text:
Talk:Recloser

As Soon As The Fault Clears
Good article but this statement was in error:

"For this reason, reclosers are used to automatically re-connect as soon as the fault clears."

A recloser has no way to determine if the fault has cleared once the power is off. It recloses after a delay with the idea that much of the time the fault really will be gone. If not, it opens again, and when it recloses maybe this time the fault will be gone. Etc. So I have replaced the above statement with:

"For this reason, reclosers are used to automatically re-connect after a brief interval. There is a strong likelihood that the fault will be gone when the power is restored.  If the fault is still present, the recloser opens again."

This then leads nicely into the existing following discussion about recloser cycling so many times, increasing intervals, and finally just staying open if the fault doesn't clear. — Preceding unsigned comment added by Filmteknik (talk • contribs) 23:03, 27 August 2011 (UTC)

 * A nice correction to the sloppy use of language, thanks. David Spector (talk) 11:47, 22 June 2013 (UTC)

Distribution vs transmission
We want to be a little careful - reclosers are only used on distribution circuits, not on the "grid" (high voltage transmission). True, some circuit breakers on transmission may automatically reclose but that's a special-purpose application and HV transmission circuit breakers aren't called "reclosers". --Wtshymanski (talk) 23:27, 28 May 2011 (UTC)

Circuit Breaker Reclosing
"If the only protection system is the breakers at the distribution centres, large areas of the grid would be blacked out while the repair crew resets the breakers."

Something I would like to point out is that this article takes the position (or assumption) that circuit breakers in a substation do not reclose (automatically close). This is not always the case. While most of the points made in this article are valid and factually correct, I must disagree on this point of the explanation. While the recloser does in fact help to break up distribution circuits into smaller, more manageable pieces, many protection schemes involving circuit breakers in distribution substations also apply reclosing to some extent, thus not "blacking out" the circuit and requiring a crew go to the station and reset a lockout. This is not applicable in certain cases, such a breakers protecting transformers, or underground circuits, in which reclosing would not generally be enabled, as faults in these circumstances are much more likely to be permanent in nature, and thus enabling automatic reclosing is more likely to incur additional equipment damage.

As an example, with old electro-mechanical, induction disk style overcurrent relays (ANSI Device # 51; GE IAC##, Westinghouse CO-#, etc.), would have their trip circuits connected in series with a circuit breakers trip coil and with an auxiliary AC reclosing relay (ANSI Device # 79; GE NLR, Westinghouse RC, etc.). The overcurrent trip would open the breaker and start a timer on the reclosing relay. Once the first setpoint was reached (assuming more than one reclose cycle), an output which is connected to that breaker's close coil would then be energized. If the fault persisted upon reclose, then the overcurrent relay would trip again. The reclosing relay would have continued timing to the next setpoint and would reclose the breaker once reached. If the fault was cleared by the original opening, the reclosing relay would continue timing and eventually reset. All this is accomplished in one box now with digital relays, such as those made by SEL, Seimens, GE, Basler, ABB, etc.

A little long winded and meandering, but my point being is that the description may be oversimplifying and not being completely factual in its wording. Reclosers are not the only automatic reclosing devices on distribution ciruits; however they can greatly improve overall system reliability by decreasing the amount of customers experiencing an outage for a given fault. — Preceding unsigned comment added by Greyphox (talk • contribs) 03:42, 18 January 2012 (UTC)

Copied from elsewhere?
I'm concerned that some or all of the "Description" section may have been copied from elsewhere. Parts of it look flaky, for instance "Reclosers address this problem by further dividing up the network into smaller sections" where no prior mention has been made of a network or of dividing it. Perhaps just sloppy writing, but "For instance, the city grid example above might be equipped with reclosers" implies that there's an example above - there isn't. my emphasis, by the way. The rest looks OK, but given those examples that look as though it's been copied wholesale from a larger article somewhere, how much of it's copyvio? I've searched for a couple of phrases and come up with WP mirrors, but I'm not convinced this is original work, Tonywalton Talk 00:21, 5 March 2014 (UTC)

I love how there is always a skeptic! — Preceding unsigned comment added by 174.126.49.186 (talk) 00:25, 20 August 2015 (UTC)

Sectionalizing switch link and explanation
The current link in 'sectionalizers' is to a paper about planning for them.

Would this patent work, as an explanation of what they are: https://encrypted.google.com/patents/US3056006 ?

There are problems with the explanation of what they do. Presumably, several sectionalizers are governed by one re-closer, so they have to both detect fault currents and wait for the recloser, so that:
 * the sectionalizer near the problem doesn't open on a running fault current and damage itself
 * all of the other sectionalizers don't open at the same time, even when they don't need to

There may also be issues with closing a sectionalizer whose up-stream is energized.

I don't have experience in this industry. Someone who did might well explain this better. ArthurDent006.5 (talk) 09:38, 1 January 2015 (UTC)

 * Re: sectionalizers, I came here to say the same thing. As it is currently explained, a recloser that feeds 3 sectionalizers will open for a fault on any of them, and all three sectionalizers would increment their counters each time until all 3 isolated their circuits, even though the fault was only on one of them. 75.148.165.45 (talk) 02:19, 1 June 2015 (UTC)
 * @75.148.165.45 Sectionalizers include overcurrent detection, so only the one with the fault should open when the counter reaches its limit. Jonnyogood (talk) 10:31, 10 February 2023 (UTC)

"See Also" section
The listings describe wildfires and power companies in California. There is a possible link to reclosers in that a particular type of recloser is capable of disabling a circuit in conditions which could start a wildfire, but I did not see anything in the Recloser article or links that describe that. This gave the (incorrect) impression of the "See Also" material being erroneously transposed from a different page.

