed five more in service, also built by ALCO. These five differed little from the previous Mallet, basically only in respect of larger boilers which made them slightly heavier and tenders with a larger coal capacity. In 1912, when they were assimilated into the SAR, they were designated Class MB.
 * In 1912, the SAR placed ten Class MC Mallets in service. Built by the North British Locomotive Company (NBL), these also had Walschaerts valve gear and used saturated steam. Their Type TM tenders were the same as those of the SAR's Class 3 4-8-2, but they differed little from the previous Mallets in size, power and performance. Two of them were equipped with superheaters at a later date, but no others were modified in this manner.
 * In 1914, the SAR placed fifteen Class MC1 Mallets in service. Ordered from NBL in 1913, they were an improved version of the Class MC with a redesigned boiler which included a superheater, and with 0.5 in larger diameter low pressure and high pressure cylinders. The result was a much better performing locomotive with an increased tractive effort.
 * Between 1914 and 1921, the SAR placed eighteen Class MJ Mallets in branchline service. Designed by D.A. Hendrie, Chief Mechanical Engineer (CME) of the SAR from 1910 to 1922, they were superheated and had Walschaerts valve gear and Belpaire fireboxes. Ten were ordered from Maffei but, as a result of the outbreak of the First World War, only two could be delivered from Germany in 1914. The order for the remaining eight was then transferred to NBL, who delivered them in 1917. After the cessation of hostilities, Maffei requested that the already built balance of the original order also be accepted. These eight locomotives were delivered in 1921.
 * In 1918, the SAR placed eight Class MJ1 Mallets in branchline service. Because of the disruption of British and German locomotive builders during the First World War, they were ordered from Montreal Locomotive Works (MLW) in Canada. The locomotive design was by MLW, based on the specifications for the Class MJ Mallet. Like the Class MJ, they were superheated, with Walschaerts valve gear and Belpaire fireboxes, but with slightly larger boilers and with the sandbox mounted on the boiler in North American style. The Class MJ1 was the last Mallet type to be placed in service by the SAR and all its subsequent new articulated locomotives were to be Garratts and Modified Fairlies.

United States
At least two American railroads used 2-6-6-0 Mallet locomotives. One was the Denver, Northwestern and Pacific Railway, which later became the Denver and Salt Lake Railroad and eventually the Denver and Salt Lake Railway. Towards the end of their service life, after the acquisition of the Denver and Salt Lake, these locomotives were used by the Denver and Rio Grande Western Railroad (D&RGW). The locomotives were initially used across the Rollins Pass and later on the Moffat Tunnel route of the Denver and Salt Lake. None were preserved; they were all scrapped by the D&RGW between 1947 and 1952.

Another was the Virginian Railway, whose Class AA 2-6-6-0 is depicted.

title: 2-6-6-0


text:
Talk:East Northport, New York

Untitled
I grew up in East Nortport in the 1960s and attended St Anthony of Padua grade school. It was a nice quiet town. Hopefully, I'd like to get some folks talking about memories of East Northport. My favorite one is playing CYC flag footbal every Fall in the town park behind the public library. What's your favorite memory of East Northport?

title: Talk:East Northport, New York


text:
Matthew 4:4

Matthew 4:4 is the fourth verse of the fourth chapter of the Gospel of Matthew in the New Testament. Jesus, who has been fasting in the desert, has just been tempted by Satan to make bread from stones to relieve his hunger, and in this verse he rejects this idea.

Content
In the King James Version of the Bible the text reads:
 * But he answered and said, It is
 * written, Man shall not live by
 * bread alone, but by every word that
 * proceedeth out of the mouth of God.

The World English Bible translates the passage as:
 * But he answered, "It is written,
 * ‘Man shall not live by bread alone,
 * but by every word that proceeds
 * out of the mouth of God.’"

