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Specific energy

Specific energy or massic energy is energy per unit mass. It is also sometimes called gravimetric energy density, which is not to be confused with energy density, which is defined as energy per unit volume. It is used to quantify, for example, stored heat and other thermodynamic properties of substances such as specific internal energy, specific enthalpy, specific Gibbs free energy, and specific Helmholtz free energy. It may also be used for the kinetic energy or potential energy of a body. Specific energy is an intensive property, whereas energy and mass are extensive properties.

The SI unit for specific energy is the joule per kilogram (J/kg). Other units still in use worldwide in some contexts are the kilocalorie per gram (Cal/g or kcal/g), mostly in food-related topics, and watt hours per kilogram in the field of batteries. In some countries the Imperial unit BTU per pound (Btu/lb) is used in some engineering and applied technical fields.

The concept of specific energy is related to but distinct from the notion of molar energy in chemistry, that is energy per mole of a substance, which uses units such as joules per mole, or the older but still widely used calories per mole.

Table of some non-SI conversions
The following table shows the factors for conversion to J/kg of some non-SI units:

For a table giving the specific energy of many different fuels as well as batteries, see the article Energy density.

Ionising radiation
For ionising radiation, the gray is the SI unit of specific energy absorbed by matter known as absorbed dose, from which the SI unit the sievert is calculated for the stochastic health effect on tissues, known as dose equivalent. The International Committee for Weights and Measures states: "In order to avoid any risk of confusion between the absorbed dose D and the dose equivalent H, the special names for the respective units should be used, that is, the name gray should be used instead of joules per kilogram for the unit of absorbed dose D and the name sievert instead of joules per kilogram for the unit of dose equivalent H."

Energy density of food
Energy density is the amount of energy per mass or volume of food. The energy density of a food can be determined from the label by dividing the energy per serving (usually in kilojoules or food calories) by the serving size (usually in grams, milliliters or fluid ounces). An energy unit commonly used in nutritional contexts within non-metric countries (e.g. the United States) is the "dietary calorie," "food calorie," or "Calorie" with a capital "C" and is commonly abbreviated as "Cal." A nutritional Calorie is equivalent to a thousand chemical or thermodynamic calories (abbreviated "cal" with a lower case "c") or one kilocalorie (kcal). Because food energy is commonly measured in Calories, the energy density of food is commonly called "caloric density". In the metric system, the energy unit commonly used on food labels is the kilojoule (kJ) or megajoule (MJ). Energy density is thus commonly expressed in metric units of cal/g, kcal/g, J/g, kJ/g, MJ/kg, cal/mL, kcal/mL, J/mL, or kJ/mL.

Energy density measures the energy released when the food is metabolized by a healthy organism when it ingests the food (see food energy for calculation). In aerobic environments, this typically requires oxygen as an input and generates waste products such as carbon dioxide and water. Besides alcohol, the only sources of food energy are carbohydrates, fats and proteins, which make up ninety percent of the dry weight of food. Therefore, water content is the most important factor in computing energy density. In general, proteins have lower energy densities (≈16 kJ/g) than carbohydrates (≈17 kJ/g), whereas fats provide much higher energy densities (≈38 kJ/g), $2 1/4$ times as much energy. Fats contain more carbon-carbon and carbon-hydrogen bonds than carbohydrates or proteins, yielding higher energy density. Foods that derive most of their energy from fat have a much higher energy density than those that derive most of their energy from carbohydrates or proteins, even if the water content is the same. Nutrients with a lower absorption, such as fiber or sugar alcohols, lower the energy density of foods as well. A moderate energy density would be 1.6 to 3 calories per gram (7–13 kJ/g); salmon, lean meat, and bread would fall in this category. Foods with high energy density have more than three calories per gram (>13 kJ/g) and include crackers, cheese, chocolate, nuts, and fried foods like potato or tortilla chips.

Fuel
Energy density is sometimes more useful than specific energy for comparing fuels. For example, liquid hydrogen fuel has a higher specific energy (energy per unit mass) than gasoline does, but a much lower volumetric energy density.

Astrodynamics
Specific mechanical energy, rather than simply energy, is often used in astrodynamics, because gravity changes the kinetic and potential specific energies of a vehicle in ways that are independent of the mass of the vehicle, consistent with the conservation of energy in a Newtonian gravitational system.

The specific energy of an object such as a meteoroid falling on the Earth from outside the Earth's gravitational well is at least one half the square of the escape velocity of 11.2 km/s. This comes to 63 MJ/kg (15 kcal/g, or 15 tonnes TNT equivalent per tonne). Comets have even more energy, typically moving with respect to the Sun, when in our vicinity, at about the square root of two times the speed of the Earth. This comes to 42 km/s, or a specific energy of 882 MJ/kg. The speed relative to the Earth may be more or less, depending on direction. Since the speed of the Earth around the Sun is about 30 km/s, a comet's speed relative to the Earth can range from 12 to 72 km/s, the latter corresponding to 2592 MJ/kg. If a comet with this speed fell to the Earth it would gain another 63 MJ/kg, yielding a total of 2655 MJ/kg with a speed of 72.9 km/s. Since the equator is moving at about 0.5 km/s, the impact speed has an upper limit of 73.4 km/s, giving an upper limit for the specific energy of a comet hitting the Earth of about 2690 MJ/kg.

If the Hale-Bopp comet (50 km in diameter) had hit Earth, it would have vaporized the oceans and sterilized the surface of Earth.

Miscellaneous

 * Kinetic energy per unit mass: v2, where v is the speed (giving J/kg when v is in m/s). See also kinetic energy per unit mass of projectiles.
 * Potential energy with respect to gravity, close to Earth, per unit mass: gh, where g is the acceleration due to gravity (standardized as ≈9.8 m/s2) and h is the height above the reference level (giving J/kg when g is in m/s2 and h is in m).
 * Heat: energies per unit mass are specific heat capacity times temperature difference, and specific melting heat, and specific heat of vaporization

title: Specific energy


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A&P (short story)

"A&P" is a tragicomic work of short fiction by John Updike which first appeared in the July 22, 1961 issue of The New Yorker. The story was collected in Pigeon Feathers in 1961, published by Alfred A. Knopf. The work is frequently included in anthologies.

Plot
Sammy, a teenage clerk in an A&P grocery, is working the cash register on a hot summer day when three pretty young women about his age enter, in bathing suits and bare feet, to buy snacks. Sammy gawks at the girls; he imagines details about the girls based on their appearance alone, impressions that, to his surprise, are shaken when the leader of the trio, an enchantingly gorgeous beauty he dubs "Queenie", speaks in a voice unlike that which he had created in his imagination.

Lengel, the prudish store manager, feels the girls are not dressed appropriately for a supermarket, and admonishes them, telling them they must have their shoulders covered next time, which Sammy believes unnecessarily embarrasses them.

Offended by the manager's disregard for their dignity, Sammy ceremoniously removes his store apron and bow tie and resigns on the spot, despite the mention by the manager that he believes Sammy's resignation is for rash reasons and to reconsider. Lengel also reminds Sammy he knows Sammy's parents and he ought not do anything that would embarrass them socially. Sammy then leaves the store, seemingly in expectation of some display of affection or appreciation from the young women involved, only to find that they've already left, apparently oblivious to his presence. Sammy then feels a sense of dread, reflecting on "how hard the world was going to be to me hereafter".

Reception
M. Gilbert Porter called the titular A&P in Updike's story "the common denominator of middle-class suburbia, an appropriate symbol for [the] mass ethic of a consumer-conditioned society". According to Porter, when the main character chooses to rebel against the A&P he also rebels against this consumer-conditioned society, and in so doing he "has chosen to live honestly and meaningfully". Conversely, William Peden called the story "deftly narrated nonsense... which contains nothing more significant than a checking clerk's interest in three girls in bathing suits."

Theme
Sammy, the teenage cashier, "a martyr for beauty", stalks off the job after his manager ejects the bathing suit-clad girls from the store, in particular "Queenie", the prettiest of the three. Literary critic Mary Allen comments on Updike's conception of the ideal female:

"Sexuality is far and away the most desirable trait in a woman, perhaps the only essential one. It is not necessarily associated with physical beauty. A woman in Updike may be remembered as pretty because of the fondness with which the love scenes are portrayed... In fact, a case can be made that homeliness of a sort that makes a woman soft and vulnerable is itself an attraction for Updike men."

Allen adds: "The very sight of women gives a kind of grace to existence for Updike men. A young grocery checker in 'A&P' grows faint with delight when three girls in bathing suits come into the market. The loveliest girl, whose straps hang charmingly off her white shoulders, comes through his line and pays her bill with a dollar she produces from the top of her bathing suit."

Updike's 19-year-old protagonist is quickly disabused as to the wisdom of his recklessness on behalf of the girls. Literary critic Richard Detweiler writes:

"The undertone of sorrow resides in the depressing sight that awaits Sammy outside the supermarket: the girls for whom he has gallantly sacrificed his job have disappeared; in their place is a young married woman yelling at her spoiled children, a much commoner refrain to the heady tunes of wishful American romance."

Lengel
Manager of the local A&P, Lengel is a man who spends most of his days behind the door marked "Manager". Entering the story near the end, he represents the system: management, policy, decency, and the way things are. But he is not a one-dimensional character. He has known Sammy's parents for a long time, and he tells Sammy that he should, at least for his parents' sake, not quit his job in such a dramatic, knee-jerk way. He seems truly concerned even while he feels the need to enforce store policy.

Queenie
"Queenie" is the name Sammy gives to the gorgeous girl who leads her two friends through the grocery store in their bathing suits. He has never seen her before but immediately becomes infatuated with her. He comments on her regal and tantalizing appearance. She is objectified by 19-year-old Sammy, who notes the shapely contours of her figure and the seductiveness of the straps that have slipped off her shoulders. He also, however, clearly admires how her inappropriate attire defies convention. When Lengel chastises the girls for their attire, Queenie, who Sammy imagines lives in an upper-middle-class world of backyard swimming pools and fancy appetizers, becomes "sore now that she remembers her place, a place from which the crowd that runs the A&P must look pretty crummy". Sammy becomes indignant at Lengel's treatment of the girls and tries to help them save face by quitting his job. But Queenie appears not to notice and leaves the store promptly, diminishing the impact of Sammy's impulsive gesture.

Plaid and Big Tall Goony Goony
These are the nicknames Sammy gives Queenie's friends, who are somewhat uneasier about their attire. Plaid is a plump, pretty girl in a plaid two-piece bathing suit; Big Tall Goony Goony is cynically observed by Sammy to have the sort of striking features other girls pretend to admire because they know she's no real competition to them (although he concedes that she's not bad-looking on the whole).