I added a new "Fire Safety Considerations" section to reference these issues. That also brings relevancy to the "See Also" links. The "Fire Safety Considerations" section is bare-bones and should be enhanced, e.g., by describing techniques for reducing ignition or techniques for restricting or disabling reclosers during high fire risk periods.

It is possible that the article previously referenced fire safety considerations of reclosers but somehow the material was deleted.

- Stan (unitacx)

Reclosers also used on underground feeders?
The opening sentence reads: "In electric power distribution, automatic circuit reclosers (ACRs) are a class of switchgear designed for use on  overhead  electricity distribution networks to detect and interrupt transient faults." I suggest that the word 'overhead' should be deleted. It is my understanding that, although most faults occur on overhead lines, reclosers are often located on underground feeders in below-ground vaults. So I suggest that it is not correct to suggest that reclosers are only used on overhead lines. Hence, delete the word 'overhead' in the opening sentence. Comments? Boy.bowen (talk) 16:31, 13 January 2024 (UTC)
 * The only reference I have handy only talks about reclosers on overhead circuits where the fault may go away quickly; a fault on an underground cable is not as likely to go away. Do you have a good reference - or we could just delete the word "overhead" in teh intro as it can be explained later in the article. --Wtshymanski (talk) 03:03, 23 January 2024 (UTC)

title: Talk:Recloser


text:
John J. Anderson

John J. Anderson or J.J. Anderson (November 8, 1956 – October 17, 1989) was a writer and editor covering computers and technology. The New Jersey native was Executive Editor of Computer Shopper and Atari Explorer. At the time of his death he was an editor for MacUser magazine in Foster City, California. He was 32, and was survived by a wife, Lauren Hallquist Anderson, and two children.

John began writing the "Apple Cart" column in Creative Computing magazine in January 1983 after David Lubar left to work for a video game company in California. He followed this with the "Outpost Atari" column in the same magazine. John would become Creative's Executive Editor, working alongside founding editors David Ahl and Betsy Staples.

Death and legacy
John and fellow MacUser editor Derek van Alstyne were killed in San Francisco during the 1989 Loma Prieta earthquake. They were visiting the city for a business meeting when the front of a building collapsed, burying his car in debris from a brick wall. MacUser named two of its annual Editors' Choice Awards, celebrating distinguished achievement and up-and-coming talent, respectively, after the pair. On October 31, 1989, the John Anderson Memorial Fund was established by Ziff Davis as a trust fund for John's two children. Bill Ziff, President of Ziff, personally contributed $50,000.

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

title: John J. Anderson


text:
Talk:Clapperboard

But how does it work?
'''Can anyone explain how a clapping board with numbers on it is supposed to synchronize sound and picture? Sometimes, wiki articles overlook the most obvious things in search of minutia.'''  —Preceding unsigned comment added by 69.248.127.197 (talk) 02:52, 10 December 2007 (UTC)
 * On some film formats the audio is written out to the film material itself as a audio track, next to the frames - usually in the space allotted to perforations (so the film only has perforations on one side). A good example of this is most popular 16mm film before Super 16.  Most modern 'cinema' film however does not have an on-film audio track; it is recorded separately.  As you can read in the article, there's basically a sound reel that needs to spin up to speed (production is shifting to digital recordings, but the same issue holds), and then a film reel that needs to spin up to speed as well.. these speeds are synchronized with each other so that when the audio and video are synchronized at the beginning of the take, they will still be synchronized at the end of the take.  However, you're still going to end up with two separate reels.. and the audio may have started recording on the reel at 4.89 seconds into its reel, while the video may have started at only 2.21 seconds into its reel.  But how would you know those two numbers, so that you can match them together well?  That's where the clapperboard (etc.) comes in.  The clapperboard makes a sharp sound that shows up in the audio track as a spike, and visually can easily be distinguished from its open vs closed state as this happens across just a few frames.  The first frame in which it is closed is matched up with the spike in the audio track; audio and video are now synchronized.  Obviously, this isn't so much an issue when the take includes other sharp sounds that match up with visual cues quite nicely.  However, these tend to be very few and between, and matching sound and video from e.g. human dialog alone is comparatively difficult.  The clapperboard, providing the scene information as well as the snap sound + visual cue is really ideal for the task. 83.84.38.72 (talk) 06:20, 15 December 2007 (UTC)

If anyone could add when they first came into use, that'd be ...useful :) --- Mike 19:23, 15 Jun 2005 (UTC)

a picture would be nice too
 * See Clapboard. -- Arwel (talk) 17:27, 29 December 2005 (UTC)

I know that "clapperboard" is the usual UK term, but I suggest redirecting this to Clapboard, which is basically a better article that contains all the information that's here and more. We should also move the TV series info to Clapperboard (TV series). -- Arwel (talk) 17:34, 29 December 2005 (UTC)
 * I've moved the TV series information to Clapperboard (TV series) I'm not sure how the merge should be done though. -Typhin 17:16, 2 January 2006 (UTC)