The 1881 Westcott-Hort Greek text is:
 * ο δε αποκριθεις ειπεν
 * γεγραπται ουκ επ αρτω μονω ζησεται ο ανθρωπος
 * αλλ επι παντι ρηματι εκπορευομενω δια στοματος θεου

For a collection of other versions see BibleHub Matthew 4:4

Analysis
Jesus rebuts Satan's advances by quoting scripture. The verse in question is from. In its original context the verse is describing how while wandering through the wilderness in Exodus the Israelites lacked food. Despite God's promises they complained and worried about their hunger, but in the end God provided manna to feed them all. This same reply is also quoted in, though in Luke it is somewhat abbreviated, not containing "but by every word that proceeds out of the mouth of God." The quote uses the exact wording of the Septuagint, but Hill notes that it is not an exact translation of the original Hebrew which has "everything" rather than "every word." Gundry feels the author of Matthew added this section to emphasize Jesus' obedience to God. Jones states that by replying with nothing but quotes from scripture, Jesus illustrates his "perfect detachment from everything except God's will."

Jesus rejects Satan's idea, and uses nothing but a word of scripture as his argument. France notes that God's word would not literally make up for not having any food. Instead it is a question of priority. If God instructed Jesus to fast in the desert, then it is that word that must be followed and it takes priority over any feelings such as hunger.

There are a number of explanations for why Satan attempted to have Jesus turn stones into bread and why it was important that Jesus refuse. The act of using God's powers to create bread is not in itself wrong, as demonstrated in Matthew 14 and 15 where Jesus actually does perform this miracle. In the Middle Ages it became common to argue that Satan was simply tempting Christ into gluttony. Most modern scholars do not accept this view. France notes that tempt should better be translated as test that Satan was testing Jesus' understanding of his role rather than luring him into evil. Jones notes that calling someone who has fasted for forty days gluttonous because they want food is not very fair. Most modern scholars thus reject the sin explanation. Another view that was popular for a time was that this represented Jesus rejecting the role of the "economic messiah": that in this verse he demonstrates that it is not his role to feed the hungry of the world, but rather to provide spiritual sustenance. The most popular view today is that this passage echoes the history of Israel. The quote itself comes from the part of the Old Testament describing the period after the Exodus when the Israelites were wandering hungry in the wilderness and complaining about their hunger. This verse is seen to demonstrate that Jesus does not make the same mistake they did and accepts that God will ensure his safety.

Metaphorical extensions
The phrase "Man shall not live by bread alone" is today a common expression meaning that people need more than material things to truly live. However, it is also sometimes used in almost the opposite sense to justify material luxuries beyond simple things like bread.

Fortna notes that the word usually translated as man would more accurately be replaced by human beings as in the original Greek it is gender neutral.

Commentary from the Church Fathers
Jerome: "Christ’s purpose was to vanquish by humility."

Pope Leo I: "Hence he opposed the adversary rather by testimonies out of the Law, than by miraculous powers; thus at the same time giving more honour to man, and more disgrace to the adversary, when the enemy of the human race thus seemed to be overcome by man rather than by God."

Gregory the Great: "So the Lord when tempted by the Devil answered only with precepts of Holy Writ, and He who could have drowned His tempter in the abyss, displayed not the might of His power; giving us an example, that when we suffer anything at the hands of evil men, we should be stirred up to learning rather than to revenge."

Pseudo-Chrysostom: "He said not, ‘I live not,’ but, Man doth not live by bread alone, that the Devil might still ask, If thou be the Son of God. If He be God, it is as though He shunned to display what He had power to do; if man, it is a crafty will that His want of power should not be detected."

Rabanus Maurus: "This verse is quoted from Deuteronomy (c. 8:3). Whoso then feeds not on the Word of God, he lives not; as the body of man cannot live without earthly food, so cannot his soul without God’s word. This word is said to proceed out of the mouth of God, where he reveals His will by Scripture testimonies."

title: Matthew 4:4


text: Category:Music of South America

title: Category:Music of South America


text:
Maud Lewis

Maud Kathleen Lewis (née Dowley; March 7, 1903 – July 30, 1970) was a Canadian folk artist from Nova Scotia. She lived most of her life in poverty in a small house in Marshalltown, Nova Scotia. She achieved national recognition in 1964 and 1965 for her cheerful paintings of landscapes, animals and flowers, which offer a nostalgic and optimistic vision of her native province. Several books, plays and films have been produced about her. She remains one of Canada's most celebrated folk artists. Her works are displayed at the Art Gallery of Nova Scotia, as well as her restored house, whose walls she adorned with her art. Despite her recognition, Lewis never had a museum exhibition, nor was her work collected by art galleries or museum during her lifetime.