Sammy
Sammy's name is not revealed to the reader until the end of the story, even though he is the first-person narrator of the story. He is a checkout clerk at an A&P supermarket. His language indicates that, at age 19, he is both cynical and romantic. He notes, for instance, that there are "about twenty-seven-old freeloaders" working on a sewer main up the street, and he wonders what the "bum" in "baggy gray pants" could possibly do with "four giant cans of pineapple juice". Yet when Queenie approaches him at the checkout, Sammy notes that "with a prim look she lifts a folded dollar bill out of the hollow at the center of her nubbled pink top. ... Really, I thought that was so cute." He vacillates back and forth between these extremes of opinion during the story, calling some of his customers "houseslaves in pin curlers", yet he is sensitive enough that when Lengel makes Queenie blush, he feels "scrunchy inside". At the end of the story, he quits his job in an effort to be a hero to the girls and as a way of rebelling against a strict society. In a sudden moment of insight—an epiphany—he realizes "how hard the world was going to be to [him] hereafter" if he refuses to follow conventional paths.

Stokesie
Stokesie is a 22-year-old white man who is married with two children. He works with Sammy at the A&P checkout, and is the only other store checker mentioned. He is a minor character in the story, but seems to be representative of ritualism; Stokesie seems to be a medium between the temperaments of Sammy and Lengel. He shares Sammy's askew views to some extent, but does have ambition that one day he can take over the store when Lengel dies or retires, but thinks it is probably out of the question until 1990 when there is Soviet takeover of the United States. (Ironically, 1990 in real time being one year after the fall of the Berlin Wall and the USSR was on its last gasp of being a superpower.) However, Stokesie does his job faithfully each day in order to provide for his wife and kids. Like Sammy, he also observes the girls in the store with interest, although not to the point he is fully distracted. Other customers have been filling up Stokesie's aisle when the girls come to make their purchase, leaving Sammy free. He is a glimpse of what Sammy's future might be like; Stokesie's family "is the only difference" between them, Sammy comments.

Film
In 1996, a short film directed by Bruce Schwartz was made based on the short story. It starred Sean Hayes as Sammy and Amy Smart as Queenie in their first official movie roles.

Cast

 * Sean Hayes as Sammy
 * Randy Oglesby as Lengel
 * Jeramy Guillory as Stokes
 * Amy Smart as Queenie
 * Andrea Lyn as Striking
 * Liz Sheridan as Hi-Ho Lady

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

title: A&P (short story)


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Talk:N2O

N2o moved to N2O, no brains move. --PirateMonkey 29 July 2024

title: Talk:N2O


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History of Manchester United F.C. (1945–1969)

Manchester United Football Club is an English professional football club, based in Old Trafford, Greater Manchester, that plays in the Premier League. Founded as Newton Heath LYR Football Club in 1878, they changed their name to Manchester United in 1902.

United had been league champions in 1908 and 1911, as well as winning the FA Cup in 1909, but the interwar years were less successful as financial problems blighted the club, who spent the 1920s and 1930s bouncing between the First and Second Divisions. The club's Old Trafford stadium was severely damaged in a German air raid in March 1941 during the Second World War, and the club did not return there until the stadium's rebuilding was completed in 1949, until which time their home games were played at Maine Road, the stadium of Manchester City.

In October 1945, the impending resumption of football led to the appointment of Matt Busby as the club's manager; he demanded an unprecedented level of control over team selection, player transfers and training sessions. Busby led the team to second-place league finishes in 1947, 1948 and 1949, and to FA Cup victory in 1948, the club's first major trophy for 37 years. In 1952, the club won the First Division, their first league title for 41 years.

With an average age of 22, the media labelled the back-to-back title-winning side of 1956 and 1957 the "Busby Babes", a testament to Busby's faith in his youth players, who had gradually replaced the older players of the team that had enjoyed success in the late 1940s and early 1950s. In 1956–57, Manchester United became the first English team to compete in the European Cup, despite objections from the Football League, who had denied Chelsea the same opportunity the previous season. En route to the semi-final, which they lost to Real Madrid, the team recorded a 10–0 victory over Belgian champions Anderlecht, which remains the club's biggest victory on record.

The following season, on the way home from a European Cup quarter-final victory against Red Star Belgrade, the aircraft carrying the Manchester United players, officials and journalists crashed while attempting to take off after refuelling in Munich, Germany. The Munich air disaster of 6 February 1958 claimed 23 lives, including those of eight players – Geoff Bent, Roger Byrne, Eddie Colman, Duncan Edwards, Mark Jones, David Pegg, Tommy Taylor and Billy Whelan – and injured several more. Two other players were injured to such an extent that they never played again, and Busby was hospitalised for several months.

Reserve team manager Jimmy Murphy took over as manager while Busby recovered from his injuries and the club's makeshift side reached the FA Cup Final, which they lost to Bolton Wanderers. In recognition of the team's tragedy, UEFA invited the club to compete in the 1958–59 European Cup alongside eventual League champions Wolverhampton Wanderers. Despite approval from the FA, the Football League determined that the club should not enter the competition, since they had not qualified. In the two years that followed the tragedy, Busby built a new team around Munich survivors like Bobby Charlton, Harry Gregg and Bill Foulkes by making signings including Albert Quixall, Noel Cantwell and Maurice Setters.

Busby rebuilt the team through the 1960s by signing players such as Denis Law and Pat Crerand, who combined with the next generation of youth players – including George Best – to win the FA Cup in 1963, the club's first major trophy since the Munich crash. The following season, they finished second in the league, then won the title in 1965 and 1967. In 1968, Manchester United became the first English club to win the European Cup, beating Benfica 4–1 in the final, with a team that contained three European Footballers of the Year: Charlton, Law and Best. Busby resigned as manager in 1969 and was replaced by the reserve team coach, former Manchester United player Wilf McGuinness.
 * Man Utd became known as the Red Devils because when they were named Newton Heath, they were called the Heathens.

Appointment of Matt Busby
In February 1945, with the Second World War in its final few months, Matt Busby met Manchester United president James W. Gibson in Manchester, where he was offered a three-year contract to become the club's manager. At Busby's insistence, this was lengthened to five years; he was appointed manager aged only 36, having just finished a playing career that had seen him turn out for Manchester City and Liverpool as well as the Scotland national side. Busby's appointment was notable for his insistence that he had the authority to appoint his own staff and overall control of all matters related to the playing of the game, responsibilities usually held by club directors or chairmen. Busby did not assume managerial command until October 1945, after the start of the season, and his first act was to appoint former West Bromwich Albion and Wales wing half Jimmy Murphy as coach of the reserve team.

League football resumed for the 1946–47 season and United finished second with a side featuring the likes of Jack Rowley, Charlie Mitten and John Aston. The club captain was now Johnny Carey, an Irishman whose normal position was right-back but who, during his United career, played in every position except on the right wing. They finished second again in both of the next two seasons, though they did deliver the FA Cup in 1948, beating Blackpool 4–2 to claim their first major trophy for 37 years. United's stadium, Old Trafford, had been largely destroyed by German bombs in the Second World War, so they played their home fixtures at Manchester City's ground Maine Road between 1945 and 1949, when they returned to a rebuilt Old Trafford.

After a 41-year wait, league title success finally came in 1952, with United beating second-placed Arsenal 6–1 on the final day of the season to finish four points ahead of both Arsenal and Tottenham Hotspur. However, the side captained by Carey was beginning to show its age and a new set of players had to be found. Busby had already made an important signing the previous year by paying Birmingham City £25,000 for winger Johnny Berry; he had also signed young goalkeeper Ray Wood from Darlington in 1949, while a young Roger Byrne had excelled on the left wing in the title run-in, but many other positions were in need of changes.

The Busby Babes
During the Second World War, football was effectively frozen, and James Gibson set about establishing the Manchester United Junior Athletic Club (MUJAC) in 1938 with the aim of developing the ability of some of the country's most talented young players; it became a "hotbed of young talent that would sustain the club for years to come". When Busby took over in 1945, he overhauled the team; seven players were transfer-listed, several changed positions and he signed winger Jimmy Delaney from Celtic. These changes resulted in the club finishing the 1946–47 season as runners up in the First Division, and in 1948 the club won the FA Cup, beating Blackpool 4–2 in the final. At the start of the following season, Busby began selling some of the older players and replacing them with players from the Youth and Reserve teams. The term "Busby Babes" was coined in November 1951, after 18-year-old Jackie Blanchflower and 22-year-old Roger Byrne made their debuts against Liverpool at Anfield; Tom Jackson of the Manchester Evening News described them in a match report as "United's Babes".

The 1952–53 season saw the retirement of Johnny Carey, yet it also saw the introduction of the Busby Babes as the championship team began to lose steam. David Pegg, Dennis Viollet, Duncan Edwards, and Bill Foulkes, aged between 16 and 21, all made their first appearances in the 1952–53 season. Many of the players at this time were a tribute to the scouting skills of chief scout Joe Armstrong (assigned the duty of finding talent in the North of England), Bob Bishop (Belfast), Billy Behan (Dublin) and Bob Harper, underpinned by United's innovative youth policy under Matt Busby. United finished eighth in 1954 and fifth in 1955 before winning the league by an 11-point margin in 1955–56 with Tommy Taylor and Dennis Viollet leading the line for a side which had an average age of only 22. Only two players in the 1956 team, Roger Byrne and Johnny Berry, had collected medals in both the 1952 and 1956 title winning campaigns. Against the Football League's wishes, they became England's first representatives in the European Cup.

One of the stars of the team was Duncan Edwards, who set the record as the youngest player ever to be capped for England when he played against Scotland at the age of 17 and 8 months. The record stood for more than 40 years before being broken in 1998 by Michael Owen, who would play for United more than a decade later. His legendary status is demonstrated by the fact that he placed sixth in a 1999 poll of Manchester United fans, asking them to name the top 50 United players of all time - despite his playing career lasting just five years and up to the age of 21.

The Championship was defended successfully in 1957, with Tommy Taylor scoring 22 goals, Liam Whelan getting 26 and a young Bobby Charlton grabbing 10 goals. United also beat rivals Manchester City to win the 1956 Charity Shield and reached the FA Cup Final that season, but played without their goalkeeper Ray Wood for much of the game, eventually losing 2–1 to Aston Villa.

