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Blocking the plate

In baseball, blocking the plate is a technique performed by a catcher to prevent a runner from scoring. The act of blocking the plate accounted for most of the physical contact in Major League Baseball prior to the 2014 season, when it was outlawed except when the catcher already has possession of the ball.

By the rules of baseball, a runner has the right to an unobstructed path to a base. However, this right is not granted if the fielder guarding the base possesses the ball or is in the process of catching the ball. The fielders guarding the first base through the third base are unlikely to risk physical harm and will generally place themselves out of the path of the runner. The catcher guarding home plate, however, wears the padding and a face mask and often placed his body as an obstacle between the runner and home plate, even prior to receiving the ball. Since the runner did not have to worry about remaining on home plate, only tagging it, he typically ran at full speed in an effort to reach the plate. The speed of the runner combined with the fact that the catcher still had to tag him (unless the bases were loaded and a force play at home was still available) often resulted in collisions.

Since the 1970 Major League Baseball All-Star Game (when Ray Fosse was injured in a collision at the plate by Pete Rose), there have been rules established, mainly in amateur levels of baseball, against home plate collisions between runners and catchers to make the obstruction (defense) and interference (offense) rules consistent at the plate with the three bases. The rules, long enforced at lower levels, were implemented at the professional level in 2014.

Technique
Any time there is a close play at home plate, meaning the ball and runner reach the plate at roughly the same time, the catcher will often squat in front of the plate to block the runner's clear path to the plate. Unless he is willing to be tagged out, the runner who is faced with a blocked plate has two choices. He can:
 * 1) Attempt to slide around the catcher and avoid being tagged, or,
 * 2) Collide with the catcher with such force that the catcher loses possession of the ball.

If the runner slides, the catcher will often make a sweeping motion with his glove to quickly tag the runner out. Otherwise, the catcher must brace for impact and keep the ball in his glove or hand in order to tag the runner out.

Risk
Both players place themselves at risk of injury when there is a close play at home plate. Though they wear protective equipment, catchers are more likely to be injured than runners. Catchers often have bad knees due to the squatting stance they take at the plate. A catcher's knees are also his closest body parts to an incoming runner, and there is a chance of an ACL injury to the catcher. Other injuries include broken bones, bruises, and concussions.

In one infamous incident, Cleveland Indians catcher Ray Fosse suffered a separated shoulder when Pete Rose intentionally collided with him on a play at the plate during the 1970 Major League Baseball All-Star Game. Rose was roundly criticized because the game was an exhibition and also because he could have easily slid around Fosse rather than collide with him. Ultimately, the incident served to help build Rose's "Charlie Hustle" reputation and Fosse, who had been having a phenomenal rookie season, was never quite the same after the play.

Rule differences by level
Different levels of baseball have instituted different rules in regards to collisions at home plate or on the bases, in part because of the Fosse-Rose collision and other instances where athletes have been injured or suffered concussions as a result of violent contact between runner and fielder. In high school, the "malicious contact" rule prevents collisions at home plate or elsewhere on the field. The defense is prohibited from initiating flagrant contact with the base runner while the offense, in turn, is required to attempt to avoid significant contact, often through the use of a slide. If the defense violates, the ball is dead and the offender ejected as the umpire awards penalties that in his/her judgment will nullify the act of malicious contact. If the offense violates, the ball is dead, the offender is declared out and then ejected from the game.

In college, the "flagrant collision" rule discourages, but does not prohibit, collisions at home plate and on the bases. Instead, only "unnecessary and violent" collisions are outlawed. While defensive players are allowed to block the plate/base with clear possession of the ball, offensive players must take steps to ensure contact with the fielder is legal—for instance, it must be below the waist. Violations of this rule carry similar penalties to the high school malicious contact rule.

In Major League Baseball, collisions at the home plate have been legal and were unaddressed since the game's inception until a series of serious player injuries and also former catchers who were MLB managers recommending changes. In 2011, San Francisco catcher Buster Posey suffered a season-ending injury in a collision at home plate. The incident led to a reinterpretation of Rule 7.08 (b). On December 11, 2013, the MLB Rules Committee proposed a rules change that would outlaw the plate collision by dictating what both the defensive and offensive players may and may not do in such a situation. This establishes home plate with similar regulations as other bases in regards to obstruction (for the catcher) and interference (for the runner). On February 24, 2014, Major League Baseball and the MLBPA jointly announced an experimental rule—rule 7.13—intended to increase player safety by eliminating "egregious" collisions at home plate. The rule went into effect starting with the 2014 season but starting in 2015 the rule was renumbered as rule 6.01 (i). Informally known as the "Buster Posey Rule," some highlights of rule 7.13 include:
 * A runner may not run out of a direct line to the plate in order to initiate contact with the catcher, or any player, covering the plate. If he does, the umpire can call him out even if the player taking the throw loses possession of the ball.
 * The catcher may not block the pathway of a runner attempting to score unless he has possession of the ball. If the catcher blocks the runner before he has the ball, the umpire may call the runner safe.
 * All calls will be based on the umpire's judgment. The umpire will consider such factors as whether the runner made an effort to touch the plate and whether he lowered his shoulder or used his hands, elbows or arms when approaching the catcher.
 * Runners are not required to slide, and catchers in possession of the ball are allowed to block the plate. However, runners who do slide and catchers who provide the runner with a lane will never be found in violation of the rule.
 * The expanded instant replay rules, which also went into effect in 2014, are available to review potential violations of Rule 7.13.

In Finnish baseball, the runner is considered tagged and out when he has not arrived at a target base and the defending player is holding the ball while touching that base, similar to force out. No physical contact is necessary and the base umpire will call the runner out by raising a sign with the letter X and whistling twice.

Enforcing Rule 7.13
Text of rule 7.13 is as follows:

The decision on whether or not a player violated Rule 7.13 falls into the hands of the umpire. A manager can choose to see if there was a rule violation rather than challenge a call, which might lead to a free challenge. The umpire makes the final decision.