A number of corrections and amplifications: Only 16mm news cameras used so-called single-system sound, with the audio recorded beside the images. All 16 and 35mm production cameras used "double-system" sound, recorded separately. Back when the sound was recorded by photographing the output of a photo-electric cell, the sound recorder and camera were synced by slaving their motors. When tape recorders replaced optical ones, the camera output a "control track" signal that was recorded with the sound. (Now, it's SMPTE time code -- at least in the U.S.) In post production, the audio and visual tracks had to be aligned by eye, ear, and hand, a process called (at least in Hollywood) "syncing the dailies." (The tape recording had been copied to a strip of magnetic film, perforated identically with the work print of the picture film.) 1. The film was placed in the picture head of a Moviola and run back and forth until the very first frame of stick-contacting-slate was in the gate (viewer). 2. The audio track was placed in an adjacent but independent sound head and reviewed similarly until the visible spike (optical recording) or first loud “PRP” (tape recording) was in the gate of the sound head. 3. The two heads were locked together to synchronize them. 4. The ganged picture and sound strips were slowly run in reverse into unwanted film for maybe a meter, and then the frame in each gate was marked (usually with a grease pencil). 5. The synced strips were again run in reverse until the grease pencil marks appeared; then each mark was punched with a paper punch. After that, picture and track(s) could be removed and stored, and then re-used when wanted, by aligning the punch marks in the Moviola gates.

In the 1960s and 70s I performed this tedious chore on both 16mm and 35mm dailies thousands of times.

RE the slating process: a truly macho clapper-loader (not called that in the U.S.) could operate the slate one handed. If the slate moved or the stick bobbled, the camera operator would call, “bad slate,” and the process would be repeated. When, for some reason, a shot had to be slated at its end instead of its start, the slate would be operated upside down. Jim Stinson (talk) 00:45, 28 December 2013 (UTC)

European Slate number
Does anyone know how the european slate number works?

Is it incremented for each new take, or only for each new scene? How do they make sure each camera has a separate slate number?

129.215.62.144 11:03, 12 December 2006 (UTC)

 * It's incremented for each new setup - anytime the camera changes position or lens, basically. If you're doing multiple cameras, then the slate number should be consistent across the cameras - the take number will be appended with a letter corresponding to each camera. Other units working separate from the main unit will usually have a separate slate numbering convention, usually either starting with a very high number, like 1000, or beginning with a letter (X is very popular). Girolamo Savonarola 19:53, 12 December 2006 (UTC)

Picture
The current picture mentions "Wikipedia". That's not appropriate. —Ben FrantzDale 21:36, 27 January 2007 (UTC)
 * Done. Image:Clapperboard.svg --Indolences 03:19, 19 February 2007 (UTC)
 * Great. —Ben FrantzDale 03:31, 19 February 2007 (UTC)

Picture!
Nobody has a good picture of a timecode slate?

I also think this article might be changed to Slate, since everywhere I've ever worked and heard it said, it's called a slate!

 * It has a lot of names. Clapperboard affords the advantage of not requiring disambiguation. I have some photos of digi-slates I've used, but none of them is of decent enough quality to add, unfortunately. Girolamo Savonarola 02:49, 19 July 2007 (UTC)

Action
So clapperboards aren't used to indicate that the take has begun? 169.233.59.10 (talk) 20:37, 5 November 2009 (UTC)

 * No. However, it's obvious that while the clapboard operator keeps the clapboard in front of the camera, the take has not yet begun. Furthermore, procedures may vary. For example, at a music video production where a timecode is used, the clapboard operator may choose to operate the clap as soon as the clap has achieved sync with the SMPTE LTC timecode from the music source (DAT player or whatever). The cutter will then know that he sees valid timecode when the clap is closed (and that timecode with the clap open may be unreliable). The clapboard will remain in front of the camera for maybe two seconds, to give the cutter a good view at the running digits. Note that timecode clapboards may be configured ina number of ways; for example, it might be configured to freeze the timecode numbers when the clap is closed.
 * It's not uncommon that the director observes the clapboard to see when sound, camera and timecode are "up to speed" and ready for the take, and then the director signals "action". --217.89.75.211 (talk) 15:37, 14 April 2010 (UTC)

VTR
On a number of television outtakes, I've seen scenes shown with the clapperboard information left in. On the boards I've seen there is a line marked "VTR". What does this mean?Blozier2006 (talk) 16:38, 22 August 2010 (UTC)Bryce L.

 * Probably Video tape recorder. — Preceding unsigned comment added by 24.22.181.159 (talk) 18:13, 11 October 2012 (UTC)

It means "Video Tape Recorded" - The date the show was recorded for future airing. — Preceding unsigned comment added by 173.160.170.45 (talk) 23:51, 23 February 2018 (UTC)

Clapperboard for Decoration
Is this section not a blatant plug by a company selling Clapperboards for this purpose? This should be deleted imho. —Preceding unsigned comment added by 84.9.15.30 (talk) 11:07, 22 October 2010 (UTC)

title: Talk:Clapperboard


text:
Letkajenkka

Letkajenkka, also known as Letkajenkaa in English and many other languages, is a Finnish dance.