Early life
Lewis was born in South Ohio, Nova Scotia, the daughter of John and Agnes (Germain) Dowley. She had one brother, Charles. She was born with birth defects and ultimately developed rheumatoid arthritis, which reduced her mobility, especially in her hands. Lewis' father was a blacksmith and harness maker who owned a harness shop in Yarmouth, Nova Scotia. His business enabled Lewis to enjoy a middle-class childhood. She was introduced to art by her mother, who instructed her in the making of watercolour Christmas cards to sell. Lewis began her artistic career by selling hand-drawn and painted Christmas cards.

Lewis' father John died in 1935, and her mother followed him in 1937. After living with her brother for a short while, she moved to Digby, Nova Scotia to live with her aunt.

Marriage
Dowley married Everett Lewis, a fish peddler from Marshalltown, on January 16, 1938, at the age of 34. He also worked as the watchman at the county Poor Farm. According to Everett, Maud showed up at his doorstep in response to an ad he had posted in the local stores for a "live-in or keep house" for a 40-year-old bachelor. Several weeks later, they married.

They lived in Everett's one-room house with a sleeping loft, in Marshalltown, a few miles west of Digby. Maud used the house as her studio, while Everett took care of the housework. They lived mostly in poverty.

Maud Lewis accompanied her husband on his daily rounds peddling fish door-to-door, bringing along Christmas cards she had painted. She sold the cards for five cents each, the same price her mother had charged for the cards she had made when Maud was a girl. These cards proved popular with her husband's customers. When Everett was hired as a night watchman at the neighbouring Poor Farm in 1939, Lewis began selling her Christmas cards and paintings directly from their home. Everett encouraged Lewis to paint, and he bought her her first set of oils.

She expanded her range, using other surfaces for painting, such as pulp boards (beaverboards), cookie sheets, and Masonite. Lewis was a prolific artist and also painted on more or less every available surface in their tiny home: walls, doors, breadboxes, and even the stove. She completely covered the simple patterned commercial wallpaper with sinewy stems, leaves, and blossoms.

Paintings
Lewis used bright colours in her paintings, and her subjects were often flowers or animals, including oxen teams, horses, birds, deer, and cats. Many of her paintings are of outdoor scenes, including Cape Island boats bobbing on the water, horses pulling a sleigh, skaters, and portraits of dogs, cats, deer, birds, and cows. Her paintings were inspired by childhood memories of the landscape and people around Yarmouth and South Ohio, as well as Digby locations such as Point Prim and Bayview. Commercial Christmas cards and calendars also influenced her.

Lewis returned to the same subjects again and again, each time painting them slightly differently. For instance, she made dozens, if not hundreds, of images of cats over the course of her career. The serial nature of her practice was partly motivated by customer demand; she repeated compositions that sold well while discarding less popular ones. “I put the same things in, I never change,” she said of her style on the CBC program Telescope in 1965. “Same colours and same designs.”

Many of her paintings are quite small, no larger than eight by ten inches, although she is known to have done at least five paintings that are 24 inches by 36 inches. For several years, Everett cut the boards for the paintings to size, although near the end of her career she was purchasing Masonite pre-cut to set dimensions. The size of her paintings was limited by the extent she could move her arms, which were affected by arthritis. She used mostly wallboard and tubes of Tinsol, an oil-based paint. Her technique consisted of first coating the board with white, then drawing an outline, and applying paint directly out of the tube. She never blended or mixed colours.

Early Maud Lewis paintings from the 1940s are quite rare. A large collection of Lewis' work can be found in the Art Gallery of Nova Scotia (AGNS). It occasionally displays the Chaplin/Wennerstrom shutters (now part of the Clearwater Fine Foods Inc. collection) comprising 22 exterior house shutters Lewis painted in the early 1940s for some Americans who owned a cottage on the South Shore. Most of the shutters are quite large, at 5 ft x 1 ft.6 inches. Lewis was paid 70 cents a shutter.