Response to Rule 7.13
Some managers hope the rule does not decide the final game in the World Series, but many managers have stated that the rule needs clarification and explanation. The rule depends on the perception of the umpire and if he/she thinks that the contact was intentional and done with malicious intent. Regardless of what the rule states, many managers instruct players to slide.

title: Blocking the plate


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Talk:Misuse of Muggle Artifacts Office

Untitled
This department should be described in the ministry of magic entry. Or should we have an entry for each department? I personally question its importance to remain a single article and propose a merge with ministry of magic. Lag 20:08, 29 April 2006 (UTC)

Merger is done. Lgriot 17:53, 11 June 2006 (UTC)

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

title: Talk:Misuse of Muggle Artifacts Office


text: User talk:69.143.179.70

title: User talk:69.143.179.70


text:
Talk:Move Closer to Your World

Comment
Long live Channel 6 and the Action News theme song! :)

-Jeff Ryan King of Prussia, PA

Great information for such a legendary piece of music. It isn't just a news theme. >Andrew in Columbus

'''Interesting that the theme was used in Latin America, as I have thought that it was mainly an American theme, does anyone have these clips from Latin America using the theme? Post your info on here!''' - P.R., New Jersey.

Maybe we should create a table like in the Action News article of station that have used the theme? I'd get on that once school ends in May. —Preceding unsigned comment added by 149.150.236.9 (talk • contribs)
 * I don't think we need to. There's already a link to the relevant page on SouthernMedia. - Hinto 17:21, 2 May 2006 (UTC)

Someone should add under references in popular culture the interview on the Daily Show with Jon Stewart where the guest was David Boreanaz. Stewart was raised in Trenton, NJ, Boreanaz is the son of Philadelphia's Action News' Dave Roberts. They discussed the "awesomeness" of the theme and ended up singing it and dancing around the stage.- JB, Philadelphia, PA

11-note section
WPVI also uses a loop of a much different section of the song - an eleven-note section of horn stabs ("dun DUN, DUN...dun DUN, DUN...DUN, DUN...dun DUN DUN...") - that occurs once in the full song at a key change following the vocal section and leading to the reprise of the main theme. This should probably be listed as a different cut of the song (Action News used it frequently before and after commercial breaks) but it isn't included in the TV Music Museum list of cuts (implying that the loop was created by WPVI, not Mayoham Music). Is there a name for this eleven-note break? Has it been heard anywhere outside of the Philly area? --72.225.186.65 (talk) 16:47, 9 October 2010 (UTC)

New Info.
There's a book called "News Is People: the rise of local TV news and the fall of news from New York" and it states further history on how MCTYW formed. This Link shows page 128 of the book. Also according to the book, Walter Liss wrote the actual lyrics to MCTYW, as he was the co-writer with Al Ham. Csworldwide1 (talk) 13:02, 30 October 2010 (UTC)

Category:Culture of Philadelphia, Pennsylvania
Yes, those who watch/watched WPVI-TV news are used to associating the song with the images of City Hall and such shown in the shows opening. However, comparisons to Rocky are off base. The movie, for better or for worse, still generates buzz in a "what to do when you visit Philly" kind of way: run up the Art Museum steps, take your photo with the statue (but don't bother with the actual museum), South 9th, plaque at a racist eatery, etc. Find a general article about Philly of any depth and a mention of Rocky is anything but surprising. No one, however, says, "While in town, be sure to tune in to the 11:00 news on channel 6..." (Searching just visitphilly.com for "Rocky" gives close to 35,000 results.) Putting aside Rocky, there is really rather little on the web about the song in reliable sources (note the crappy sources section). Yes, blogs about growing up in Philadelphia mention the song, but more of them mention "stoop" or "brick". I don't see sourcing indication this is a defining aspect of the song. More as an aside, a thought experiment: Who knows of this association? It certainly isn't widespread outside of the city. Outside of the area, there are likely more people who have heard the song on their local news than have any clue it has ever been used anywhere else (let alone in Philly). In the area, only a fraction of the population has repeatedly seen the opening montage of Philly locations with the music running. Many probably associate the song with channel 6 news (no shock). Compare this to "Gonna Fly Now", that many people probably associate with South 9th and the Art Museum steps. Do both of the songs belong in the category? In the average person's mind, the second one probably evokes select locations in Philly (and is used for that purpose in films and TV shows). However, "Gonna Fly Now" is not in the category (and, I would argue, doesn't belong in it). Also not in the category: Rocky, "Eye of the Tiger", etc. - Sum mer PhD  (talk) 13:09, 14 June 2014 (UTC)

 * Whether anyone outside the Philadelphia area has heard this song or is aware of the Action News format is completely irrelevant. How aspects of that culture is perceived, or whether aspects of it are even commonly known outside the local group does not matter, it's visibility or popularity with outsiders is not a factor in a thing being cultural or not. If we take culture to mean "the beliefs, customs, arts, etc., of a particular society, group, place, or time" this song is clearly a part of Philadelphia culture for it has been a part of Philadelphia and the day-to-day lives of many Philadelphians for over forty years.  Marteau (talk) 16:55, 14 June 2014 (UTC)
 * Concrete fits your definition of "culture". This song would then be part of the culture of many places, from Buffalo, New York to Melborne, Australia. Yes, every song is clearly part of culture. "Happy Birthday To You" is a part of culture. That it has been repeatedly performed in Philadelphia means it is a part of Philadelphia culture. It is, however, a trivial part of that culture. I am unaware of any sources that consistently define either song as being part of the culture of Philadelphia, let alone this being common. Yes, the song is part of the culture of Philadelphia (and Buffalo, Melbourne, etc.). No, this is not a meaningful, defining characteristic of the song. - Sum mer PhD  (talk) 20:23, 14 June 2014 (UTC)
 * Not my definition of "culture", and not "OR", but from a dictionary. The "concrete" argument let me know where your coming from immediately with crystal clarity and I appreciate that. No tag for this one! Marteau (talk) 03:43, 21 June 2014 (UTC)
 * Dictionary says culture (of Philadelphia) is _________. (A) That seems to fit this song. (B)  Therefore this song is culture (of Philadelphia) . (C)
 * A + B = C is WP:SYN, part of WP:OR.
 * More to the point (which is where my "concrete" idea comes in) is that categories are intended to be used for defining characteristics of a subject. Sources discussing this song (or concrete) do not regularly define the subject as being part of the culture of Philadelphia. - Sum mer PhD  (talk) 04:01, 21 June 2014 (UTC)