United's first European match was a 2–0 win away to the Belgian champions Anderlecht. The return leg was played at Maine Road as Old Trafford did not have any floodlights, and United won 10–0. This is still their record victory in a European match.

United then knocked out Borussia Dortmund and Athletic Bilbao having come back from two goals behind against Bilbao, before losing to Real Madrid in the semi-final.

Munich air disaster
On 5 February 1958, United played Red Star Belgrade in Yugoslavia, in the second leg of the European Cup quarter finals. The match ended in a 3–3 draw, but as United had already won the home leg 2–1, they won the tie 5–4 on aggregate and reached the semi-finals for the second year in succession.

The team's chartered plane, an Airspeed Ambassador owned by British European Airways, left Belgrade on 6 February and stopped at Munich to refuel. Takeoff had to be aborted twice because of boost surging, a common problem in the "Elizabethan". The problem was caused by the fuel mixture being too rich, which caused the engines to over-accelerate: this problem was exacerbated by the altitude of the Munich airport.

The pilots were able to control the surging on the third takeoff attempt, but as they reached the V1 "decision speed" (after which it is unsafe to abort takeoff), the airspeed suddenly dropped. The aircraft left the runway, crashed through a fence and into a house. The left wing and the tail were ripped off, while the starboard side of the fuselage hit a fuel tank and exploded. Officially, the cause of the accident was build-up of slush on the runway, which caused the aircraft to lose speed, preventing it from achieving takeoff.

Mark Jones, David Pegg, Roger Byrne (United's captain since 1953), Geoff Bent, Eddie Colman, Liam Whelan, and Tommy Taylor were killed outright, in addition to club secretary Walter Crickmer, and coaches Tom Curry and Bert Whalley. Duncan Edwards, Matt Busby, and Johnny Berry were critically injured; Edwards died fifteen days later. Berry and Jackie Blanchflower survived but never played again. Byrne, Taylor and Edwards were all regular members of the England team, with 70 caps and 21 goals between them, while Pegg, Whelan, Berry and Blanchflower had all received full international recognition for England, the Republic of Ireland or Northern Ireland.

A total of 23 people died as a result of their injuries; among them were four other passengers and two of the crew, as were eight sportswriters including former Manchester City and England goalkeeper Frank Swift. Among the survivors were goalkeeper Harry Gregg, who had only just joined the club from Doncaster Rovers, full-back Bill Foulkes and forward Bobby Charlton.

Rebuilding
Jackie Blanchflower and Johnny Berry were injured to such an extent that their playing careers were over, and Kenny Morgans was never the same player he had been before the crash. Matt Busby himself was in hospital for two months recovering from multiple injuries. Initially his chances of surviving were thought to be no better than 50-50.

While Busby recovered in hospital, his assistant Jimmy Murphy took temporary charge of team affairs (Murphy had not gone to Yugoslavia with the team, as he was managing the Welsh national side in a World Cup qualifier against Israel). United struggled in the League after Munich, winning only one of their last 14 matches and finishing in ninth place. However, they performed well in the FA Cup matches and made it to the final, but lost to Bolton 2–0. At the end of the season, UEFA offered The FA the opportunity to submit both United and the eventual champions Wolves for the 1958–59 European Cup, an unprecedented move, as a tribute to the victims, but the FA declined.

A period of rebuilding followed with several significant signings, including Albert Quixall, Maurice Setters, Denis Law, Pat Crerand, and Noel Cantwell between 1958 and 1962. Although they were sound long-term investments, the arrival of fresh blood failed to give the club an immediate leg-up in the league. Munich survivors Harry Gregg, Bill Foulkes and Bobby Charlton were all with the club for many years afterwards, while Ray Wood, Albert Scanlon and Kenny Morgans had all been transferred by 1961 and Dennis Viollet was sold to Stoke City in 1962.

The team's form was inconsistent, but despite a poor 19th place in the 1962–63 season, United managed to beat Leicester City 3–1 at Wembley to win the FA Cup.

After the crash, Busby's Babes seemed inappropriate so a new name was sought. English rugby club Salford had toured France in the 1930s wearing red shirts and became known as "The Red Devils". Busby liked the sound of it, so he declared Manchester United should also be known as "The Red Devils" and soon the club began incorporating the devil logo into match programmes and scarves. In 1970, the club badge was redesigned, but now with a devil in the centre holding a pitchfork.

The mid-Sixties
September 1963 saw the debut of 17-year-old forward George Best, completing the "holy trinity" of Charlton, Law and Best that would help United to their successes of the 1960s. In 1963–64 Law scored 46 goals in all competitions. United finished second that season, then won the League in 1964–65 by goal average over a newly promoted Leeds United, who would go on to be one of the dominant sides in English football over the next decade. That season saw United go on a run of 13 wins in 15 games from September–December 1964. The rebuilding was complete: Bobby Charlton and Bill Foulkes were the only Munich survivors in that team, although Harry Gregg was still on the club's payroll despite a serious shoulder injuries, not leaving until the 1966–67 season.

That season was significant in other ways, too, as England were hosting the 1966 World Cup and Old Trafford was among the stadia to be upgraded at the government's expense, with the North Stand being rebuilt into a cantilevered structure. United's players Bobby Charlton and Nobby Stiles played for England in the Final, beating West Germany 4–2. Winger John Connelly was also in England's World Cup squad but was not selected in the team for the final.

United won another league title in 1966–67, going unbeaten in their last 20 games and making sure of top spot by winning 6–1 over West Ham, qualifying them for the European Cup the next season and laying the groundwork for the climactic triumph of that era. They were knocked out of the League Cup at the Second Round stage by Blackpool, who won the Bloomfield Road tie 5–1.

Champions of Europe (1967–68)
The run to the European Cup began easily enough, and the Reds cruised past the Maltese team Hibernians for a 4–0 win on aggregate. A tough, physical series against Sarajevo was next, followed by Górnik Zabrze from Poland. United won 2–1 on aggregate and then came the semi-final - two matches against the mighty Real Madrid. Real played a defensive game in the first leg at Old Trafford, stifling the attacking magic of the Reds. United managed a 1–0 victory, but it was a very small advantage to take into the Bernabéu.

Denis Law was suffering from a knee injury, so Busby decided instead to call up the 36-year-old defender Bill Foulkes, who now played most of his games in the centre of defence rather that on the right. The game started badly for United as Real Madrid ran circles around them, leading 3–1 at half-time, 3–2 on aggregate. United came back strongly after the break and pounded the Real defence to no avail for half an hour until David Sadler levelled the aggregate score. Then Bill Foulkes played the hero as he buried a pass from George Best into the goal. It was the only goal he ever scored in European competition and the last of only nine he would score in nearly 700 appearances for the club.

United were through to the final and faced Benfica at Wembley. In many ways it was an emotional day, Matt Busby's journey finally coming full circle after the tragically aborted promise of the Busby Babes a decade earlier. It was also a testament to Busby's skill in judging talent, as the club had only paid transfer fees for two of that day's players.

Bobby Charlton opened the scoring for United, then Jaime Graça equalised. Benfica piled on the pressure in the dying minutes and it took a brilliant save from Alex Stepney to deny Eusébio the winning goal. United managed to hold out until extra time, then George Best finally broke free of the stifling marking of the Benfica defence and scored. Benfica were reeling and Brian Kidd, celebrating his 19th birthday, scored a header. Bobby Charlton finished off Benfica with a high shot for a 4–1 victory and United became the first English team to win the European Cup.

Matt Busby would later be knighted for his accomplishments, as well as being awarded the Freedom of Manchester.

End of an era (1968–69)
As the European champions, Manchester United faced off against Estudiantes de La Plata, the South American champions, in the 1968 Intercontinental Cup. Estudiantes won the series after a 1–0 win in Buenos Aires's La Bombonera and a 1–1 draw at Old Trafford. This became the first, and so far only, time Manchester United failed to win a title contested at their home ground. In the European Cup, United lost to Milan in the semi-finals, after a Law goal that clearly crossed the line was disallowed in the second leg at Old Trafford, leaving United 1–0 winners on the night but 1–2 losers on aggregate. The season ended with Busby moving on to become General Manager. He had announced his intention to resign as team manager on 14 January 1969, and trainer Wilf McGuinness agreed to take over control of the first team.

By May 1969, the United squad was rather aged. Foulkes, whose appearances were now limited and who would retire the following season, was now 37. Shay Brennan and Bobby Charlton were now in their early thirties and Denis Law was just months short of his 30th birthday, although the squad did include some impressive younger players including 20-year-old forward Brian Kidd and new signing Willie Morgan, an acquisition from Burnley just after the European Cup victory. Alex Stepney, 26, was now United's regular goalkeeper, having been signed from Chelsea three years earlier to replace Harry Gregg.


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Talk:Neolithic circular enclosures in Central Europe

[Untitled]
From the newspapaer article upon which this article is based, the recent archaeological discoveries are so new that the temple building culture does not even have a name yet.

Maybe you could wait until the discoveries are independently verified and given a name before you start writing "monumental" articles about them? --Brunnock 11:51, Jun 12, 2005 (UTC)

The discoveries are not quite that new. German magazine "Der Spiegel" has had several stories about them since 2003. I don't think the fact that the culture does not have a name yet should stop us from writing about it -- it's not like there is an official naming process for ancient civilizations or anything. --Chl 12:49, 12 Jun 2005 (UTC)

Did they actually build palisades 800 meters high? That seems a little too monumental...Adam Bishop 09:01, 17 Jun 2005 (UTC)

 * I'm pretty sure that should 800m long. Current thinking on Talk:Archaeology is to wait till we have some academic, published info before wikipedia weighs in properly. Little in the newspaper articles is new stuff save for the dating and smacks of journalists trying to pad out a short press release to me. adamsan 10:12, 17 Jun 2005 (UTC)

 * By all means, everybody go to town on this article, and remove anything that seems unlikely. 800m is sourced from the same Independent article as the rest of this stuff; it says the palisades rised "half a mile", i.e. approx. 800m. - Nat Krause 08:05, 18 Jun 2005 (UTC)

nothing to see here
this was all fabricated by the Independent. These "circular ditches" have been known for years. I will move the article to somewhere less spectacular. dab (ᛏ) 4 July 2005 18:36 (UTC)
 * apparently, the archaeologists in Dresden are really pissed off with the Independent for making this a headline. They say they have no way of knowing what the ditches were for, any talk of "temples" is pure fancy, and anyone's guess, and anyway there were no recent developments, the Dresden structure has been known for more than ten years. dab (ᛏ) 4 July 2005 18:48 (UTC)