History of the music genre letkajenkka/letkis
Letkajenkka / letkis is a music genre and a general noun as well as two songs by the same name ("Letkajenkka" and "Letkis") as proper nouns, after which the genre got its name; jenkka, on the other hand, is a general noun, a music and dance genre like waltz.

The popular music genre and the ensuing dance craze were at their hottest during 1963–1965. Letkajenkka is based on the idea of performing Jenkka music using non-traditional instruments. Traditional instruments for playing the jenkka, a Finnish traditional folk dance, are instruments such as the violin and accordion. In the early 1960s some composers thought of writing jenkka tunes for more contemporary bands with more modern instruments, such as wind instruments (for a more swing-like jenkka) and amplified instruments like electric guitars, basses, and drums (a more rock 'n' roll or boogie woogie-like sound). The form of the letkajenkka songs is consistent with traditional jenkka, but where the music is distinctively jenkka, the dance steps are not. Both dances are based on a lightly bouncing and skipping step. A rhythmic component that contributes towards the feel of a letkajenkka and distinguishes a letkajenkka from a regular jenkka tune is a distinctive pattern of either three crotchets / quarter notes followed by a quarter rest or two crotchets / quarter notes followed by a third dotted one in the end of its musical phrases that more or less coincide with the three consecutive hops of the dance steps. Regular jenkkas do not typically feature this rhythm pattern, at least not repeatedly.

Erik Lindström introduced the genre with his song Letkajenkka. A Swedish band called the Adventurers recorded it, and it immediately topped the charts in Finland. Later Jan Rohde, a Norwegian artist, recorded a version with lyrics with the bands the Adventurers and the Wild Ones.

Half a year later Rauno Lehtinen followed with his song Letkis. This has become by far the most popular of all songs in the letkajenkka genre. It was first recorded by his studio orchestra Rautalanka Oy in August 1963, but was made popular in the October of the same year by a group called Ronnie Krank's Orchestra. His chart topper has been re-recorded approximately a hundred times, and the rights to at least 60 versions of the song are owned by Swedish publisher Stig Anderson. One well known recording of the song is by German musician Roberto Delgado.

For versions in other languages, Lehtinen's Letkis was renamed Letkiss, Let's Kiss, Lasst uns Küssen etc., for easier pronunciation in different languages. The name Letkis has nothing to do with kissing; the idea of kissing was introduced by non-Finnish speakers, who thought that the title of the song sounded like "kissing". In Finnish Letkis / letkis is merely short for Letkajenkka / letkajenkka, a diminutive formed by the beginning of the word and adding "is" in the end.

Also, contrary to what some magazines and single and long play covers had the world believe, there is no kissing or "smooching" during the Finnish version of the dance.

Lehtinen's Letkis made the charts in many European countries, in Latin America, and even in Japan. There are numerous translations including Russian, Swedish, and Japanese. In 1965, four instrumental versions of the tune reached number one in the Netherlands simultaneously. These were by Stig Rauno, Gudrun Jankis, The Wild Ones and the Dutch Swing College Band. All four versions had the English title Letkiss rather than the original Finnish title. It remained the only Dutch number one to have originated from Finland until 2000, when "Freestyler" by the Bomfunk MC's reached number one.

Description
The steps of Letkajenkka are like the steps of Bunny Hop, a novelty dance from the 1950s. It has been proposed that exchange students returning from the United States to Finland would have imported the steps of the Bunny Hop to Finland, as they had seen them on the TV show Bandstand. Whereas the Bunny Hop starts with a right foot lead, the Letkajenkka / letkajenkka transformed into a dance based on the same step, but starting with a left leg lead. This can be seen from the early recordings for TV and in some movies made during the hottest craze. Also many translated lyrics include advice on the steps: "left kick, left kick, right kick, right kick, forward jump, backward jump, hop, hop, hop".

Steps
The people participating in the dance form a Conga-like line (that can also be a circle) so that everyone holds the person in front of themselves by the shoulders or the waist. The steps go as follows (everybody does the same thing):
 * 1) kick to the left with the left foot & step back into the middle,
 * 2) kick to the left with the left foot & step back into the middle,
 * 3) kick to the right with the right foot & step back into the middle,
 * 4) kick to the right with the right foot & step back into the middle,
 * 5) jump forwards with both feet together (for only a few inches),
 * 6) jump backwards with both feet,
 * 7) jump forwards three times with both feet,
 * (repeat).

1–4 may be enhanced by bouncing with the leg opposite to the kicking side.

International letkajenkka songs
The music genre became popular, and many composers around the world started writing letkis music. Examples of non-Finnish letkis music include "La Yenka" (performed by Johnny & Charley Kurt, 1965), Gemelle Kessler's Lasciati Baciare Col Letkis, "Leaf Fall" (Листопад) by David Tukhmanov and Ploem Ploem Jenka by nl:Pieter Goemans. Lindström's Letkajenkka was translated and covered in Japanese as Retto Kisu (Jenka) / レット・キス（ジェンカ）, performed by Kyu Sakamoto.

Original Finnish songs
In Finland, the most well-known letkajenkka songs include

 * Letkajenkka by Erik Lindström
 * Letkis by Rauno Lehtinen
 * Doin' the Jenka (trad.)
 * At the Jenka Show fi:Georg Malmstén
 * Helsinki-letkis fi:Toivo Kärki
 * fi:Minne tuuli kuljettaa fi:Toivo Kärki
 * Puhelinlangat laulaa

In popular culture
The movie Jamboree66 (Sampaguita Pictures, Philippines, 1966, directed by Luciano B. Carlos) features a scene where the song "Letkis" is being played at a club.