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title: Talk:Move Closer to Your World


text:
Spiraea douglasii

Spiraea douglasii is a species of flowering plant in the rose family native to western North America. Common names include hardhack, hardhack steeplebush, Douglas' spirea, douglasspirea, steeplebush, and rose spirea.

Description
Spiraea douglasii is a woolly shrub growing 3-6 ft tall from rhizomes, forming dense riverside thickets.

The leaves are 1-4 in long and toothed toward the tips. They are alternately arranged, and the undersides are whitish with prominent veins.

Large clusters of small, deep pink flowers form spires in early summer, later turning dark and persisting. The seeds are 2 mm long and are dispersed by animals and strong winds.

Distribution and habitat
The plant is native to western North America from Alaska across southwestern Canada and the Pacific Northwest. It has spread to many other places as an invasive species. It was introduced to Europe as early as 1803, and is considered to be especially invasive in Denmark and Latvia. It is also found in France, Ireland, Slovenia, Sweden, the United Kingdom, Belgium, Germany and Poland.

It occurs most often in riparian habitat types, such as swamps, streambanks, bogs and mudflats. It grows best on moist or semiwet soils with good drainage. It tolerates a variety of soil types as well as gravelly substrates.

Spirea is shade-intolerant, and therefore grows primarily in open marshes among sedges, horsetails, wild blueberries, and other swamp flora, as well as in seral communities.

Ecology
Spirea foliage is browsed by black-tailed deer, but is not very palatable to livestock and only eaten by them occasionally. The flowers provide nectar for hummingbirds, and small birds eat the seeds which persist into the winter when food is less plentiful.

Spirea provides nesting habitat for birds such as marsh wrens, and is a component of grizzly bear habitat.

It is moderately fire-resistant, as many of the marshes across its native range would historically dry up by midsummer and be susceptible to fire. If the above-ground portion of the plant is killed, it can sprout from the stem base or rhizomes after a wildfire.

It may hybridize with white spirea (S. betulifolia) to form pyramid spirea (S. x pyramidata Greene).

As an invasive species, the species decreases biodiversity, colonizing wetlands with dense monocultural thickets to the detriment of other plants.

Uses
Native Americans used the plant for making brooms and hanging seafood to cook.

The plant is used as an ornamental in landscaping, where it grows best in sunny, moist places. Spirea is recommended for riparian revegetation projects in the Pacific Northwest, as it is hardy and grows quickly.

title: Spiraea douglasii


text:
Talk:Occlumency

Perhaps occlumency and legilimency should be listed on the same page under legilimency. The definition of occlumency should be included in this page, and a redirection set up from occulmency. The pages are very similar in content, and as they are antonyms they really should be grouped - Anon

I agree that occlumency and legilimency should be listed on the same page, but the main page should be occlumency, as this was mentioned in the books first. Also, note the lack of discussion on the legilimency page. --MrBawn 02:47, August 9, 2005 (UTC)

i made a few clarity related changes to this article. in addition, I also moved the description of legilmency to the top. I know that it was listed as a spoiler, but in the book occlumency and legilmency are named and described on nearly the same page, and i do not believe it constitutes a spoiler of the plot.

--jonasaurus 02:09, 14 July 2005 (UTC)

Psychology of Dumbledore
Perhaps comments need to be made on the attitudes displayed by all participants during Harry's lessons with Professor Snape? Harry is clearly capable of legilimency, but chooses not to recognise that himself. Dumbledore, as an expert, must have known what Harry was experiencing, but he chose not to relieve Snape of his duties. And there needs to be a comment on the reason why Dumbledore chose not to allow himself to get too close to Harry as, due to the connection between the minds of Harry and Voldemort, he would have exposed weakness to Voldemort. BrianWalker 02:33, 1 August 2005 (UTC)

IIRC, Harry was not a Legilimens;his Shield Charm simply reflected it back at Snape. I've lost the book, so I can't check.

Details from Book 6 need to be added to this page, and its sister page legilimency (assuming we keep it around). --MrBawn 02:47, August 9, 2005 (UTC)

Edit
I've made several alterations to improve readability and logical flow of ideas. I also cleared up the paragraph dealing with OOTP.

Spoiler-ish?
I realize that this is not an article regarding the book series merely information within it. However, I must impose a thought that some contents of this article are obviously post-OOTP and Occlumency is first mentioned there. I would think it wise to place a certain notice to indicate such information is found beyond year five. Simply to ensure those who are researching such information are not welcome to an unpleasant surprise. I would do so, but I do not feel I am yet ready to take on such a task, and feel someone else would be far more capable of doing so. Webmaster Pete 07:08, 14 July 2007 (UTC)
 * I agree. I almost read something from book seven. Jobarts-Talk 04:41, 29 July 2007 (UTC)

title: Talk:Occlumency


text:
User:Jamsi

Introduction
My name is James and I'm on the Internets.

title: User:Jamsi


text:
Will and Testament of ʻAbdu'l-Bahá

The Will and Testament of ʻAbdu'l-Bahá was a seminal document of the Baháʼí Faith, written in three stages by ʻAbdu'l-Bahá. Several sections were written under imminent threat of harm. The first section was probably written in 1906.