I think these features may be roundel enclosures and have made a general article there. adamsan 8 July 2005 23:17 (UTC)

Proposed merge
The only source for these circular ditches is a pretty discredited newspaper article. If they are genuinely different from all other monument types then they should not be combined with causewayed enclosures and if they are indeed nothing new (as I this talk page seems to imply) then we should investigate a merge with roundel enclosures with which they seem to me to have a more likely kinship being from the same period and region. These features (single, double, treble ditched CEs, roundels, henges, interrupted ditch alignments etc) are part of a wider European Neolithic earthworks enclosure tradition which had varied implementations from place to place and period to period. adamsan 20:39, 4 April 2006 (UTC)

Do not merge: From the description given, these seem to be quite different from causewayed enclosures. Whereas the enclosures were raised earthenworks of unknown (if generally defensive) uses, the circular ditches were, well, ditches, and the article doesn't provide any known function. Additionally, if the circular ditches were from the Linear Ceramic culture, which flourished through ~4500 BC, and the causewayed enclosures were being made until ~3000 BC, it sounds like they were from different cultures. However, this article needs cleanup and expansion. —Ryan McDaniel 21:55, 13 June 2006 (UTC)

External links modified (January 2018)
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Missing Liedberg!
The best conserved circular enclousure in Germany is the "Romans Watching Point" (German: Römerwarte) upon the Liedberg hill. It was never distroid and consists by a ring ditch (~10 m wide, ~2 m deap, 55 m diameter ie. 1/40 of the Gallic league) with one interruption in north east position, nearly pointing to sunrise at summer solstice / sunset at winter solstice. A small erthen wall outside the great ditch still remains. Liedberg hill was first named in 1166 as litheberch, according to Beda Venerabilis litha, meaning summer solstice. Berch or Berg means hill in German. In 1585 there is a ceremonical fire at winter solstice mentioned, named kerstbrand (chrismas bonfire). Coordinates: 51.163 N 6,563 E (ETRS89). — Preceding unsigned comment added by 2003:6:3332:AE41:C87:9BE5:401C:9321 (talk) 20:05, 25 March 2020 (UTC)


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Living Dangerously

Living Dangerously was a pay-per-view (PPV) event produced by Extreme Championship Wrestling (ECW) in March annually from 1998 to 2000. The event was also going to be held in 2001 on March 11 that year, but was cancelled due to the eventual collapse of the promotion.

title: Living Dangerously


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Talk:History of Manchester United F.C. (1945–1969)

Why this page is being created
For the discussion on why this page is being created, please have a look at Talk:Manchester_United_F.C. At the moment it just contains the relevant stuff from History of Manchester United; I'm about to merge in the relevant text from Manchester United F.C. CTOAGN 11:51, 12 Jun 2005 (UTC)

Busby Babes Merger
I'm proposing this merger as I was working on updating the Busby Babes article in userspace since it was so short for such a significant team. However, I came across this article today and discovered that in essence, it covers all the relevent points and any history of this period would also be a history of the team known as the Busby Babes. Since the other article isn't particular well cited, it may simply be worthwhile inserting as a redirect, but I wanted to get a concensus before I did anything as drastic as that. Miyagawa  (talk)  12:12, 22 August 2011 (UTC)

External links modified
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Wikipedia:Articles for deletion/The Pirate

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was speedy deleted. Sjakkalle (Check!)  06:59, 13 Jun 2005 (UTC)

The Pirate
Nonsense article of very poor quality. — OwenBlacker 11:51, Jun 12, 2005 (UTC)
 * Comment: This has been Vfd'ed and deleted before with pretty much the same content, maybe it can be speedied. Kappa 12:08, 12 Jun 2005 (UTC)

 * Speedied, as per Kappa's recommendation (eighth time this article created and deleted now). Fawcett5 12:56, 12 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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November to Remember

November to Remember (commonly abbreviated to N2R) was a professional wrestling event produced by Extreme Championship Wrestling (ECW). It was held during the month of November from 1993 to 2000. Starting with the 1997 edition the event was broadcast on pay-per-view (PPV). The event was considered to be ECW's flagship supercard. The rights to the event now belong to World Wrestling Entertainment (WWE).

title: November to Remember


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Don't Stop Me Now

"Don't Stop Me Now" is a song by the British rock band Queen, featured on their 1978 album Jazz and released as a single on 26 January 1979. Written by lead singer Freddie Mercury, it was recorded in August 1978 at Super Bear Studios in Berre-les-Alpes (Alpes-Maritimes), France, and is the twelfth track on the album.

The song also appears on the band's 1981 compilation album Greatest Hits. In June 2011, as part of Queen's 40th anniversary celebrations, an old take of the song containing more guitar parts was included on the bonus EP of the re-released and remastered Jazz album. Featuring in films, commercials, and television shows, the song has grown in popularity in the decades since its release. Bobby Olivier of Billboard attributes its initial rebirth to its appearance in the 2004 cult classic zombie apocalypse film Shaun of the Dead. In 2014, Rolling Stone readers voted it their third-favourite song by Queen.

Background
The song was written by Freddie Mercury during the sessions for Jazz. The band felt they were "getting better at having a good time" and the lyrics reflect this. Musically, the song builds on Mercury's piano playing, with John Deacon and Roger Taylor providing a bass guitar and drums backing track. The song also provides an example of Queen's trademark style of multitrack harmony vocals for the chorus lines.

An alternative version of the song, with a harder, guitar-driven arrangement, appeared on Bohemian Rhapsody: The Original Soundtrack issued in 2018, billed as "Don't Stop Me Now... Revisited".

Reception
The single reached number 9 in the UK charts but only number 86 in the US; as the album was a top-10 hit, the song got some airplay on U.S. album-oriented rock stations despite its low chart ranking as a single. Despite this, the song has grown in stature with time and has been popularised not only by consistent airplay, but by its use in advertisements, television programmes and films, and through cover versions. It has subsequently become one of Queen's most popular songs. The song was voted as the third-best Queen song by readers of Rolling Stone, who noted that "time has also been very kind to it and it's widely seen now as one of the group's best works." The single also has reached platinum status in the United Kingdom. In a March 2019 Billboard article titled, "The Evolution of Queen's 'Don't Stop Me Now': How a Minor Hit Became One of the Band's Most Beloved (And Inescapable) Songs", Bobby Olivier wrote,

"'You might have noticed a new commercial promoting the new season of American Idol. It was a 90-second music video featuring a dozen or so bright-eyed contestants, all of whom gleefully belted lines from a beloved song that has felt particularly ubiquitous as of late. No, it wasn't 'Shallow,' or 'Thank U, Next'—it was Queen's 'Don't Stop Me Now,' a classic-rock energizer that has, in the last six months alone, also been featured in commercials for Toyota, Silk almond milk, Amazon and L'Oreal. In the latter spot, Camila Cabello lip-syncs to the 41-year-old song as she dances and applies her lipstick. 'Don't Stop Me Now' is not only one of the band's most treasured cuts, but one of the most popular songs of its entire era. On Sunday, March 3, it eclipsed 500 million plays on Spotify—nearly double that of any Rolling Stones, U2 or Led Zeppelin song on the service.'" Alexis Petridis of The Guardian wrote that the "astonishing" song "may be Queen's greatest song of all". He felt it was "a direct product of [Mercury's] hedonism and promiscuity: an unrepentant, joyous, utterly irresistible paean to gay pleasure-seeking. You find yourself wondering if its title might not have been aimed at his censorious bandmates." Mike Orme of Stylus Magazine ranked it the 7th-greatest penultimate track on an album, calling it Queen's "most flamboyant and energetic single" and commenting: "Essentially three and a half minutes of Freddie Mercury jacking the mike from the rest of the world, the song offers him a chance to let us know just how much fun he's having in the spotlight." Billboard praised Brian May's guitar solo and also stated that the song was "less gimmick laden" than Queen's previous single from Jazz, "Bicycle Race"/"Fat Bottomed Girls", "while still retaining the brazen braggadocio of Freddie Mercury's lead vocals." Cash Box said it has "vocal dramatics and varied arrangements by Mercury" and "beautifully layered vocals and regal guitar work from May". Record World called it a "fast paced tune with that easily identifiable Freddie Mercury lead vocal and Brian May guitar." The television show Top Gear voted it the Greatest Driving Song Ever.

Criticism
Despite its popularity, Brian May was not originally a fan of the song as he felt it was celebrating the hedonistic and risky lifestyle of Mercury, which he thought was threatening. He added that he struggled with the lyrics at the time, because it was about a difficult period in Freddie's life when the singer was "taking lots of drugs and having sex with lots of men". However, after hearing the song being played at weddings, parties and funerals, he has come to appreciate it as representing "great joy".

Music video
The video for the song was directed by J. Kliebenstein and filmed at the Forest National, Brussels, Belgium on 26 January 1979. The video was uploaded to Queen's official YouTube channel on 1 August 2008.

Live performances
Viewed at the time of release as one of the lesser songs in the Queen canon, it was only performed live during 1979, with the last performance in the Crazy Tour. On the studio version, Brian May's only guitar playing is in his guitar solo, but on live versions performed on the band's 1979 Jazz and Crazy tours, May would also play rhythm guitar throughout the rest of the song to give more of a rock feel. A live version of the song features in the band's 1979 album Live Killers.

Queen reintroduced the track to their set in the 2010s with Adam Lambert and it is now a popular live favourite.

Personnel
Queen:
 * Freddie Mercury – lead and backing vocals, piano
 * Brian May – electric guitar, backing vocals
 * Roger Taylor – drums, percussion, tambourine, triangle, backing vocals
 * John Deacon – bass guitar

McFly version
In 2006, English band McFly covered "Don't Stop Me Now" and released it as a double A-side single with original track "Please, Please". The release, titled "Don't Stop Me Now" / "Please, Please", was the first single from their third album, Motion in the Ocean. It premiered on BBC Radio 1 on 7 June 2006. The double A-side entered the UK Singles Chart at number one on 23 July 2006, knocking "Smile" by Lily Allen off the top spot. It also reached number 15 in Ireland.

Charity
Some of the money from any version of the single went to Sport Relief and as a result their version of "Don't Stop Me Now" was played across the BBC's sport programmes, including highlights from the 2006 FIFA World Cup. It also was the theme for the "Sport Relief Mile", which McFly also took part in. Judd also travelled to India for Sport Relief with a collection of other British celebrities including presenter and comedian Nick Hancock and radio DJ and presenter Chris Evans. Whilst out in India, Harry took part in a cricket tournament, travelling across India's poorest areas and playing with everyone from the kids to the professionals, all in aid of Sport Relief.