Between 1945 and 1950, people began to stop at Lewis' Marshalltown home on Highway No. 1, Nova Scotia's main highway and tourist route, buying her paintings for two or three dollars each. Only in the last three or four years of her life did Lewis' paintings begin to sell for seven to ten dollars. She achieved national attention as a folk artist following an article in the Toronto-based Star Weekly in 1964. In 1965, she was featured on CBC-TV's Telescope. Two of Lewis' paintings were ordered by the White House in the 1970s during Richard Nixon's presidency. Her arthritis limited her ability to complete many of the orders that resulted from her national recognition.

Later life and death
In the last year of her life, Lewis stayed in one corner of her house, painting as often as she could while traveling back and forth to the hospital for treatment of health issues. She died in Digby on July 30, 1970, from pneumonia. Her husband Everett was killed in 1979 by a burglar during an attempted robbery of the house.

House
After Everett Lewis' death, their painted house began to deteriorate. A group of concerned citizens from the Digby area started the Maud Lewis Painted House Society to save the landmark. In 1984, it was sold to the Province of Nova Scotia and transferred to the care of the AGNS, which restored the house and installed it as part of its permanent Lewis exhibit. This inspiring story helped to sway the provincial and municipal government about the importance of an art museum for the city. Every year, this attraction welcomes thousands of visitors from around the world and depicts the cheerful perseverance of physical and economic hardships.

A steel memorial sculpture based on the Lewis' house has been erected at the original homesite in Marshalltown, designed by architect Brian MacKay-Lyons. A replica of the Maud Lewis House was built in 1999 by retired fisherman Murray Ross, complete with finished interior. It is a few kilometres north of Marshalltown on the road to Digby Neck in Seabrook.

Postage stamps
Lewis was recognized as the provincial Heritage Day honouree for 2019, and a limited edition postage stamp featuring her art was released. Canada Post announced that Maud Lewis paintings would be featured on the 2020 Christmas and holiday postage stamps. Her paintings were featured on three stamps issued on November 2, 2020, at Digby, Nova Scotia. Family and Sled (ca. 1960s) appeared on the domestic-rate stamp. Team of Oxen in Winter (1967) was released with a face value of $1.30 (the rate for mail to the United States), and Winter Sleigh Ride (early 1960s) carried a face value of $2.71 (the first-class rate for mail to other international addresses). The stamps were issued as a gummed souvenir sheet set of three, and in three separate booklets of self-adhesive stamps.

Record sale prices
Lewis' paintings have sold at auction for ever increasing prices. On November 30, 2009, A Family Outing sold for C$22,200 at a Bonham's auction in Toronto. Another, A View of Sandy Cove, sold in 2012 for C$20,400. A painting found in 2016 at an Ontario thrift store, Portrait of Eddie Barnes and Ed Murphy, Lobster Fishermen, sold in an online auction for C$45,000. Black Truck, depicting the eponymous vehicle driving on road bordered with flowers, sold at auction in Toronto for C$350,000 in May 2022.

Further reading and other media
The Art Canada Institute published Maud Lewis: Life & Work by Ray Cronin in September 2021.

Lewis is the subject of a book by Lance Woolaver, The Illuminated Life of Maud Lewis, and three National Film Board of Canada documentaries: Maud Lewis - A World Without Shadows (1976), The Illuminated Life of Maud Lewis (1998), and I Can Make Art ... Like Maud Lewis (2005). The latter is a short film in which a group of Grade 6 students are inspired by Lewis' work to create their own folk art painting.

In 2009, the Art Gallery of Nova Scotia, in conjunction with Greg Thompson Productions, produced a new play about Lewis at the AGNS. A Happy Heart: The Maud Lewis Story was written and produced by Greg Thompson, who produced Marilyn: Forever Blonde at the AGNS in January 2008. Thompson wrote the one-woman play about Lewis while in Nova Scotia in 2008. It ran until October 25, 2009.

Screenwriter Sherry White wrote Maudie, a feature dramatic film about Lewis that made its Canadian debut at the 2016 Toronto International Film Festival. Directed by Aisling Walsh, it stars Sally Hawkins as Maud and Ethan Hawke as Everett.