This document constitutes one of the central and defining pieces of Baháʼí primary source literature, and is considered to be intimately connected to Baháʼu'lláh's (ʻAbdu'l-Bahá's father) Most Holy Book.

The Will and Testament, along with the Tablets of the Divine Plan and the Tablet of Carmel, were described by Shoghi Effendi as the charters of the Baháʼí administration.

Overview of the Will and Testament
The Covenant is a critical aspect of the Baháʼí Faith. The Will and Testament of ʻAbdu'l-Bahá is sometimes seen as the culmination of ʻAbdu'l-Bahá's role as the "Centre of the Covenant". In it he describes his circumstances, lays out his testimony, refers to the machinations of certain enemies, settles certain affairs of the Baháʼí Faith, and appoints his grandson Shoghi Effendi as his successor and the Guardian of the Cause of God. He also refines the structure of Baha'i administration by the aforementioned appointment, the establishment of the Spiritual Assembly at the national level, and defines the mechanism for the election of these assemblies as well as the House of Justice.

The Will is written in three sections, each of which were written separately and under differing circumstances. The three sections, however, remain together and comprise, collectively, the full Will and Testament.

Baháʼí Fundamentals
ʻAbdu'l-Bahá notes the fundamental teachings of the Baháʼí Faith as love for all mankind. He then reiterates the twofold station of the Báb as a Manifestation of God and the forerunner to Baháʼu'lláh, and explains the full station of Baháʼu'lláh.

 * "O ye beloved of the Lord! In this sacred Dispensation, conflict and contention are in no wise permitted. Every aggressor deprives himself of God's grace. It is incumbent upon everyone to show the utmost love, rectitude of conduct, straightforwardness and sincere kindliness unto all the peoples and kindreds of the world, be they friends or strangers. So intense must be the spirit of love and loving kindness, that the stranger may find himself a friend, the enemy a true brother, no difference whatsoever existing between them." (part 1, paragraph 24)
 * "His Holiness, the Exalted One (the Báb), is the Manifestation of the Unity and Oneness of God and the Forerunner of the Ancient Beauty." (part 2, paragraph 8)
 * "His Holiness the Abhá Beauty [Baháʼu'lláh] (may my life be a sacrifice for His steadfast friends) is the Supreme Manifestation of God and the Dayspring of His Most Divine Essence. All others are servants unto Him and do His bidding." (part 2, paragraph 8)

The Covenant
ʻAbdu'l-Bahá writes about the virtues of the Covenant established by Baháʼu'lláh, and writes about its power. He then goes on to account the sufferings that the centre of the Baháʼí Faith has suffered by people who were not faithful to the Covenant including Mírzá Yahyá with respect to Baháʼu'lláh, and Mírzá Muhammad ʻAlí with respect to himself.
 * "O ye that stand fast and firm in the Covenant! The Center of Sedition, the Prime Mover of mischief, Mírzá Muhammad ʻAlí, hath passed out from under the shadow of the Cause, hath broken the Covenant, hath falsified the Holy Text, hath inflicted a grievous loss upon the true Faith of God, hath scattered His people, hath with bitter rancor endeavored to hurt ʻAbdu'l-Bahá and hath assailed with the utmost enmity this servant of the Sacred Threshold." (part 1, paragraph 6)

The Guardianship and the Universal House of Justice
ʻAbdu'l-Bahá establishes the institution of the Guardianship as a hereditary office and outlines its essential function as Interpreter of the Baháʼí writings. He states that the Guardian has the right to appoint Hands of the Cause and outlines their inter-relationship. He then explains the election of the Universal House of Justice and re-iterates that only it has the authority to enact laws that are not specifically explained in the Baháʼí holy books. "The sacred and youthful branch, the Guardian of the Cause of God, as well as the Universal House of Justice, to be universally elected and established, are both under the care and protection of the Abhá Beauty, under the shelter and unerring guidance of the Exalted One (may my life be offered up for them both). Whatsoever they decide is of God... The mighty stronghold shall remain impregnable and safe through obedience to him who is the Guardian of the Cause of God." "By this House is meant the Universal House of Justice, that is, in all countries a secondary House of Justice must be instituted, and these secondary Houses of Justice must elect the members of the Universal one. Unto this body all things must be referred. It enacteth all ordinances and regulations that are not to be found in the explicit Holy Text. By this body all the difficult problems are to be resolved and the Guardian of the Cause of God is its sacred head and the distinguished member for life of that body."

Hands of the Cause of God
The Will and Testament also defines the obligation and responsibilities of the Hands of the Cause of God. Their main responsibilities include teaching the Baháʼí Faith, and also included to cast out the rebellious, to elect nine from within themselves who would assist the Guardian and who would confirm the choice of the Guardian's successor.
 * "My object is to show that the Hands of the Cause of God must be ever watchful and so soon as they find anyone beginning to oppose and protest against the Guardian of the Cause of God, cast him out from the congregation of the people of Bahá and in no wise accept any excuse from him." (part 1, paragraph 18)
 * "The Hands of the Cause of God must elect from their own number nine persons that shall at all times be occupied in the important services in the work of the Guardian of the Cause of God. The election of these nine must be carried either unanimously or by majority from the company of the Hands of the Cause of God and these, whether unanimously or by a majority vote, must give their assent to the choice of the one whom the Guardian of the Cause of God hath chosen as his successor." (part 1, paragraph 20)
 * "The Hands of the Cause of God must be nominated and appointed by the Guardian of the Cause of God. All must be under his shadow and obey his command. Should any, within or without the company of the Hands of the Cause of God disobey and seek division, the wrath of God and His vengeance will be upon him, for he will have caused a breach in the true Faith of God." (part 1, paragraph 21)
 * "This body of the Hands of the Cause of God is under the direction of the Guardian of the Cause of God. He must continually urge them to strive and endeavor to the utmost of their ability to diffuse the sweet savors of God, and to guide all the peoples of the world, for it is the light of Divine Guidance that causeth all the universe to be illumined." (part 1, paragraph 23)