Track listings
UK CD1
 * 1) "Don't Stop Me Now"
 * 2) "Please, Please" (radio version)

UK CD2
 * 1) "Please, Please" (single version)
 * 2) "Don't Stop Me Now"
 * 3) "5 Colours in Her Hair" (US version)
 * 4) "5 Colours in Her Hair" (live from Arena Tour)
 * 5) "5 Colours in Her Hair" (live video)
 * 6) "Harry in India for Sport Relief"

UK DVD single
 * 1) "Please, Please" (audio)
 * 2) "Don't Stop Me Now" (audio)
 * 3) "I've Got You" (US version)
 * 4) "I've Got You" (US movie video)
 * 5) "Please, Please" (video)
 * 6) Behind the scenes at the "Please, Please" video shoot

Other versions
Cover versions include:
 * Darren Criss covered the song on the 7 February 2013 episode of Glee, "Diva".
 * Foxes covered the song on the 11 October 2014 episode of Doctor Who, "Mummy on the Orient Express". A music video was subsequently released by the BBC to publicise series 8 of the rebooted show.
 * The Vandals, on their 2004 album Hollywood Potato Chip.

In popular culture

 * The song was used in the Sonic the Hedgehog franchinse: The 2020 film of the same name, and a launch trailer for the 2022 game Sonic Frontiers, as well as other promotional material.
 * The song and the Wikipedia page dedicated to it (this page) feature in Hank Green's debut novel An Absolutely Remarkable Thing.

title: Don't Stop Me Now


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Henri Bertini

Henri Jérôme Bertini (28 October 1798 – 30 September 1876) was a French classical composer and pianist. He was born into a family of musicians and attracted the attention of François-Joseph Fétis when he toured Europe as a child prodigy. As an adult he was admired both as a soloist and as a chamber musician; it was said that he played with Johann Nepomuk Hummel's simplicity and elegance without sacrificing the brilliance of the instrument. As a composer he had an original style which was rich in musical ideas, attractive melodies, and effortless harmonies. In 1856, he retired from the musical scene and settled in the Dauphiné in south-east France.

Life
Henri Jérôme Bertini was born in London on 28 October 1798 but his family returned to Paris six months later. He received his early musical education from his father, a pianist and composer himself, and his elder brother, Auguste, who was a pupil of Muzio Clementi. He was considered a child prodigy and at the age of 12 his father took him on a tour of England, Holland, Flanders, and Germany where he was enthusiastically received. After studies in composition in England and Scotland he was appointed professor of music in Brussels but returned to Paris in 1821. It is known that Bertini gave a concert with Franz Liszt in the Salons Pape on 20 April 1828. The program included a transcription by Bertini of Beethoven's Symphony No. 7 in A major for eight hands (the other pianists were Sowinsky and Schunke.) He was also admired as a chamber music performer, giving concerts with his friends Antoine Fontaine (violin) and Auguste Franchomme (cello). He remained active in and around Paris until around 1856, where he retired to Meylan (near Grenoble). At Meylan he stopped composing and performing in public, living by himself, he became a leader of an orpheonist group.

Bertini concertized widely but was not as celebrated a virtuoso as either Friedrich Kalkbrenner or Henri Herz. One of his contemporaries described his playing as having Clementi's evenness and clarity in rapid passages as well as the quality of sound, the manner of phrasing, and the ability to make the instrument sing characteristic of the school of Hummel and Moschelès. Thomas Tapper wrote:

He was in his time a shining example of the most admirable qualities of an artist. Living in an age of garish virtuosity, and hailed as a brilliant executant himself, he maintained nevertheless the most rigorous standards of musicianship in his playing, in his compositions, and in the music which he appeared before the public to interpret. This is the more remarkable when one considers that his manhood was reached during the luxuriant period of French romanticism and that the extravagances of the literary outburst were reflected in the musical movements of the time. Virtuosity was subjected to sore temptations and many succumbed. Bertini stood for the sounder qualities of the artist and gradually acquired an extended and remunerative prestige. His life was singularly devoid of incident and official distinction, but the legacy of pedagogic works which he has left to us and his honorable activity give it every right to be called a success.

Bertini was celebrated as a teacher. His students included Eugenie Santa Coloma Sourget. Antoine Marmontel, who devoted the second chapter of his work on celebrated pianists to Bertini, wrote

He was unsurpassed as a teacher, giving his lessons with scrupulous care and the keenest interest in his pupils' progress. After he had given up teaching, a number of his pupils continued with me, and I recognized the soundness of the principles drawn from his instruction.

It is above all in the special class of studies and caprices, that Bertini's immense popularity is founded. It is here that he occupied a unique position and opened the path over which the next generation of composers was to rush after him. In each of his numerous collections of studies, embracing every degree of difficulty, he has insistently given to every piece, easy or difficult, brief or extended, a character of salient melody. The technical problem to be overcome presents itself as a song; even where the study is devoted to the problem of velocity the general contour falls into a melodic curve, and this is the first and transcendent cause of the universal success of these pieces, which are, furthermore, natural in respect to rhythm and carefully thought out harmonically.

Robert Schumann, in a review of one of Bertini's piano trios in the Gesammelte Schriften, comments that Bertini writes easily flowing harmony but that the movements are too long. He continues: "With the best will in the world, we find it difficult to be angry with Bertini, yet he drives us to distraction with his perfumed Parisian phrases; all his music is as smooth as silk and satin." German sentimentality has never appreciated French elegance.

Bertini is best remembered today for his piano method Le Rudiment du pianiste, and his 20 books of approximately 500 studies.

Nonetto Op. 107
The Nonetto opus 107 for flute, oboe, bassoon, French horn, trumpet, viola, cello, double bass, and piano, composed in 1835, is one of Bertini's major works. Berlioz wrote a review in Maurice Schlesinger's widely distributed and very influential La Revue et Gazette musicale de Paris of a performance at a music evening given by the Tilmant brothers on 6 May 1838:

That same evening a Nonetto by Bertini for piano, viola, cello, oboe, flute, horn, bassoon, trumpet and bass, was performed. It is a great and beautiful composition in which each instrument contributes to the whole according to its importance and idiomatic qualities, without trying to stand out individually. The piano itself is only entrusted those parts which contribute to the musical sense of the moment, and makes no effort toward brilliance for brilliance's sake. Beethoven himself followed this philosophy in his immortal trios. Amongst other movements, this Nonetto includes an adagio entitled La Melancolie which provides more than its title might indicate; it is so grandiose, at times so majestically sombre, that the sentiment of melancholy one expects is overshadowed by ideas of a much higher and rare order. In no way do I mean to quibble with the title, God forbid; all I wish to say is that this admirable work is not only melancholic, but also much more. In the Scherzo and Finale one finds details of graceful melancholy as well as vivacious charm, but the Adagio rises up in the centre of the work like the Mont Blanc among its neighbouring peaks; it dominates all; it is a sublime and profound meditation which provides an almost painful impression that cannot be forgotten.

Berlioz later made further comments about this evening in the July 6 edition of Le Journal des débats:

The Nonetto by Bertini... is the work of a great musician with a lively and ardent imagination, who will grow stronger and more powerful if he refrains from his attempts to encourage applause as he occasionally sought to do in the first movement. His peroration was all too obvious and he is seen to be too preoccupied with achieving success and producing effects. This detracts from the free flowing of his thoughts. This fault does not exist in the other parts of the Nonetto. In composing these the author, fully involved in his subject, undoubtedly forgot that he was actually writing for his public, and concerned himself only with the task at hand and the ultimate unity of the work. Which of these last three movements is our favourite? The Adagio, above all, is without question a noble and magnificent inspiration whose sombre poetry reminds us of the sublime greatness of Beethoven's Sonatas. This is admirable.

The Nonetto was reduced to a quintet (flute or violin, violin, viola, cello and piano) by Charles Schwencke, a pianist and composer from Hamburg who was living in Paris. This appears to have been done for amateur musicians: the flute part, which can be replaced by a violin, contains frequent octave transpositions to make it easier to play.

Etudes
Bertini wrote approximately 500 études, ranging from easy studies for young students whose hands cannot span an octave to concert études. They were published in sets of 25 studies each. Roughly in order of difficulty they are:

 * Études faciles composées expressément pour les petites mains
 * 25 Etudes faciles et progressives, Op.100
 * 25 Etudes, Op.137
 * 25 Études primaires, Op.166
 * Introduction à celles de Cramer
 * 24 Etudes, Op.29
 * 24 Etudes, Op.32
 * Études mélodiques
 * opus 86 sur les romances de A. Romagnési
 * opus 141 précédées chacune d'un prélude en deux suites. No. 1
 * opus 142 précédées chacune d'un prélude en deux suites. No. 2
 * Introduction aux Études caractéristiques de l'opus 66
 * opus 134
 * Études caractéristiques
 * opus 66
 * Études caprices ou Complément aux Études caractéristiques
 * opus 94
 * Grandes Études artistiques de première force
 * opus 122
 * Bertini also wrote several sets of études for piano four hands
 * opus 160 L'Art de la mesure pour les petites mains à quatre mains
 * opus 149 Études très facile à quatre mains
 * opus 150 Études très facile à quatre mains
 * opus 97 Études musicales à quatre mains pour le piano
 * opus 135 Études musicales à quatre mains pour le piano
 * WoO Frère et soeur. Quatre petits Duos pour le piano à quatre mains composés pour Henri et Isabelle.
 * WoO Mère et fille. Quatre petits Duos pour le piano à quatre mains suite à Frère et soeur.
 * In addition to these, the last five published books of études appear to have been conceived as a set
 * opus 175 Études préparatoires
 * opus 176 Études intermédiares
 * opus 177 Études spéciales de la vélocité, du trille et de la main gauche
 * opus 178 Études normales et classiques
 * opus 179 Études suite de l'opus 150 à quatre mains pour le piano

Early works, without opus

 * Introduction and variations upon the air of Gondrillon
 * Celebrated Irish melody as sung in the opera of Guy Mannering with variations and an introduction for the piano forte
 * Third divertimento for the piano forte
 * Air with seven variations for the piano forte
 * Polacca composed pour the piano forte
 * Again a little trifle. Andante for the piano forte

Music published without opus
Vocal Music

Le jaloux dupé. Opéra comique en 1 acte

 * Caïn. Scène biblique (Biblical scene)
 * Françoise de Rimini
 * Cinq Morceaux religieux. Paroles latines à usage des séminaires, communautés religieuses, chapelles et maisons d'education. Ave Maris Stella, O Salutaris, Tantum Ergo, Ave Maris Stella, Ave Maria (Five religious pieces. Latin lyrics for the use of seminarians, religious communities, chapels, and places of education...)
 * Deuxième Messe à quatre voix pour deux ténors et deux basses avec accompagnement d'orgue (Second Mass in four voices for two tenors and two basses with organ accompaniment.)
 * La Melodie Religieuse. Collection de motets au Saint Sacrement et à la Sainte Vierge à une ou plusieurs voix avec accompagnement d'orgue (Religious melody. Collection of motets to the Holy Sacrament and the Holy Virgin for one or several voices with organ accompaniment.)