The Russian-Canadian composer Nikolai Korndof (1947-2001) wrote an orchestral piece The Smile of Maud Lewis (1998). It was recorded in a performance for orchestra, conducted by Leslie Dala, and released in 2022.

title: Maud Lewis


text:
Cherry Hill Gang

The Cherry Hill Gang was a New York street gang during the late nineteenth century.

Formed in the 1890s, the Cherry Hill Gang were known as the "dandies" of New York's underworld. Often wearing dress suits and armed with metal-weighted walking sticks, gang members were able to attack and rob wealthier victims surprising those who would have been suspicious of other poorer gangs of the period.

Throughout the decade, rival gangs would attempt to compete with the gang's success. One incident in particular occurred when, after the Batavia Street Gang announced hosting a party at New Irving Hall, the Cherry Hillers planned to arrive in expensive wardrobe. Not to be outdone, as hosts of the party, the Batavia Street Gang robbed Segal's Jewelry Store on New Chambers Street of 44 gold rings. The following morning however, shortly after selling the rings at a local pawn shop, over a dozen gang members were arrested by police while being fitted for suits at a tailors shop on Division Street, and spent that night in The Tombs while the Cherry Hill Gang and others attended the party.

By the early 20th century the Cherry Hill Gang was regarded as the most vicious gang in the city. Their main rivals were the Whyos, but they fought just as vigorously amongst each other. Many Cherry Hillers such as Yakey Yake Brady, Monk Eastman and Bill "The Brute" Sanger formed sub-gangs of their own and feuded constantly over turf and power.

title: Cherry Hill Gang


text:
Talk:Matthew 4

[Untitled]
Shouldnt the first reference to the Temptation of Christ by Satan be linked to the "The Last Temptation of Christ"? freestylefrappe 04:04, Jun 4, 2005 (UTC)
 * No they are very different things. The Last Temptation is a fictional addition to the Biblical temptation narrative. - SimonP 05:01, Jun 4, 2005 (UTC)

VfD
This page was one of a group of pages on Votes for deletion; the result of voting was keep. For an archive of the debate, go here: Votes_for_deletion/Matthew_1. Antandrus (talk) 7 July 2005 02:40 (UTC)

POV
POV issues of this article is discussed at another in the series. See Talk:Matthew 1 20:17, 9 July 2005 (UTC)

survey
For a (now finished) July 2005 survey about whether or not the full source text should be included in the article see Bible source text.

There were 36 non-abstaining votes, and 3 abstensions.

The result of the survey was a 70% vote that it should not be included in the text, and should be removed in favour of a link to the text at wikisource. 07:52, 22 July 2005 (UTC)

title: Talk:Matthew 4


text:
Talk:2005 Hoboken mayoral election

"In an effort to gain support, there was a miscommunication on the night of May 10, 2005, when the people at Roberts' headquarters announed over a megaphone to a crowd of supporters that Roberts was going to win the election."

The writer claims to "know" WHY the announcement was made - it was "an effort to gain support" (i.e., it was a deliberate act). The writer then goes on to say that "they didn't get the correct information in time, or they came to a conclusion too quickly". In which case, it was NOT a deliberate act. Which was it? Since the writer's first six words assume a motivation (s)he probably has no way of proving, they should be stricken.

Independent Scott Delea also knew from the very start that he would lose, since Independents never win in Hoboken.

Scott Delea knew no such thing. Neither does the propagandist - sorry, writer of this piece. The last two former mayors ran and won as "independent" councilmen.

"In an advertisement in the Hoboken Reporter Volume 22 Number 36, Scott Delea said the following: "When you vote for a political team, you're voting for people pledged to represent a mayoral candidate's interests. When you vote for an independent, such as myself, you're electing a Council voice that represents your intrests." He also said that Peter Cammarano, a candidate for council running with Roberts, was last year's democratic campaign manager, and used this as a point to argue that politicians are chosen for political reasons. However, despite his attempt, Delea was unable to win."

The remarks about Cammarano have nothing to do with Delea's loss, and just confuse the casual reader. Between the gratuitous remarks about Roberts and the unnecessary swipe at Cammarano (who is still in the race against Marsh) it is pretty apparent that this piece was written by someone affiliated with the Marsh campaign. This person should be reaching out for votes rather than trying to rewrite history in hopes of a better result.