Challenges to the Will
The provisions of ʻAbdu'l-Bahá's Will were almost universally accepted by Baháʼís, except for a few western Baháʼís, including Hermann Zimmer and Ruth White, who believed that ʻAbdu'l-Bahá would never have established a hierarchy in the Baháʼí Faith. Ruth White led a campaign challenging the will for several years, mostly 1926–1929, hiring criminologist Charles Mitchell to analyze the Will. His preliminary report concluded that based on handwriting analysis, that the Will was not written by ʻAbdu'l-Bahá. Baháʼí sources claim that this charge was denied by those who read Persian and were familiar with ʻAbdu'l-Bahá's writings, including some of Shoghi Effendi's opponents.

title: Will and Testament of ʻAbdu'l-Bahá


text:
Talk:Technical Death Metal

Majorly re-vamped
I fixed up this article a lot. I will be editting the band page a lot and be watching it if things are changed or added that are false. I'm also going to work on how to minimize the metalcore references.--Daevin 19:42, 29 April 2006 (UTC)

Band list
DO NOT add no name bands. I am removing any band without proper linkage - why? Because this page gets badly spammed with false inofmration. And please don't change 'tech metalcore' to 'brutal technical death/grind' because I hate seeing that and usually people are just promoting their bands. --Ryouga 20:29, 21 April 2006 (UTC)

A lot of the bands you removed are very much technical death metal bands that I added because I know the style better than most. I'm not in any band, I've just spent nearly 5 years seeking out bands in the subgenre. You might want to do some actual research before you just delete stuff from other sites.--Daevin 06:12, 24 April 2006 (UTC)

Suggestion for cleanup
Tech metal needs to be removed and all info needs to be divided between Technical Death Metal, Progressive Metal and Math Metal/core. Tech is more of a descriptive term while the three subgenres listed have an actual scene that have very few connections to the others, other then they are technical. Any thoughts?

 * I have cleaned it considerably. Edit out whatever you want, or improve it if you can. --Ryouga 01:33, 19 April 2006 (UTC)

Mudvayne and The Dillinger Escape Plan...
...are not "tech metal". It is widely agreed that Mudvayne are a nu-metal band. I don't care if they call themselves "math metal". (I believe) it was Korn who came up with the term "pimp rock"...and we all know what genre they belong to... The Dillinger Escape Plan is metalcore. Certainly not "technical metal". Whoever's idea it was to merge a few sections together obviously made a bad move, as it seems to have drawn much confusion to this article. -Danteferno Mudvayne may be considered math metal (they do sometimes use time signatures other than 4/4 and 3/2), but they certainly aren't "tech". Gofur 19:25, 6 November 2005 (UTC) Absolutely agreed. I think even Math Metal is extremely pushing it, as only rarely do they break into unqiue and purposeful time sigs. And DEP is Hardcore... nuffsaid. Theintrepid 17:15, 8 December 2005 (UTC) And whoa, whoa, whoa, what's EoS doing on there? Since when were they considered tech metal?

Dillinger escape plan is vastly different from any other Metalcore band if you do wish to consider them so... DEP is very technical. Definitly metalcore. I consider them tech metalcore or mathcore. There was a term thrown around abit that never caught on that I think fits well: chaoscore.--Daevin 06:38, 12 April 2006 (UTC)

Being completely objectice, it's hard to see Dillinger on this page, but being associated with bands like As I Lay Dying is just as wack. Gatesofawesome!

Bands
I removed questionable and outright erroneous additions (probably to pad the admittedly rather meagre list) like: There are a few more I find a bit questionable, but they're fine for now until someone can add some more actual technical metal bands to this list. I realize it's difficult to really classify this genre, because the style-forming bands really didn't sound that similar. What they share isn't immediately recognizable but subtle. The epithet "technical" is also somewhat subjective, since in many times it's tied to *difficulty to perform*, and that varies between musicians (and what non-musicians think; see: people claiming Zero Hour to be technical, when in fact their music in actuality is very simple).
 * Gordian Knots [sic]
 * Nile (it's more straight-forward modern brutal death metal)
 * Suffocation (old-school brutal death metal)
 * Psychotic Waltz (progressive metal)
 * I also added Behold... The Arctopus, one of the more important up-and-coming technical metal bands.
 * I also added Behold... The Arctopus, one of the more important up-and-coming technical metal bands.

Dying Fetus is not a "tech metal" band. They are Death Metal with math/tech/hard core influences. I would define technical metal as metal that incorporates a variety of styles or techniques to create unpredictable music. The technical term is most easily ascribed to death metal because it is most clearly defined in that genre. Progressive seems to be an inter-changable word for technical when speaking of the general metal genre. There are actually two distinct schools in death metal: avantgard and tempo. The tempo goes best with the main names in technical death metal like Cryptopsy or Necrophagist while the avantgarde style would fit best with bands like Cynic or Alarum that have a certain mellowness that maintains the technicality in a way unique to its style.--Daevin 06:50, 12 April 2006 (UTC)

Show of skill
"It is characterised by a show of skill"

Can this be elaborated on? Is it that the focus of the music is often on a particular show of finesse (eg: a solo) or what? Right now it might be read as "Tech Metal is more skillful than other bands." Maybe just a little ambiguous; I'm out of my depth with this genre though (this wikipedia article is the first I've heard of it), so I'm refraining from editing. GeorgeBills 04:31, 3 Jun 2005 (UTC)

DEFINITIONS: Tech metal is characterized by both complex song structures as well as the technical prowess of the individual players. While many other genres involve skillful musicianship, tech metal is a deliberate showcasing of technical and compositional abilities within the boundaries of heavy metal (often with the aim of expanding these very boundaries). What makes a successful tech metal band is the ability to achieve this demonstration of skill while simultaneously creating memorable and sometimes even accessible music. The genre could be compared to the need in 19th century classical music to push the boundaries of the virtuoso performer while keeping musical expression intact. The avant-garde in both classical and jazz music has directly influenced this genre. The wide variety of influences on the genre are most likely due to the fact that these performers are often musical school alumni. The roots of technical metal are in bands like Rush and Yes. Thrash metal's emphasis on the complexity of guitar riffs led to the technical thrash of the late 80's/early 90's that would become a direct influence on tech metal. Influential Technical Thrash: Watchtower Seiges Even Forbidden Deathrow (later albums) Megadeth Coroner these band directly influenced bands like Atheist and Cynic.