There are at least two Letkajenkkas by Mimis Plessas that appear in the Greek movie Mia Trelli, Trelli Oikogeneia (Crazy, crazy family) that is directed by Dinos Dimopoulos (el:Ντίνος Δημόπουλος). There is a scene with people dancing around the pool. The steps are not strictly jenkka, but the music is in the style of letkis. In another scene, Katerina Gogou and Alekos Tzanetakos are dancing a letkajenkka variation as a couple to letkis music. The choreography is John Flery's.

In the Hungarian movie Patyolat akció (1965), Mari Törőcsik and Gyula Bodrogi perform letkajenkka. The dance also appears in the Polish film Małżeństwo z rozsądku from 1966 (en. Marriage of Convenience) and was later released in that version on cardboard record as Polski Let's Kiss (en. Polish Let's Kiss). Same tune is also used in Polish tv series Wojna Domowa airing 1965-66 of the same composer.

In the final scene of the Italian film Io la conoscevo bene (1965) directed by Antonio Pietrangeli, the protagonist Adriana (Stefania Sandrelli) plays the record of the version of Letkiss by Robert Delgado (Horst Wende).

in 2015, on its 150th anniversary, the Finnish telecom company Nokia broke the world record of the letkajenkka line. 1393 persons in blue Nokia shirts stood in line forming the digits "150" when, in a surprise from the management, the music started to play. The previous record of 1354 dancers was held in Kokemäki in 1995.

title: Letkajenkka


text:
Moçâmedes (disambiguation)

Moçâmedes is a city in southwestern Angola.

Moçâmedes may also refer to:

 * Moçâmedes, the former name of Namibe Province, Angola
 * Mossâmedes, a small city in the state of Goiás, Brazil

title: Moçâmedes (disambiguation)


text:
Danny Moon

Danny Moon is a fictional character from the BBC soap opera EastEnders played by Jake Maskall. He made his first appearance on 30 December 2004 and was initially supposed to last appear in July 2005, but reappeared on 24 March 2006 before the character was killed off on 31 March 2006.

The character debuted alongside his older brother Jake (Joel Beckett) and is established as a cousin of the established character Alfie Moon (Shane Richie). During his time on the show, Danny is involved in several plot lines that contribute to his strained relationship with both Jake and their boss Johnny Allen (Billy Murray). This involves Danny sparking a feud with mob boss Andy Hunter (Michael Higgs), entering a relationship with Andy's ex-wife Sam Mitchell (Kim Medcalf), and killing local hardman Dennis Rickman (Nigel Harman) on Johnny's request.

In March 2006, Danny's character arc ended during the Get Johnny Week storyline, when he attempts to kill Sam's brothers Phil (Steve McFadden) and Grant (Ross Kemp) on Johnny's orders - only to be accidentally killed by Jake after the latter discovered the truth about Dennis' murder. As such, Jake also comes to realize through Danny's "bond" with Johnny's daughter Ruby (Louisa Lytton) of just how their involvement in Johnny's criminal reign has rendered Danny mentally unstable beyond repair — thus destroying their brotherly interaction in the process.

Storylines
Danny Moon first arrives in Albert Square - the community of Walford, a fictionalized borough in East London - in late December 2004, along with his older brother Jake (Joel Beckett). Their second cousin, Alfie (Shane Richie) is not happy to see them since, they are always in trouble - as evident when it quickly turns out that Alfie had previously taken the blame for their crimes and went to prison for three years for credit card fraud. He nevertheless allows Jake and Danny to stay at his house in exchange for helping him and his younger brother Spencer (Christopher Parker) look after their grandmother, Nana (Hilda Braid).

It soon transpires that Danny and Jake are henchmen who work for their crime boss Johnny Allen (Billy Murray), who recently ordered them to deliver a package on his behalf; this was unsuccessful due to Danny's incompetence and Jake later uncovering drugs in the package. Johnny soon arrives in Walford to confront the brothers over the situation, and they are forced to explain the drugs in the package. After ordering them to remain in Walford for further examination of their progress, Johnny arranges for Jake and Danny to work for the square's gangland kingpin - Andy Hunter (Michael Higgs).

Their efforts to impress Johnny by working for Andy grow difficult when the latter sparks a feud with the brothers, with Danny particularly clashing with Andy on several occasions. This continues when it is publicly alleged that Andy has organized the death of his employee Paul Trueman (Gary Beadle), to which Danny tauntingly probes Andy regarding his inability to cover up his tracks. Andy later plans to get revenge on Danny by roping him in his scheme to defraud Johnny out of his £750,000 and deceiving him into believing that both Jake and Johnny view him as weak, further asserting that Danny's contribution would change Johnny's viewpoint on him instead of Jake. He reluctantly agrees and helps Andy in his scheme, after which Andy betrays Danny by leaving him behind. However, Andy's scheme fails when Johnny intercepts his plan and kills Andy by throwing him off a motorway bridge. The next day, Danny learns about Andy's death and - deducing that Johnny killed him - becomes paranoid that Johnny will kill him next. His attempts to calm down over the situation lead to Danny having a brief relationship with Andy's estranged wife, Sam Mitchell (Kim Medcalf). Later on, Danny is enraged when Johnny fires him for incompetence and steals his business idea to expand his nightclub - Scarlet. In retaliation, he sets fire to Johnny's house and uses the incident to try and prove to Johnny how he should be taken more seriously.