Studies
 * La Gymnastique des doigts. Préparation à l'étude du piano (Finger gymnastic. preparation for piano studies)
 * La Semaine du Pianiste. Etudes journalières de la gamme dans tous les tons majeurs et mineurs (The pianist's week. Daily studies of all the major and minor scales.)
 * Etudes pour le piano forte en 24 exercices (Studies for panoforte in 24 exercises).
 * Exercices en doubles notes (Exercises for double notes).
 * Exercices en octaves, exercices en accord (Exercises for octaves and chords).
 * Premières leçons doigtées et arrangées pour les petites mains (First lessons in fingering and arranged for small hands).
 * Cinquantes Leçons progressives, faisant suite aux précédentes (Fifty progressive lessons, following the preceding ones)
 * Douze Etudes spéciales (Twelve special studies)

Miscellaneous piano pieces
 * La Romanesca
 * Scherzo en do majeur pour piano
 * Storielle amorosa pour piano

Collaborations with other musicians
Duos for piano and violin by Bertini and Antoine Fontaine
 * 1er livre. L'Amitié, grand Duo pour piano et violon
 * 2ème livre. Les saisons, Duo brillant pour piano, violon ou violoncelle
 * 3ème livre. Fantaisie et variations brillantes sur un air suisse pour piano et violon concertantes
 * 4ème livre. Fantaisie concertante sur Robin des Bois pour piano et violon
 * 5ème livre. L'automne. Grand duo concertant pour piano et violon
 * 6ème livre. La Conversation. Duo concertant pour piano et violon
 * 7ème livre. Duetto pour piano et violon
 * 8ème livre. Serenata pour piano et violon
 * 9ème livre. Notturno pour piano et violon

Duo for piano and violin by Bertini and Auguste Franchomme
 * Thème varié pour piano et violoncelle

Duo for piano and flute by Bertini and Joseph Guillou
 * Fantaisie pour piano et flûte

Arrangements

 * Collection des préludes et fugues de Sébastien Bach arrangés pour le piano à quatre mains. Ecole de la musique d' ensemble. Etudes spéciales du style élévé, de la mesure et de toutes les combinaisons les plus difficiles du rythme. (Collection of preludes and fugues by Sebastian Bach arranged for piano with four hands. School of ensemble music. Special studies of elevated style, of measures (bars) and of all the most difficult combinations of rhythm.)

Methods

 * Méthode pratique pour le piano forte rédigée d'après le mode d'enseignement indiqué par J. Jacotet et composée de morceaux choisis (Practical method for the pianoforte edited according to the teaching method described by J. Jacotet and composed of chosen pieces.)
 * Méthode élémentaire et facile de piano (Simple, elementary method for the piano).
 * Méthode complète et progressive de piano (Complete and progressive method for the piano).

Works fingered by Bertini

 * Muzio Clémenti, Etudes journières des gammes. (Muzio Clémenti, Daily studies of scales.)

title: Henri Bertini


text:
St Peter's Cathedral, Adelaide

St Peter's Cathedral is an Anglican cathedral in the South Australian capital of Adelaide. It is the seat of the Archbishop of Adelaide and Metropolitan of the Province of South Australia. The cathedral, a significant Adelaide landmark, is situated on approximately 1 acre of land at the corner of Pennington Terrace and King William Road in the suburb of North Adelaide.

The south front has similar features to the Cathedral of Notre Dame and the Church of St Jean-Baptiste de Belleville in Paris, including an ornate rose window above the main entrance which depicts stories of South Australia and the Bible.

Foundation and construction
The See of Adelaide was constituted in June 1847. As there was no cathedral, Trinity Church on North Terrace was denoted as the pro tempore cathedral church. Augustus Short, the first Bishop of Adelaide, held the first ordinations there on 29 June 1848 (St Peter's feast day). When Adelaide was surveyed by Colonel William Light over a decade before, land in Victoria Square had been set aside for public use. Bishop Short obtained a land grant in the square from Governor Robe in March 1848; the grant was registered on 23 April 1851. By late 1849 a subscription was bringing in funds for construction of a cathedral on the now cleared site. Around this time the legality of the land grant began to be publicly questioned. It was argued that the area was a public reserve and the governor had no power to issue such grants. To resolve matters Bishop Short, supported by the Synod, took the matter to the Supreme Court. The judgment in June 1855 confirmed that the grant was invalid and construction could not proceed.

Bishop Short purchased just over an acre of land, on Pennington Terrace in North Adelaide, on 8 August 1862. He reported in 1868 that the funds gathered were sufficient and announced to the diocese's synod of his decision to begin construction of a cathedral. Bishop Short had William Butterfield design the cathedral, but the long communication gap between England and Adelaide contributed to delays and disagreement. Butterfield's plans were purchased and given to Edward John Woods, of Adelaide architectural firm Wright, Woods and Hamilton, for completion. Woods changed some of the plans' materials and design, while keeping the general details as Butterfield had proposed. Woods was noted by his colleague Walter Bagot as strongly influenced by French architect Eugène Viollet-le-Duc, and had imbued a French Gothic character in many elements of its design. Bishop Short laid the foundation stone, a 13 long cwt block from Glen Ewin Quarry, on St Peter's Day 1869 in front of over a thousand people. Brown and Thompson contracted for the building work, which progressed slowly. The first service was held on St Peter's Day 1876, though the building was incomplete. Synod meetings and regular services began in May 1877.

The women of the diocese had raised £1,200 to purchase an organ which was installed in 1877. The first part of the cathedral was consecrated on 1 January 1878. By the time Bishop Short retired in late 1881, £18,000 received from many donors had been spent. Much of the furnishing was also donated including stained-glass windows, a marble font, the chancel's tessellated pavement and an altar. Work began again in 1890 during the tenure of Bishop George Wyndham Kennion. Governor the Earl of Kintore laid a foundation stone, 1.5 LT of Monarto South granite, on 27 September. The ceremony included Masonic Honors as the Governor was Grand Master of the South Australian Freemasons. The congregation raised funds and Woods was again contracted as architect. Over £10,000 was spent beginning the two towers and the western part of the nave, and completing the northern porch. Building work ceased in 1894 when funds were exhausted and did not resume for some years.

A £4,000 bequest came from Sir Thomas Elder in 1897. This and other smaller amounts from offerings and gifts were added to the building fund. A tender was awarded in 1899 to complete the nave and bring the towers to roof height. The Society for Promoting Christian Knowledge donated £1,000, conditional on completion of work by 1902, and in 1900 Robert Barr Smith donated £10,000 to enable completion of the towers, spires and creation of an apse at the chancel end. The Duke and Duchess of York (later King George V and Queen Mary) were present when the nave was consecrated and a Boer War memorial unveiled on 14 July 1901. A dedication ceremony for the towers and spires was held on 7 December 1902, and the last scaffolding removed two months later. The south porch and some temporary vestries were subsequently built, in addition to a crypt under the Lady chapel. A consecration ceremony was held on 7 April 1904; this marked completion of the cathedral's external structure. Records show that the work from the 1890s to date had cost somewhat over £25,000.

Structure
The cathedral's interior is 203 ft long of which the Lady chapel occupies ? and the nave and chancel the remainder. The nave is 59 ft wide and, at the top of the spire's crosses, the cathedral rises 168 ft from ground level. Hammer dressed Tea Tree Gully sandstone—from what is now Anstey Hill Recreation Park— was used in the sanctuary, choir, transepts and part of the nave. Stone used for the quoins is lighter in colour and came from the same area as that used in the Adelaide Town Hall. The building's base and some of the interior uses stone from Glen Osmond in the Adelaide Hills. Other parts of the cathedral use stone from New Zealand, Pyrmont, New South Wales and Murray Bridge.

A reredos—a decorative structure behind the altar—was installed in 1904. It was finished considerably later and dedicated on 6 March 1910 by Bishop Arthur Nutter Thomas. The reredos, containing 23 coloured and gilded panels plus carved figures, is 34 ft high. This structure was built at St Sidwells Art Works, Tiverton, England to a design by T. H. Lyon. The reredos features Christ in the centre panel, with saints filling the surrounding niches. Four coloured panels below the figure of Christ depict events in the life of St Peter, the patron saint of the cathedral.

The cathedral has significant fine-quality stained glass windows. James Powell and Sons made three that were unveiled in the Lady chapel in November 1900. The southern transept window is the largest stained glass window in the cathedral and was dedicated in August 1926. A window representing Saint Cecilia, patron saint of church music, was unveiled in 1876 in the pulpit side of the chancel. Though by 1929 it was ironically concealed by the organ, since 2018 this window has been lit from the inside, enabling it to be seen, at night time, from the memorial gardens at the cathedral's liturgical north side. Windows elsewhere were funded and influenced by bequests. Amongst these Charles Beaumont Howard's memory is commemorated by a window in the chancel, Sir Anthony Musgrave's daughter Joyce Harriet by one in the sacristy and churchman Richard Bowen Colley by another window in the chancel. The remains of the English biologist and statistician Ronald Fisher are interred within the cathedral.

The stalls for the canons and choir, along with the original bishop's throne (now used as the dean's stall) and pulpit canopy, were a gift to the cathedral from Sir John Langdon Bonython in memory of his wife. Made in Adelaide in 1926, carvings can be seen on the capitals at each end of the stalls and also around the upper work in the canopies above.

In the western tower is the cathedral's ring of eight bells, hung for change ringing. Their purchase was funded by a bequest from cathedral warden Frederick Allen Wakeman. They were cast by John Taylor & Co of Loughborough England in 1946 and were dedicated by Bishop Robin on 29 June 1947. With the tenor (largest) bell weighing just over 41 long cwt they are the heaviest ring of eight bells in the Southern Hemisphere, and the second heaviest ring of eight in the world after Sherborne Abbey in England. The bells are rung by members of The Australian and New Zealand Association of Bellringers who also operate the Adelaide Ringing Centre of 8 dumb-bells for training which opened in 2012.