ADDITIONS: Canada's Martyr have produced one of tech metal's most representative albums and deserve credit in this entry. "Warp Zone" is inparalleled in complexity.

Behemoth should be removed
They are not tech metal, they are black/death metal. Granted, some of their compositions are quite technical

Mudvayne is nowhere close to tech metal. They are Nu-Metal. Sure they might have some technical songs but it is no where close to bands like Red Chord and DEP.

Nu-Metal is non-existant, all bands that have been called Nu-metal, would be better classified as otherwise. Mudvayne, because of their jazz elements incorporated in the Bass guitar and drumming qualify as tech metal.

Cleanup
I've tagged this article as needing a cleanup. It's also been added to the Cleanup list. The article is definitely not encyclopedia material, although it does have the potential. Pertinent information needs to be kept together and it needs to flow. Also, is there anything that can be done with that list? Perhaps it could be turned into a category. Categories have automatic alphabetization and automatic grouping. ) Cparker 02:45, 1 March 2006 (UTC)

Not the same
Technical metal and math metal are not the same and should not be considered the same.

title: Talk:Technical Death Metal


text:
Gerard Salton Award

The Gerard Salton Award is presented by the Association for Computing Machinery (ACM) Special Interest Group on Information Retrieval (SIGIR) every three years to an individual who has made "significant, sustained and continuing contributions to research in information retrieval". SIGIR also co-sponsors (with SIGWEB) the Vannevar Bush Award, for the best paper at the Joint Conference on Digital Libraries.

Chronological honorees and lectures
Source: SIGIR
 * 1983 — Gerard Salton, Cornell University : "About the future of automatic information retrieval."
 * 1988 — Karen Spärck Jones, University of Cambridge : "A look back and a look forward."
 * 1991 — Cyril Cleverdon, Cranfield Institute of Technology : "The significance of the Cranfield tests on index languages."
 * 1994 — William S. Cooper, University of California, Berkeley : "The formalism of probability theory in IR: a foundation or an encumbrance?"
 * 1997 — Tefko Saracevic, Rutgers University : "Users lost (summary): reflections on the past, future, and limits of information science."
 * 2000 — Stephen E. Robertson, City University London : "On theoretical argument in information retrieval."For ... "Thirty years of significant, sustained and continuing contributions to research in information retrieval. Of special importance are the theoretical and empirical contributions to the development, refinement, and evaluation of probabilistic models of information retrieval."
 * 2003 — W. Bruce Croft, University of Massachusetts Amherst : "Information retrieval and computer science: an evolving relationship."For ... "More than twenty years of significant, sustained and continuing contributions to research in information retrieval. His contributions to the theoretical development and practical use of Bayesian inference networks and language modelling for retrieval, and to their evaluation through extensive experiment and application, are particularly important. The Center for Intelligent Information Retrieval which he founded illustrates the strong synergies between fundamental research and its application to a wide range of practical information management problems."
 * 2006 — C. J. van Rijsbergen, University of Glasgow : 	"Quantum haystacks."
 * 2009 — Susan Dumais, Microsoft Research : "An Interdisciplinary Perspective on Information Retrieval."
 * 2012 — Norbert Fuhr, University of Duisburg-Essen: "Information Retrieval as Engineering Science."
 * 2015 — Nicholas J. Belkin, Rutgers University : “People, Interacting with Information”
 * 2018 — Kalervo Järvelin, University of Tampere : “Information Interaction in Context”
 * 2021 — ChengXiang Zhai, University of Illinois Urbana–Champaign : “Information Retrieval as Augmentation of Human Intelligence”

title: Gerard Salton Award


text:
Talk:Limpet

"Limpet" informally refers to any gastropod whose shell has no obvious coiling
Really?? So oysters (e.g.) are 'limpets'???

A note
This is my first work on wikipedia, so I am apt to get a lot of sylistic things wrong... since no one else seems to be working on the limpets, that is probably OK... As I have time, I'll try to make it look more like some of the better ToL entries. —The preceding unsigned comment was added by Mooseo (talk • contribs). 2005

Opihi
Added section on Opihi, which is a major and prototypical food item in Hawaii, much like Poi, Kalua Pig, et cetera. Although Limpet is so far an article with a biological bent, Opihi currently redirects here to Limpet, so I simply made it a new section stub for now. I also added See also and references sections-- currently these are under Opihi, but could be moved to the bottom of the parent article if need be. Also, the section title is Opihi (food) rather than Hawaiian Opihi (food), or rather than adding the okina-- this is so the section can be more easily used as an anchor, for example like this: Opihi.

Is it possible to remove the re-direct for Opihi? Limpets are a group of gastropods found around the world, while Opihi is the cultural maifestation of limpets in on location (Hawaii). I think that the Opihi stuff is really interesting, but it seems to skew the whole limpet section, implying that they are somehow mostly found in Hawaii. The links, especially, are very location specific. I don't really know how to go about changing this.

 * This sounds like a really good idea to me... the "In Hawaii" section seems to tilt the whole thing. Removing all of that from "limpet" and talking about this cultural food which happens to be a limpet is a great idea —The preceding unsigned comment was added by Mooseo (talk • contribs).