Danny and Jake later plan on leaving Walford before Johnny finds out, but are caught out when Johnny finds Danny and forces him into his car. Jake then gets into the car to stay with his brother. Johnny drives them to a forest and locks Jake in the car as he prepares to shoot Danny; however, Jake kicks the car window out and escapes into the woods to find them. He tries to persuade Johnny not to kill Danny. The episode ends with Johnny raising the gun at both of them, however, their fate is not revealed until a few months later when Jake turns up, where it turns out that Johnny let them go: under the agreement that they were not seen again. Johnny allows Jake to stay in Walford but refuses for Danny to ever return. Jake reveals that Danny has gone abroad.

Off-screen, Danny begins working for Johnny to make amends for his actions. On New Year's Eve 2005, Johnny contacts Danny and orders him to murder Andy's best friend, Dennis Rickman (Nigel Harman) - who had severely beaten Johnny in retribution for killing Andy and threatening to harm Dennis' wife Sharon Watts (Letitia Dean). Returning to the Square that same night, Danny stabs Dennis in the chest and slips away unseen; Dennis ends up dying in Sharon's arms. He later reveals this to Jake, by showing him a video of the murder, on his mobile phone. Jake is later summoned to Scarlet, only to be greeted by Danny - who is there to look after things for Johnny during the latter's absence; Johnny has moved to Essex. Danny reveals his working relationship with Johnny. After hearing that his grandmother Nana (Hilda Braid) has died, he leaves again.

Towards the end of March 2006, Sam's two older brothers Phil (Steve McFadden) and his brother Grant (Ross Kemp) - dubbed the "Mitchell Brothers" in Walford - arrive in Essex with the intention of bringing Johnny to justice for Dennis' murder on behalf of Sharon, who had previously married Grant until she had an affair with Phil. It soon emerges at this point that Danny has been staying with Johnny in Essex. When Johnny gets ambushed by the Mitchell Brothers, he asks Danny to look after his daughter Ruby (Louisa Lytton) while he deals with Phil and Grant alone. Danny's behavior then shows signs of mental illness when he refers to Johnny as "dad" when asks Ruby if he ever talks about him. He also tells Ruby to get undressed but promises not to look. He then drugs Ruby with sleeping pills and lies on her bed, watching her sleep. Jake eventually tracks Danny down and tries to persuade him to return to Walford. Danny doesn't want to go because he thinks Johnny needs him and Johnny's home is his home as well. This causes Jake to realize that Danny has become mentally unstable and that Johnny is merely using him to settle down a new life away from Walford.

Johnny returns and is intent on killing the Mitchells with Danny's help. Danny is again confronted by his brother. During the conversation, Danny produces a mobile phone with video evidence that it was he who had killed Dennis on New Year's Eve. After a short struggle, Danny knocks Jake unconscious with a baseball bat and - under Johnny's orders - marches the Mitchells into the nearby woods armed with the shotgun and a spade with the intent to kill and bury them. Just as Danny prepares to execute Grant, he is suddenly killed when Jake appears with a pistol - which Danny had dropped in the earlier struggle between the brothers - and shoots him, albeit unintentionally killing him in the process; Jake had only meant to shoot Danny in the arm or leg to save the Mitchell Brothers.

After confessing that Danny was the one who stabbed Dennis on Johnny's orders, Jake buries his brother in the woods - using the spade to mark his grave - whilst Phil and Grant rush out to confront Johnny, only to find that Ruby has already forced her dad to turn himself in for the murders of Andy and Dennis. The only people who are aware that Jake killed Danny are the Mitchell Brothers, Ruby, and her boyfriend Sean Slater (Robert Kazinsky); a guilt-ridden Jake insists that he never intended for Danny to die.

title: Danny Moon


text:
The Suffrajets

The Suffrajets were a British all girl four-piece rock band formed by Alex Gillings and Gemma Clarke. The last line-up was Alex Gillings (rhythm guitar), Gemma Clarke (drums), Claire Wakeman (lead guitar, vocals) and Lulu Small (bass). The band split in March 2007. The band signed their first record contract with Poolside Records via Sony when the girls were 17 years old. After signing with Sony, the band toured Los Angeles and recorded their debut album with producer Greg Hampton.

title: The Suffrajets


text:
NLGJA: The Association of LGBTQ Journalists

NLGJA: The Association of LGBTQ+ Journalists, is an American professional association dedicated to coverage of LGBTQ+ issues in the media. It is based in Washington, D.C., and the membership consists primarily of journalists, students, educators, and communications professionals. The organization was previously known as the National Lesbian and Gay Journalists Association (NLGJA), but changed its name in 2013 to "NLGJA: The Association of LGBT Journalists" to reflect the diversity of the communities it represents. In 2016, it added a "Q" to represent queer journalists and people, updating its name to "NLGJA: The Association of LGBTQ Journalists". In 2023, it added a "+" to represent those gender-diverse and sex-diverse people whose identities are not well-known to be added to the acronym, and those who are questioning their identities, updating its name to "NLGJA: The Association of LGBTQ+ Journalists".