Fair use rationale for Image:Hobokennewselection1.jpg
Image:Hobokennewselection1.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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Fair use rationale for Image:HobokenNewselection2.jpg
Image:HobokenNewselection2.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:42, 6 June 2007 (UTC)

title: Talk:2005 Hoboken mayoral election


text:
Talk:To Have and Have Not

This legendary novel
We read, Legend has it that Hemingway wrote the book as part of a contractual obligation and hated it.

Surely this legend has been investigated by now. Couldn't somebody with a copy of an authoritative Hemingway biography on his or her shelf look it up and rewrite more straightforwardly? -- Hoary 04:04, 2005 Jun 4 (UTC)

 * "Citation needed" tag added, a year later. Tempshill 05:22, 9 December 2006 (UTC)

Bogey, Bacall, etc etc
A large percentage of earlier forms of the article was not about the novel but was instead about the Furthman/Faulkner/Hawks film, which pays little more than lip-service to the novel. (Despite Warner Brothers' rather desperate attempt to cash in on Hemingway's fame -- see the unintentionally ludicrous trailer, provided on the DVD.) I copied and pasted this material to To Have and Have Not (film). I hope nobody objects. -- Hoary 04:04, 2005 Jun 4 (UTC)

No guns.
"To Have and Have Not is a 1937 novel by Ernest Hemingway about Harry Morgan, a fishing boat captain who runs contraband and guns between Cuba and Florida." Harry Morgan does not run guns. He owns a gun, but there is never anything mentioned in the novel about him running them.

 * Removed. Tempshill 05:22, 9 December 2006 (UTC)

 * "Except there's my gun on the boat. Not nobody knows it's mine except the old woman. I got in in Cuba on a trip the time when I peddled those others." Chapter 17, middle of the first paragraph. --einexile (talk) 19:10, 1 May 2008 (UTC)

He owns not just "a gun", but has an automatic rifle aboard, which he uses to kill the Cuban bank robbers. --Zeamays (talk) 12:55, 3 July 2019 (UTC)

Fair use rationale for Image:Tohave and havenot.jpg
Image:Tohave and havenot.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 04:49, 20 July 2007 (UTC)

Racial epithets
I don't think we need the line about racial epithets in here. If so, you would need to add that line to every novel that features the "n" word. There is nothing unusual about To Have and Have Not's use of that word. This article is extremely short and has very little information about the novel. Surely, we don't need to denigrate it by stating that it is "difficult" for the modern reader. I have no difficulty with it and consider it a masterpiece.

 * I'm sorry, but I must disagree. The Harry Morgan character is a racist through and through, not just using rough language. He murders a Chinese man for financial gain.  Hemingway used racial stereotypes and racist words throughout. --Zeamays (talk) 12:58, 3 July 2019 (UTC)

Bunch of Junk?
In this article, it states that Hemingway told Howard Hawks that the novel was a "bunch of junk." But in the article for the movie it's the other way around; it's Hawks who tells Hemingway that the novel is junk. Both articles cite the same source, the Joseph McBride interview with Hawks. Can someone who has access to the source take a look and fix whichever article has it wrong? Mad Thinker (talk) 14:00, 11 March 2010 (UTC)
 * Nobody’s done anything about this in 4 years, so maybe it would be simpler to just delete the anecdote altogether. ☸ Moilleadóir ☎ 03:05, 14 August 2014 (UTC)

Only novel to take place in America?
There's also The Torrents of Spring which takes place in Michigan. Torrents of Spring is widely recognized as a novella, just as To Have and Have Not is a synthesis of two novellas and other work. Any thoughts on revising that statement? 68.174.75.41 (talk) 03:42, 26 January 2011 (UTC)

 * Yes, it's a good point. Will have a look at what the secondary sources have to say. Truthkeeper88 (talk) 20:08, 26 January 2011 (UTC)

AI ???
I give up. Who or what is the AI referred to in the third paragraph of the lead? --173.73.108.2 (talk) 17:26, 20 March 2013 (UTC)

The parenthetical should be "Albert's viewpoint"; currently, it's "Al" rather than "AI." To revise it properly, however, there should be some mention of this character in an earlier paragraph, perhaps the first. I'm insufficiently familiar with the book to perform such revision. — Preceding unsigned comment added by 121.54.54.143 (talk) 22:45, 29 July 2013 (UTC)