 * I'd like to see more about the mechanics of consuming limpets as food. How are they usually harvested and cooked, for example? --NoelMac 12:48, 13 August 2007 (UTC)

Classification
Can we differentiate between the different types of limpets more clearly? At the moment this page seems to be a mishmash of a number of different types of limpet. The picture looks to me like the common limpet Patella vulgata, but is shown alongside the taxonomy of tortoiseshell limpets, (family Acmaeidae). The word limpet describes a wide range of animals, mostly of the order Archaeogastropoda, but also animals such as slipper limpets (Family Calyptraeidae). Perhaps this page should focus on Limpets of the Family Patellidae, with seperate pages for keyhole limpets and tortoiseshell limpets. --Bobbyboyuk 17:51, 29 April 2006 (UTC)

 * All of those sound like good ideas... as long as the main entry for "limpet" has links to the other ones, that would make it much cleaner. —The preceding unsigned comment was added by Mooseo (talk • contribs).

P. candei
Hi, I have added P. candei (I needed it for the Canarian Black Oystercatcher), but I am not 100% on whether it is considered valid... as P. gomesii (with 2 "i" - corr that) was in the list but candei was not, and as a 2002 study found gomesii to be a well-differentiated subspecies of candei, I have slightly changed the present arrangement. Note that gomesii still (red)links to the page titled Patella gomesii; not having read the 2002 paper, I did not change this but maybe one of you mollusc experts will want to do that. In any case, as gomesii is aparently close to extinction, it might warrant a page on its own. Dysmorodrepanis 18:16, 11 December 2006 (UTC)

Questions
Hi CAn you guys please tell us where limpets are located? i need this information very much. I would appreciate it if you guys put that on there. Or else. :- 68.1.149.69 21:10, 7 January 2007 (UTC)

 * Hello - i am currently researching the morphology of limpets and have read many contradicting investigations. If chemicals are released (when clamping down to the rock) to promote the vertical growth of limpets, then why are limpets which are exposed to greater wave action (so need to clamp down more) have a flatter shape? Would be very grateful if you could help with this asap! Hannahdalton9 15:13, 13 November 2007 (UTC)

 * OK, just a quick note to point out that:
 * 1. This page is for discussing and planning improvements to the article; it's not for questions about the general topic of limpets.
 * 2. Wikipedia is not here to do your homework or write your term paper for you.
 * Best wishes, Invertzoo (talk) 11:37, 24 April 2011 (UTC)

WikiProject Food and drink Tagging
This article talk page was automatically added with WikiProject Food and drink banner as it falls under Category:Food or one of its subcategories. If you find this addition an error, Kindly undo the changes and update the inappropriate categories if needed. The bot was instructed to tagg these articles upon consenus from WikiProject Food and drink. You can find the related request for tagging here. Maximum and careful attention was done to avoid any wrongly tagging any categories, but mistakes may happen... If you have concerns, please inform on the project talk page -- TinucherianBot (talk) 03:00, 4 July 2008 (UTC)

Disambiguation page for Limpet?
And making the limpet article be separate from the Patellogastropoda article. I do think these are both really good ideas! Should have been done a long time ago. Invertzoo (talk) 19:21, 8 April 2010 (UTC)
 * (Not disambig, but article with explanations.) Done. --Snek01 (talk) 21:46, 8 April 2010 (UTC)

Incomplete article
This article is incomplete in my opinion, as it has a low rating on the quality scale, so I have added an incomplete tag at the top of the page. George Georgeh109 (My Talk Page)  21:17, 29 July 2013 (UTC)
 * If you feel the article is incomplete as it stands, it would be helpful if you would tell us what you think should be added to it. Since the word Limpet is a common name that has been applied to so many gastropods that have very little in common in terms of anatomy and lifestyle, really the best thing this article can do is to simply link to those relevant groups. Invertzoo (talk) 21:37, 26 September 2013 (UTC)

Recent extreme templating
I removed the phrase "raising suspicion of plagiarism" from the template. I believe that is going beyond what is necessary and appropriate to say. Invertzoo (talk) 01:19, 27 August 2014 (UTC)

Disputed
When appending "factual accuracy disputed" tags to an article, it is customary to leave a message on the talk page explaining what in particular is thought to be inaccurate. Without that message there is no "dispute" that can subsequently be settled. Invertzoo (talk) 01:23, 27 August 2014 (UTC)

Over-templated
I cut down the number of templates used. The essential points are made well in the lead template at the top. It is not necessary to template every section. Invertzoo (talk) 14:40, 27 August 2014 (UTC)

Limpet teeth
Engineers in the UK have found that limpets' teeth consist of the strongest biological material ever tested.

Limpets use a tongue bristling with tiny teeth to scrape food off rocks and into their mouths, often swallowing particles of rock in the process.

The teeth are made of a mineral-protein composite, which the researchers tested in tiny fragments in the laboratory.

They found it was stronger than spider silk, as well as all but the very strongest of man-made materials. http://www.bbc.com/news/science-environment-31500883 Ssscienccce  (talk) 20:18, 18 February 2015 (UTC)
 * Good news, the source paper is licensed CC-BY-4.0, so the content is reusable here, with attribution. LeadSongDog come howl!  16:52, 20 February 2015 (UTC)

External links modified
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Limpet Teeth Addition
Hello everyone,

Two of my classmates along with myself have chosen to do Limpet Teeth for our Wikipedia project in our Biology in Materials Science course at RPI. We will be beefing up the section a lot, adding sections like teeth structure, formation of the structure, distribution of stress, overall strength, biomineralization, etc. Please feel free to edit and review! Everything we add is supported by scientific publications.

thanks, dueces yall

MTLE4470 grp5 AS (talk) 21:34, 7 May 2017 (UTC)

File:Saltwater Limpet Diagram-en.svg to appear as POTD soon
Hello! This is a note to let the editors of this article know that File:Saltwater Limpet Diagram-en.svg will be appearing as picture of the day on July 31, 2017. You can view and edit the POTD blurb at Template:POTD/2017-07-31. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page. — Chris Woodrich (talk) 01:32, 23 July 2017 (UTC)