History
The association was founded by Roy Aarons in 1990, along with other journalists, Elaine Herscher, Shannon Hickey, David Tuller, Victor Zonana, and Kathleen Buckley, who made up its first board.

Jen Christensen took over as NLGJA national president following the death of Michael Triplett, who died January 18, 2013, less than six month after his election.

The association has inspired the founding of the French association of LGBTQ journalists in 2013.

Press service
In connection with Witeck-Combs Communications, the NLGJA launched OutNewsWire in 2008 to simplify the distribution of news articles relating to the LGBTQ community. The wire has more than 400 journalists receiving updates currently, which are available online. The service comes at a discounted price to "nonprofits hoping to use the service to reach the LGBTQ media".

Newsroom Outreach Project
As early as 1996, the NLGJA, along with Hollywood Supports, developed “sexual orientation in the workplace” seminars that were conducted in Knight Ridder newspapers across on the nation. The seminars were designed to place emphasis on acceptance in the workplace, through discussions of stereotypes and business and legal issues involved with the LGBTQ community. The stated goal of these seminars was to provide an LGBTQ-friendly office environment for LGBTQ journalists, but the discussions also pushed for domestic partnership benefits at newspapers across the nation, one of the main focuses of the LGBTQ rights movement nationwide. The seminars are offered free of charge to news organizations.

During the seminars, facilitators introduce employees to the “model of parity” NLGJA developed in order to encourage equality and inclusiveness within the workplace. There are fourteen steps in this model, highlighting both workplace climate and fair compensation. Included in these steps are things like avoiding double standards, promoting balanced coverage, providing the same insurance coverage for all employees, and offering family and medical leave.


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Taisen Deshimaru

Taisen Deshimaru (弟子丸 泰仙) was a Japanese Sōtō Zen Buddhist teacher, who founded the Association Zen Internationale.

Early life
Born in the Saga Prefecture of Kyūshū, Deshimaru was raised by his grandfather, a former Samurai before the Meiji Revolution, and by his mother, a devout follower of the Jōdo Shinshū sect of Buddhism. Interested in the world, he abandoned his mother's practices and studied Christianity for a long while under a Protestant minister before ultimately deciding that it was not for him either. He returned to Buddhism and eventually came into contact with Rinzai teachings.

Eventually, he also grew distant from Rinzai Buddhism and was unsatisfied by his life as a businessman. In 1935, when he was studying economics in Tokyo, Deshimaru began to practice under Sōtō Zen Master Kodo Sawaki.

Following the Attack on Pearl Harbor, his master predicted that Japan would lose the war. When Deshimaru departed from his Master, Kodo said "Our homeland will be destroyed, our people annihilated . . . and this may be the last time we see one another. Nevertheless, love all mankind regardless of race or creed."

War years
Deshimaru was exempted from the Imperial Japanese Army because of his near-sightedness. He went to the island of Bangka, Indonesia, to direct a copper mine. There he taught the practice of zazen to the Chinese, Indonesian, and European inhabitants. He defended inhabitants against the violence of his own people, and was therefore almost thrown in jail, in which case he would have been released by "the highest military authorities in Japan".

Thereafter Deshimaru went to the island of Belitung, to direct a copper mine which was captured from the Dutch. After the war he was taken prisoner by the Americans, and sent to a camp in Singapore.

Further Zen studies
Deshimaru quickly rejoined Kodo Sawaki. He studied with him for fourteen years, until Sawaki's death in 1965. Deshimaru received ordination as a monk shortly before Sawaki became ill. Deshimaru claimed to have received dharma transmission at Sawaki's deathbed, but it was never registered with the Soto school. Sawaki is said to have expressed his wish to spread Zen to other parts of the world on his deathbed, and asked Deshimaru to travel to Europe and spread the teaching.

Europe
In 1967, Deshimaru went to Europe and settled in Paris in order to fulfill his master's wish and spread the teachings of Zen. In an interview Deshimaru affirmed he chose France to teach because of its philosophical tradition; he cited Michel de Montaigne, René Descartes, Henri Bergson and Nicolas Malebranche as philosophers who understood Zen without even knowing it. In the 1970s, his mission grew. In 1970 Deshimaru received dharma transmission from Master Yamada Reirin. He became Kaikyosokan (head of Japanese Soto Zen for a particular country or continent) in Europe.

He died in 1982, after he had solidly established Zen practice in the West. After Master Deshimaru's death, three of his closest disciples, Etienne Zeisler, Roland Rech, and Kosen Thibaut, traveled to Japan to receive the shiho from the highest Soto authority, Master Rempo Niwa Zenji. In 1977 Master Deshimaru ordained Olivier Wang-Genh into his Soto-lineage. In 2016 Olivier Wang-Genh was re-appointed President of the Buddhist Union of France.

Influence
Deshimaru founded the Association Zen Internationale in 1970, and La Gendronnière in 1979. Deshimaru trained many disciples, and was the catalyst for the creation of a multitude of practice centers. His teachings and multitude of books helped spread the influence of Zen in Europe and America, particularly of the Sōtō sect.