Novel vs novella
I'm confused why the lead says that this is Hemingway's second novel. The Torrents of Spring is a novella. Are they to be conflated as the same thing? I didn't want to revise without getting more opinion. Shankyouverymuch08 (talk) 13:24, 30 May 2023 (UTC)

title: Talk:To Have and Have Not


text:
I Want You, I Need You, I Love You

"I Want You, I Need You, I Love You" is a song written by Maurice Mysels and Ira Kosloff. It is best known for being Elvis Presley's seventh single release on the RCA Victor label, produced by Steve Sholes. It was released in May 1956, becoming Presley's second number 1 single on the country music charts, and peaking at number 3 on the US Billboard Top 100 chart, an earlier version of the U.S. Billboard Hot 100. Before the establishment of the Billboard Hot 100 chart in 1958, there were a number of charts including Jukebox plays, Store charts, and Airplay charts; the song reached number 1 on the Billboard Top Sellers in Stores chart.

Recording
During April 1956, Variety reported that Presley's sixth RCA Victor single, "Heartbreak Hotel", had sold one million copies. RCA Victor producer Steve Sholes wanted a strong single for the next release, aware that there was not much good material available. Due to Presley's busy touring schedule, Sholes needed to get him into the studio as soon as possible. Presley and his band chartered a small propeller airplane to Nashville for one day of recording between shows. En route from Amarillo, the airplane developed engine trouble and fell through the sky several times. Upon arrival in Nashville on the morning of April 14, all four were disconcerted. Presley arrived at the RCA Victor Studios without ideas for the recording session and therefore had no choice but to use Sholes' suggestions, one of which was "I Want You, I Need You, I Love You".

Being used to later working hours, coupled with his traumatic experience during his overnight flight, the recording session was bad. Take after take was ruined for one reason or another and the band was not relaxed. Presley, usually a very quick study with a song, could not get the lyrics right. After 17 takes in three hours, Sholes decided Presley and the band were not able to record properly and sent them home.

After the session, Sholes listened to the takes again. He was not happy with the results of what he considered to be an unprofessional and wasted session. It had cost $1,000 to fly Presley and his band in by a private flight, and Sholes let Presley's manager, Colonel Tom Parker, know that he was unsatisfied with the work and required material urgently for a second album. He knew that with Presley's busy touring schedule it could be months before RCA Victor got him back into a studio. Performing what was a very rare and generally unsuccessful procedure for the 1950s, Sholes took parts of two takes he liked (takes 14 and 17), cut and spliced them together to create a take worthy of release. His cuts were so seamless, nobody at RCA Victor could tell it was not from a single take.

Reception
"I Want You, I Need You, I Love You" was backed with "My Baby Left Me" and was released on May 4, 1956. Pre-orders of over 300,000 were the biggest ever in the history of the company. At the time of its release, Presley had three songs in the Top 20: "Heartbreak Hotel/I Was the One," "My Baby Left Me", and "I Want You, I Need You, I Love You". On June 5, 1956, Presley performed the song on The Milton Berle Show, as well as an early version of "Hound Dog" that resulted in both overwhelmingly favorable audience reaction and outrage. Despite the heated public controversy, the single was generally well-received, reaching No. 3 on the Billboard Top 100 chart, and scoring No. 1 on the country music chart. The song earned a second gold record for Presley, with sales in excess of 1.3 million.

Cover versions
Robby Krieger performed an instrumental version of the song on his 1989 solo album, No Habla.

In popular culture
John Lennon mentioned the song in the final interview he recorded on December 8, 1980, noting, "If I hear Elvis, I heard him singing "I Want You, I Need You, I Love You" the other day, I mean I was just in heaven. I mean, of course I was going back to my youth and remembering the dates, and what was going on when I heard that music.”

title: I Want You, I Need You, I Love You


text:
Talk:Pacific hurricane season

Weird Stuff
I've been investigating some of the old Eastern Pacific hurricane seasons. There is some weird stuff out there. I thought it was too cold for tropical systems to last north of San Diego but in 1975 a tropical system formed in at 30N and reached hurricane strength at 40N. It continued as a tropical system until it was just a couple hundred miles from Alaska's Inside Passage! Take a look- Hurricane Dot in 1970 also formed north of the Hawaiian Islands and continued as a tropical system to 40N. More of these northerly storms seem to occur in the 50's,60's,and 70's than in the 80's and 90's. I wonder if there is some kind of cyclonic activity cycle similar to that of the Atlantic Basin. I think that this basin is arguably the most mysterious one in the world (though the North Indian Basin is close).