Music
St Peter's Cathedral has a long and distinguished musical reputation in Adelaide. St Peter's Cathedral Choir has been singing services in the cathedral for over 140 years. It is the only choir of children and adults of its type in Adelaide. Currently, the choir sings two major choral services per week (Solemn Eucharist and Evensong every Sunday), in addition to frequent other services, concert performances and other special occasions. The choir has undertaken five international tours, singing in cathedrals and chapels throughout England end elsewhere. They have toured the UK in 2006/7, 2010/11 (plus Rome); 2014/15 (plus France); 2019/20 and most recently in 2023/24.

Directors of music and masters of the choristers
Historically, the master of the choristers was also the cathedral organist. In 1994, the role was split, creating the two positions of director of music and organist.
 * 2020–present: Anthony Hunt
 * 1996–2020: Leonie Hempton
 * 1994–1996: Peter Leech
 * 1963–1994: Dr John David Swale
 * 1963–1964: Lyall Von Einem (acting)
 * 1955–1962: Jack Vernon Peters
 * 1936–1955: The Revd Horace Percy Finnis
 * 1891–1936: John Millard Dunn
 * 1876–1891: Arthur Boult

Organists

 * 2018–2024: David Heah
 * 2015–2017: Joshua van Konkelenberg
 * 1999–2015: Shirley Gale
 * 1994–1999: John David Swale

Organ
The cathedral's original organ was built by the London firm of Bishop & Son. It was installed in 1877 and dedicated on 1 January 1878. Located in what is now the sacristy, it was used for over fifty years before relocation in 1930 to St Augustine's Church in Unley, South Australia. The current organ was built by William Hill & Son and Norman & Beard of Melbourne and London and was dedicated on 29 July 1929. Until 2017, it remained largely unaltered, featuring electro-pneumatic action, four manuals and fifty speaking stops, featuring 26 couplers. Two additions were made, the addition of a Mixture V stop on the Great (1986) and the 32' Contra Trombone to the pedal division (1989). The lowest 12 pipes of this rank are located on a wall above the sacristy, opposite the main organ case. In 1963, a carved wooden case for the organ, designed by Walter Bagot, was only partly installed. In 2017/18, the instrument underwent major restoration and overhaul by Harrison & Harrison Ltd of Durham, UK. New mixtures were added to both the great and swell divisions, plus the addition of 8' and 4' principal stops in the pedal division. Some tonal irregularities dating from the 1980s were reversed, ensuring the instrument once again speaks and sounds to the original Hill, Norman and Beard specification. The console was also upgraded to include a capture system and modern playing aides, and the casework was completed, drawing inspiration from the original Bagot design. This work was completed at a cost of approx AU$1.5 million and the "First Chords" played on Advent Sunday 2 December 2018.

Clergy
The bishop of Adelaide was formally rector of the cathedral until 1986. The cathedral was governed by the bishop with assistance from a dean (the dean of Adelaide) and chapter. The dean and chapter operated as an independent body, meaning they were not required to report to the synod of the Diocese of Adelaide. In 1986, the administrative functions of the dean and chapter were transferred to a cathedral council. Since 1986, the cathedral has been administrated as a parish with the dean (known as the dean of the cathedral) as rector. The dean of the cathedral is not synonymous with the office of dean of Adelaide (which exists in theory but has been vacant since 1997).

Deans

 * 2021–present: Chris McLeod (Assistant bishop, Anglican Diocese of Adelaide, National Aboriginal bishop, Anglican Church of Australia)
 * 2012–2021: Frank Nelson (previously Dean of Wellington, New Zealand)
 * 2009–2011: Sarah Macneil (later Bishop of Grafton)
 * 2000–2008: Steven Ogden
 * 1999–2000: Stuart Smith (acting)
 * 1987–1998: David Richardson (later Dean of Melbourne and Anglican Ambassador to the Vatican)

Bishop's vicar

 * 1982–1987: Keith Chittleborough
 * 1966–1982: Lionel Edward W. Renfrey (also Assistant Bishop of Adelaide 1969–1985)
 * 1964–1966: William Devonshire
 * 1963–1964: Patrick Austin Day (became rector of Christ Church St Laurence, Sydney)
 * 1957–1963: Arthur Weston
 * 1955–1957: Thomas Thornton Reed (became Bishop of Adelaide in 1957)
 * 1927–1955: Horace Percy Finnis
 * 1890–1927: William Somerville Milne
 * 1878–1890: Arthur Dendy

title: St Peter's Cathedral, Adelaide


text:
John Zandig

John Corson (born April 4, 1971), better known by the ring name John Zandig, is an American professional wrestler and promoter. He is the founder and former owner of the promotion Combat Zone Wrestling (CZW).

Early life
Corson was born in Sewell, New Jersey. Before he was a professional wrestler, Corson was an explosives and demolition expert.

Professional wrestling career
Corson began training as a wrestler in 1994 and adopted the ring name John Zandig in 1999. Shortly after debuting, Zandig opened a professional wrestling school, in New Jersey in order to hone his skills. The school eventually evolved into a professional wrestling promotion, Combat Zone Wrestling, and relocated to Philadelphia in late 2001. From its early stages, CZW was oriented towards hardcore wrestling; Zandig himself has been involved in many ultraviolent matches since the company's inception, involving such objects as thumbtacks, fluorescent light tubes, barbed wire, and a weed wacker. On one occasion, he was hung from meat hooks.

Zandig wrestled in Japan as the leader of CZW to compete for Big Japan Pro Wrestling. In the early 2000s, Zandig appeared in a Japanese television commercial alongside the Japanese actress Ai Kato for a soft drink product named C1000 (by Takeda Food.Co), where he was knocked out by Ai's lariat. At Cage of Death 8, Zandig lost to Nick Gage in a four-way Cage of Death match that included Lobo and LuFisto. Due to a prematch stipulation, Zandig was forced to retire as a result of losing. On March 10, 2007, Zandig teamed with Toby Klein to face and defeat D. J. Hyde and Mitch Ryder in a no rope barbed wire match. Zandig was filling in for Necro Butcher, who couldn't make it to the show. After the match, Zandig stated that his return was for one night only.

Zandig once again came out of retirement at Tournament of Death 6 to face the Necro Butcher in a no-rope barbwired match when Necro Butchers original opponent, Mitch Ryder, could not make the show due to travel issues. He came out of retirement for the third time at Cage of Death X, defeating Danny Havoc, Brain Damage, Drake Younger, Sami Callihan and Devon Moore in the 10,000 dollar Cage of Death match. That same night he inducted himself into the New Alhambra Hardcore Hall of Fame simply because he could book himself to do that.

On August 8, 2009, John Zandig held a CZW Hall of Fame induction for Jon Dahmer, Hardcore Nick Gage, and Wifebeater; and recognition plaques for Mike Pancoast, Shawn and Sabine Kernaghan, WHACKS, and Maven Bentley. After announcing the Hall of Fame and special recognition plaques, Zandig announced that he was stepping down from CZW due to financial reasons and being too injured and tired to assume the duties that come with being the owner. Zandig announced that he had sold CZW, not for the price he wanted, but due to the economy it was enough to get him to sell. The new owner announced was CZW wrestler, D. J. Hyde. On October 25, 2009, Nick Gage defeated Zandig in his retirement match.

On May 8, 2010, Zandig once again returned to the ring at CZW's Fist Fight and defeated Brain Damage in a Tournament of Death 9 qualifying match. Following his victory, Zandig was attacked by MASADA, setting up their first round meeting in June 2010's Tournament of Death 9 which Zandig no-showed due to injury. Zandig participated in the last CZW event held at the ECW Arena when he fought new CZW owner D. J. Hyde on January 14, 2012. This was the follow-up from a surprise run-in at COD 13 when he attacked Hyde during his match with Greg Excellent.

He returned to the ring once again on the 5th of June 2016 in another deathmatch tournament organised by him, this time in Game Changer Wrestling (GCW), called Tournament of Survival. He was not originally scheduled in the tournament and was to go one on one with Joey Janela, but when wrestler Scott Summers could not compete anymore, he took the helm and got to the finals (but dropped out) as well as defeating Janela, hitting another rooftop Mother F'n Bomb onto Janela through a burning plytube board with light tubes on top of a truck. The tournament was later won by Danny Havoc.

Zandig returned to CZW on June 11, 2016 for the annual Tournament of Death. During a non-tournament match between Josh Crane and current owner, D. J. Hyde, Zandig returned to the ring alongside Ruckus and Robbie Mireno and beat down D. J. Hyde until he would give up his ownership. However, D. J. Hyde would not, so along with the help of Josh Crane, Zandig, Mireno and Ruckus buried D. J. Hyde alive until he gave up ownership of CZW.

Other media
He appeared in the video game Backyard Wrestling 2: There Goes the Neighborhood, and made a cameo in the wrestling drama The Wrestler. He was also featured in VICE's Dark Side of the Ring.

Championships and accomplishments

 * Big Japan Pro Wrestling
 * BJW Deathmatch Heavyweight Championship (3 times)
 * BJW Tag Team Championship (1 time) – with Nick Gage
 * World Extreme Cup (2000)
 * Combat Zone Wrestling
 * CZW World Heavyweight Championship (6 times)
 * CZW World Tag Team Championship (1 time) – with Nick Gage
 * CZW Ultraviolent Underground Championship (1 time)
 * Hardcore Hall of Fame
 * Class of 2008
 * World Wrestling Association
 * WWA Heavyweight Championship (1 time)

title: John Zandig


text:
List of signature songs

A signature song is the one song (or, in some cases, one of a few songs) that a popular and well-established recording artist or band is most closely identified with or best known for. This is generally differentiated from a one-hit wonder in that the artist usually has had success with other songs as well. A signature song may be a song that spearheads an artist's initial mainstream breakthrough, a song that revitalizes an artist's career, or a song that simply represents a high point in an artist's career. Often, a signature song will feature trademark characteristics of an artist and may encapsulate the artist's particular sound and style. Signature songs can be the result of spontaneous public identification, or a marketing tool developed by the music industry to promote artists, sell their recordings, and develop a fan base. Artists and bands with a signature song are generally expected to perform it at every concert appearance, often as an encore on concert tours, sometimes being the last song of the setlist.

title: List of signature songs


text: Template:User mnc-1

title: Template:User mnc-1


text:
Raise the Titanic!