Students

 * Reiryu Philippe Coupey, dharma transmission from Kojun Kishigami, who received dharma transmission from Kodo Sawaki.
 * Kosen Thibaut, dharma transmission from Niwa Zenji in 1984.
 * Robert Livingston
 * Master Sando Kaisen

Books

 * Za-Zen, the practice of the Zen
 * Sit: Zen Teachings of Master Taisen Deshimaru
 * The Ring of the Way: Testament of a Zen Master
 * Questions to a Zen Master
 * The Zen Way To Martial Arts
 * The Way of True Zen
 * The Voice of the Valley
 * Mushotoku Mind: The Heart of the Heart Sutra

title: Taisen Deshimaru


text:
Category:Titus Software games

Video games by Titus Software.

title: Category:Titus Software games


text: Category:Tri-Rail

title: Category:Tri-Rail


text:
Nymphaeum

A nymphaeum or nymphaion (νυμφαῖον), in ancient Greece and Rome, was a monument consecrated to the nymphs, especially those of springs.

These monuments were originally natural grottoes, which tradition assigned as habitations to the local nymphs. They were sometimes so arranged as to furnish a supply of water, as at Pamphylian Side. A nymphaeum dedicated to a local water nymph, Coventina, was built along Hadrian's Wall, in the northernmost reach of the Roman Empire. Subsequently, artificial grottoes took the place of natural ones.

Roman period
The nymphaea of the Roman period extended the sacral use to recreational aims. They were borrowed from the constructions of the Hellenistic east. At a minimum, Roman nymphaea may be no more than a niche set into a garden wall. But many larger buildings are known. Most were rotundas, and were adorned with statues and paintings. They served the threefold purpose of sanctuaries, reservoirs and assembly-rooms. A special feature was their use for the celebration of marriages. Such nymphaea existed in Corinth, Antioch and Constantinople; the remains of some twenty have been found in Rome and many in Africa. The so-called exedra of Herodes Atticus (which corresponds in all respects to a nymphaeum in the Roman style), the nymphaeum in the palace of Domitian and those in Hadrian's Villa in Tivoli (Tibur)—five in number—may be specially mentioned.The nymphaeum in Jerash, Jordan (illustration), was constructed in 191 AD. The fountain was originally embellished with marble facing on the lower level, painted plaster on the upper level, and topped with a half-dome roof, forming a giant niche. Water cascaded through seven carved lion's heads into small basins on the sidewalk.

Nymphaea may be artificial grottoes, large-scale stonework to create or enhance a resemblance to a natural cave. Deliberately rough stones might be used—Pliny the Elder noted that pumice was often used to give the appearance of a cave. Water was a much-desired feature; at least a trickle, often flowing over the rocks to make them glisten.

Mosaics
Nymphaea were important in the architectural movement of mosaic from floor to walls and ceiling vaults in the 1st century. Initially they were often decorated with geometrical mosaics often incorporating shells, but by the end of the century could contain ambitious figure subjects.

Later periods
The term nymphaeum was also applied to the fountains of water in the atrium of the Christian basilica, which according to Eusebius were symbols of purification. Phiale is an equivalent Greek term.

A nymphaeum for al fresco summer dining featuring artificial grottoes with waterflows was designed by Bartolomeo Ammanati (1550–1553), and was reintroduced at the Villa Giulia, Rome.

title: Nymphaeum


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User (telecommunications)

In telecommunications, a user is a person, organization, or other entity that uses the services provided by a telecommunication system, or by an information processing system, for transfer of information. A user functions as a source or final destination of user information, or both. A user may also be the subscriber, i.e. the customer paying for the service.

User is also a person or process accessing an AIS by direct connections (e.g., via terminals) or indirect connections. "Indirect connection" relates to persons who prepare input data or receive output that is not reviewed for content or classification by a responsible individual.

title: User (telecommunications)


text:
User talk:Lovejez

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! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! You (Talk) 19:29, Jun 15, 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

title: User talk:Lovejez


text:
Walser (surname)

The Walser people are descendants of people who migrated from the Wallis, Switzerland, to other Alpine regions. The Highest Alemannic Walser German dialects are still very similar to Walliser German

People

 * Al Walser (born 1976), German-born Liechtensteiner singer, songwriter, and record producer
 * Alissa Walser (born 1961), German writer and artist; daughter of Martin Walser
 * Andreas Walser (1908–1930), Swiss painter
 * David Walser (1923–1993), British Anglican rector and archdeacon
 * Derrick Walser (born 1978), Canadian ice hockey player and coach
 * Don Walser (1934–2006), American singer-songwriter and musician
 * Emma Shannon Walser (1929–2021), Liberian lawyer and jurist
 * Frank Walser (1924–1996), American builder
 * Franziska Walser (born 1950), German actor; daughter of Martin Walser
 * George Walser (1834–1910), American lawyer and politician
 * Helmut Walser Smith (born 1962), German history professor
 * Hugo Walser (1940–2005), Liechtensteiner runner
 * Hugo Walser (field hockey) (1948), Swiss field hockey player
 * Karl Walser (1877–1943), Swiss painter, stage designer, illustrator, and muralist
 * Martin Walser (1927–2023), German writer
 * Robert Walser, (1878–1956), German-speaking Swiss writer
 * Robert Walser (musicologist), American musicologist, writer, and educator
 * Samuel Walser (born 1992), Swiss ice hockey player
 * Ulrich and Anton Walser (c.  late 19th-cent.), Swiss-born American builders
 * Zeb V. Walser (1866–1940), American attorney and politician

title: Walser (surname)