E. Brown, Hurricane enthusiast - Squawk Box 04:06, 4 Jun 2005 (UTC)

Good Luck
Whoever is doing the individual articles, good luck when you get to pre-1970. As a contributer of the List of Atlantic hurricane seasons, I wish you luck on your voyage into the past...... wow that sounded corny. One thing, on the List of notable tropical cyclones in the EPAC or CPAC section, if there is a link to a specific article (1939 Long Beach Tropical Storm), you should just write the season article and have someone redirect it there. Here are some sites that might help you.
 * http://www.weather.unisys.com/hurricane/e_pacific/index.html (Only till 1949)
 * http://www.prh.noaa.gov/cphc/pages/hurrclimate.php (Central Pacific)
 * http://www.usatoday.com/weather/whhcalif.htm (Tropical Storms to affect California)

Track maps
I uploaded a few more pacific hurricane track maps. — jdorje (talk) 17:46, 7 June 2006 (UTC)

1896 Pacific Hurricane
A Hurricane in 1896 or 1897 is supposed to have closed a 1 km land "door" (called Boca meaning mouth - referring to the entrance of open seas to a bay) in what it was then called Altata, now called Old Altata by the elders, since Altata is now where they moved out of fear of another hurricane like it. I'm trying to find information about this legendary hurricane but I haven't been able to find anything about it. Here's some information about Altata:

Altata (the actual place):

Small town in the pacific coast of NW Mexico, 150 MI north of Mazatlan 24o37'55" N 107o55'47" W

The Old town, is supossed to have been 3 MI northwest of the actual Altata, at about 24o39'16"N 107o57'52"W and the Bar, the old Boca that was closed is allegedly located just in front of there 24o38'39"N 107o59'05"W. There was an entrance of open seas' water there. This hurricane also opened another Boca (mouth), still existent located to the SE of the old one: 24o34'06"N 107o52'34"W.

I have been told this story a few times by different elders, who listened the story from their parents and grand parents. Recently found an article in a local and forgotten magazine-like book and which I'll translate here:

A Cyclone "closed" the Boca

Altata's elders say of the existence of "old port", place located 3 miles north from the entrance to the town by the Navolato-Altata highway, where there still is some evidence of it, although buried under the sea, prooving that it was an inhabitated place. This place dissapeared when in 1896 a cyclone destroyed houses and small ships, also closing the natural Boca that existed north the Peninsula de Lucernilla, closing the door to the steam engine ships and at the same time opening the new boca to the south in front of the port Las Aguamitas.

Afraid of another cyclone like it, the "old town" neighbors founded the new town, now known by Altata...

>>UN CICLÓN "CERRÓ" LA BARRA. >> >>Los viejos pobladores de Altata, hablan de la existencia de "puerto viejo", lugar ubicado a cinco kilómetros, al >>norte, tomando como punto de referencia la "entrada” al puerto por la carretera Navolato-Altata, donde aún >>existen vestigios que aunque cubiertos por el agua del mar, denotan que fue un lugar habitado, atribuyéndosele a >>su desaparición la destrucción de las casas y embarcaciones por un ciclón que azotó en 1896, cerrando o azolvando >>la barra natural que existía al norte de la Península de Lucernilla, obstruyendo el paso de vapores, al tiempo >>que se abría una nueva barra al sur de la misma península frente al campo pesquero Las Aguamitas y a la >>desembocadura del Río Culiacán, que se usó sin mayores problemas como paso hacia la bahía de Altata. >> >>Ante el temor de que se presentara un nuevo fenómeno climatológico que les causara mayor daño los vecinos de >>"puerto viejo" fundaron el pueblo de Altata que hoy conocemos...

title: Talk:Pacific hurricane season