Raise the Titanic! is a 1976 adventure novel by Clive Cussler, published in the United States by the Viking Press. It tells the story of efforts to bring the remains of the ill-fated ocean liner RMS Titanic to the surface of the Atlantic Ocean in order to recover a stockpile of an exotic mineral that was being carried aboard.

Raise the Titanic! was the third published book to feature the author's protagonist, Dirk Pitt. It was the first of Cussler's novels with a prologue set long before the main story, describing an incident with consequences resolved in the present day.

The book was adapted into a 1980 feature film, Raise the Titanic, directed by Jerry Jameson. The film was produced by Lord Grade's ITC Entertainment. Although it starred respected and popular actors and boasted a big budget, the movie was a box office bomb and received little critical or popular praise and was also disliked by Cussler.

Plot
In 1987, Dr. Gene Seagram leads the top-secret Pentagon program Meta Section, which secretly attempts to leapfrog current technology by 20 to 30 years. One result: the Sicilian Project, which uses sound waves to stop incoming ballistic missiles. The immense power needs of the Sicilian Project can be met only by an extremely rare mineral called Byzanium. After satellite data pinpoints the most likely source of Byzanium, Meta Section sends Sid Koplin to Novaya Zemlya, an island off the northern coast of the Soviet Union. There he discovers that the byzanium ore has already been mined. While making his way back to his hidden boat Koplin is shot and captured by a Soviet guard but is rescued by the story's protagonist, Dirk Pitt.

Using clues found by Koplin, Seagram determines that the byzanium — a chunk worth more than a quarter of a billion dollars in 1912 figures — was mined in the early part of the 20th century by a group of Coloradan miners led by Joshua Hayes Brewster. The group was originally hired by the French government, but persuaded by the U.S. government to steal the mineral for the United States. Brewster and his men engage in a running battle with French assassins as they make their way across Europe trying to get their stolen goods home. Only Brewster reaches Southampton alive, and he books passage on the maiden voyage of the great White Star Line ship RMS Titanic.

Realizing that the only supply of byzanium sufficient to power the Sicilian Project now lies at the bottom of the North Atlantic, Dr. Seagram approaches Dirk Pitt and the National Underwater and Marine Agency and gives them the near impossible task of raising the Titanic. Using data from drop tank experiments Pitt is able to narrow down the search area and begin searching with deep sea submersibles. After finding a presentation model cornet that they can link positively to a member of the Titanic's band, Pitt and his colleagues know they are searching in the right place. After discovering the Titanic intact, they set out on an audacious plan to patch all of the holes and then raise the wreck using compressed air.

Meanwhile the Central Intelligence Agency convinces the President of the United States to leak information on both the Sicilian Project and the Titanic mission to the Soviet Union in the hopes of setting a trap to capture one of the Soviets' best intelligence officers in the KGB. When Soviet leaders realize that the development of the Sicilian Project would throw off the balance of power in the world and leave their nuclear arsenal impotent, they do just as the CIA hopes and launch an operation to sabotage the mission and steal the byzanium for themselves.

Once the Titanic is secured for the trip to the United States, a massive hurricane strikes the salvage area, allowing the Soviets to covertly board the ship and take the crew hostage. Pitt is believed dead after being last seen on board a crashed helicopter -- but he reemerges to expose the Soviet spies within the salvage crew. With the help of Navy SEALs who board from a hidden U.S. Navy submarine, the crew regain control of the Titanic. The ship is eventually towed to New York Harbor and laid up in the Brooklyn Navy Yard.

When the Titanic's vault is opened, all are shocked to discover the byzanium was never actually aboard the ship. This revelation, coupled with deep troubles with his marriage and the president's agreeing to leak word of the Sicilian Project to the Soviets, causes Dr. Seagram to have a nervous breakdown. Pitt, consulting the journal that had been kept by Joshua Hayes Brewster, decodes a cryptic entry to determine that Brewster -- fearful that he would not make it onto the ship with the mineral -- buried the byzanium in the grave of Vernon Hall, the last of the group to fall to the French assassins, located in the tiny English village of Southby. The novel ends with a successful test of the Sicilian Project in the Pacific Ocean.

Characters

 * listed alphabetically

 * Georgi Antonov - General Secretary of the Soviet Union who authorizes the attempt to sabotage the raising of the Titanic
 * Adeline Austin - the widow of Jake Hobart
 * Commodore Sir John L. Bigelow - the last surviving member of the Titanic crew
 * Joshua Hayes Brewster - a well-known and respected mining engineer
 * Marshall Collins - National Security Adviser to the U.S. President
 * Mel Donner - one of two chief evaluators for Meta Section
 * Ben Drummer - Russian spy in the employ of National Underwater and Marine Agency (NUMA)
 * Graham Farley - the cornet player on the Titanic
 * Al Giordino - Assistant Special Projects Director for the National Underwater and Marine Agency (NUMA)
 * Commander Rudi Gunn - Commander of the Lorelei Current Drift Expedition
 * Jake Hobart - one of "the Coloradans", an elite group of miners that dug mines in the Colorado Rockies in the early 20th century
 * Officer Peter Jones - Washington, D.C. police officer
 * Admiral Joseph Kemper - Chief of Naval Operations of the United States Navy
 * Sid Koplin - professor of mineralogy sent to Novaya Zemlya by Meta Section in search of byzanium
 * Lieutenant Pavel Marganin - Aide to Captain Prevlov who is, in fact, an American spy named Harry Koskoski
 * Sam Merker - brother of Ben Drummer and also a Soviet spy on the NUMA crew
 * Henry Munk - Sappho II crewman
 * Warren Nicholson - Director of the CIA
 * Captain Ivan Parotkin - Captain of the Soviet oceanographic research vessel Mikhail Kurkov
 * Dirk Pitt - Special Projects Director for the National Underwater and Marine Agency (NUMA)
 * Vladimir Polevoi - Chief of the Foreign Secrets Directorate of the KGB
 * Captain Andre Prevlov - Russian intelligence officer for the Soviet Navy's Department of Foreign Intelligence; the Soviet Navy's top spymaster
 * Admiral James Sandecker - Director of the National Underwater and Marine Agency (NUMA)
 * Dr. Dana Seagram - wife of Dr. Gene Seagram of Meta Section; a marine archaeologist employed by National Underwater and Marine Agency (NUMA)
 * Dr. Gene Seagram - physicist and a chief evaluator for Meta Section
 * Dr. Murray Silverstein - Director of the Alexandria College of Oceanography
 * Admiral Boris Sloyuk - Director of Soviet Naval Intelligence
 * Vasily Tilevitch - Marshal of the Soviet Union and Chief Director of Soviet Security
 * John Vogel - Chief curator for the Washington Museum's Hall of Music

Publication details

 * 1976, United States, The Viking Press 0-670-58933-0, October 26, 1976, hardcover
 * 1976, United States, The Viking Press, hardcover book club edition
 * 1976, Canada, The Macmillan Company of Canada Limited, hardcover
 * 1977, United Kingdom, Michael Joseph Limited 0 7181 1579 1, hardcover
 * 1990, United States, Pocket Books 0-671-72519-X, April 1, 1990, mass market paperback
 * 2004, United States, Berkeley reissue edition 0-425-19452-3, February 3, 2004, paperback

Critical response
Christopher Lehman-Haupt of the New York Times Service said the book would "serve to pass a boring day", and that "if Cussler is bad at talk, he is good at ships and gadgets and storms". Martin Levine in Newsday held that "the book contains about 100 quite reasonably gripping pages" but that "the writing is bad, bad, bad". Writing in the Baltimore Sun, Robert Aptapton said the novel was "wretchedly written, absurdly plotted, peopled with characters who spout comic book lingo".

Comics adaptation
An adaptation of the novel was serialized as the first story in the short-lived comic strip "Best Sellers Showcase". The adaptation ran from August 15 to October 9 in 1977. Depending on the newspaper, the Sunday color strip appeared in two versions. One version had a title box followed by two frames of story resulting in a three row episode. The other version did not have the title box nor the following two frames thereby resulting in a two row episode.

Prequel
A prequel to Raise the Titanic! was published by Clive Cussler and Jack Du Brul in September 2019 entitled The Titanic Secret. The story describes the details of Joshua Hayes Brewster and his mining team's escape from Novaya Zemlya and pursuit across Europe. The story is told from the perspective of Isaac Bell who has been hired to investigate the apparent death of Brewster and his mining team.

title: Raise the Titanic!


text:
Nasief Morris

Mogammat Nasief Morris (born 16 April 1981) is a South African former professional footballer who played as a central defender. He left his country in 2001 to pursue a career in Europe, going on to play mostly in Greece but also in Spain and Cyprus. Morris won 37 caps for the South Africa national team between 2004 and 2009.

Greece
Born in Cape Town, Morris started his career at local Santos F.C. before signing for Greek club Aris Thessaloniki in June 2001, for €350.000. In his second season in the Superleague he played 27 games (two goals) as the latter club finished in sixth position, thus qualifying to the UEFA Cup.

After two years, Morris joined fellow league side Panathinaikos FC. He made his UEFA Champions League debut on 1 October 2003 in a 1–1 group stage home draw against Rangers. During his five-year tenure he never appeared in less than 21 league matches, as his team won the double in the 2003–04 campaign; additionally, he made 14 Champions League and 18 UEFA Cup appearances.

Spain
At the beginning of 2008–09, Morris was loaned out to Recreativo de Huelva in Spain. He made his La Liga debut on 31 August 2008, playing the full 90 minutes in a 1–0 derby away win against Real Betis.

Morris only missed one league match for Recreativo, scoring on 3 May 2009 in 2–1 away triumph over CA Osasuna in the last minute, but Recre eventually suffered relegation. In the following season, still on loan, he moved to another Spanish top level team, Racing de Santander.

Morris started in his first games with Racing, but eventually was only third or fourth-choice stopper – 11 appearances in the first 15 rounds, only one in the following 23. On 5 May 2010, he was sent off in a 5–1 home loss against Sevilla FC.

Later years
In July 2010, after it was announced that Panathinaikos would not extend his contract with the club, Morris signed with Apollon Limassol from Cyprus. After one season, the 30-year-old returned to his country and joined SuperSport United FC.

International career
Morris made his debut with the South Africa national team in 2004. In that same year, he was temporarily suspended by FIFA from all competitions after attempting to attack a referee during a 2–1 loss against Zambia on 21 February.

Morris was selected for the Bafana Bafana squad that appeared in the 2008 Africa Cup of Nations, in an eventual group stage exit in Ghana.

Career statistics

 * Score and result list South Africa's goal tally first, score column indicates score after Morris goal.

title: Nasief Morris