Dish shaped ?
It currently says that molluscs of this kind are "patelliform", which means "dish shaped". Well, they may be "dish shaped", but I don't think that is what the word patelliform actually means. Doesn't this word actually indicate some kind of similarity to the patella, the human kneebone ?Lathamibird (talk) 03:03, 31 July 2017 (UTC)
 * It means : shaped like a species in Patella, the type genus of the family Patellidae. JoJan (talk) 13:42, 31 July 2017 (UTC)
 * I don't know if this has been fully cleared up already, but I did want to say that the citation provided does support that Patelliform does mean dish-shaped. Its on page 184 of the cited book.132.239.112.44 (talk) 22:47, 8 October 2017 (UTC)

How big is a limpet?
This article surely ought to give a sense of their size (probably in the lede). I appreciate it's a broad category but I presume it's possible to speak in general terms. – Arms & Hearts (talk) 21:24, 4 December 2020 (UTC)

"Ferrihydrite ions"
There is no such thing as "ferrihydrite ions". Ferrihydrite is a mineral; as such, it cannot occur as ions...Eudialytos (talk) 18:18, 6 November 2022 (UTC)

title: Talk:Limpet


text: Category:Subdivisions of Oman

title: Category:Subdivisions of Oman


text:
Talk:Shot glass

korea is missing – why?
In Korea, they have "soju glasses", which look pretty much exactly like schnaps glasses, and which hold pretty much the same amount, i.e., 2oz. If no one objects, I will add it to the list. Theonemacduff (talk) 06:06, 26 August 2017 (UTC)
 * Do you have a source? Kendall-K1 (talk) 13:40, 26 August 2017 (UTC)

Pre-pro reference
I removed the following:

I checked the source and the statement is not verified. I think that "most shot glasses are found in the United States" is not a verifiable fact, and "shot glasses from before the 1940s are very rare" is too vague to verify - how rare is "very"? However the source is likely useful for other information. -- IamNotU (talk) 12:38, 23 September 2017 (UTC)

New Zealand
Does anyone have a reference for shots in New Zealand? From my experience, 15 mL is a single and 30 mL a double (so probably one of the stingiest servings of alcohol), but I don't have a reference for it. — Preceding unsigned comment added by 130.216.214.131 (talk) 23:07, 28 June 2018 (UTC)

Under Jigger
“It was slang for a small drink of about half a gill or so, or the special cup used for it.”

This is clearly not accurate. The article on Jigger itself states a Jigger is used to measure either one ounce or 1 1/2 ounces. The article on Gill states a gill is half a teacup, which is four ounces full so a gill would be two. Now I realize that measurements vary all over the world and that an ounce in England is not the same as a U.S. ounce, but measurements ARE for the most part consistent within geographical boundaries. There’s a big difference between an ounce and a half, and two ounces. 33% is pretty significant when you start mixing drinks with multiple shots of various liquors. Three Margaritas mixed with two two ounce shots (we call those long shots where I come from), of tequila and one Triple Sec would be 33% stronger than three margaritas made with two 1 1/2 ounce shots, and one 1 1/2 ounce shot of Triple Sec, AND would get you a whole lot more schnockered. Three drinks the first way would be the same as four the second way. Small differences matter when dealing with mixed drinks. No way is a Jigger two ounces. If anybody can find a source and cite it I’ll eat my hat and my words, and if so, feel free to put it back in properly sourced and cited. 2601:180:105:C261:AC8A:5C75:683A:38EF (talk) 04:39, 6 January 2021 (UTC)

Large
Saying 'large' in the UK is a thing and it's for a double, but there's no mention of it here, trying to find a good source to add. Does anyone know of one?Halbared (talk) 21:30, 3 February 2021 (UTC)

Rounded shot glasses
Could we please have a photograph (or illustration) of a "rounded shot glass"? Or, failing that, a more evocative description. I am struggling to understand what the current description means: "the walls of the glass curve down leaving a 10 centimeter difference between the lip of the glass and the bottom rim of the glass". I am not even sure what the "bottom rim" is!

Is it referring to something a bit like these Noritake Bamboo Aperitif / Juice Glasses in shape (if not size)?

—DIV (1.129.104.226 (talk) 13:50, 6 February 2021 (UTC))

title: Talk:Shot glass


text:
Wikipedia:Articles for deletion/Castle Point King

 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. JeremyA 05:14, 17 Jun 2005 (UTC)

Castle Point King
Delete. Non-notable, vanity, unencyclopedic. Tufflaw 04:33, Jun 3, 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 .


text: User talk:68.4.75.164

title: User talk:68.4.75.164


text:
Kingmaker (board game)

Kingmaker is a board game published in the UK by PhilMar Ltd. in 1974 that simulates the political struggles to place a king on the throne of England during the Wars of the Roses. The game was popular, and other editions, including a computerized version, were produced by Avalon Hill, TM Games, and Gibsons Games. The game won a Charles S. Roberts Award in 1976.

Description
Kingmaker is a board game for 2–7 players in which each player controls one or more royal families in 15th-century England. Through war, diplomacy, and politics, the players attempt to gain control of one or more members of the two rival royal families, the House of Lancaster and the House of York, to place one of them on the throne of England while eliminating all other "pretenders."

Components

 * a map board of 15th century England and nearby lands, marked with walled cities, towns, castles, forests, and roads. Rather than using a hex grid, the map is divided into square areas.
 * a deck of Event cards that contain two things, a random event on the upper half of the card and a battle result on the bottom of the card.
 * a deck of Crown cards, which includes:
 * Nobles, some already titled such as Neville, Beaufort, or Percy; but most are untitled.
 * Titles that can be bestowed on an untitled noble, such as "Earl of Essex" or "Duke of Exeter." Many titles, ex officio, provide the owning player with troops or town affiliations.
 * Offices of government that can be assigned to a titled noble, such as Marshal of England, Warden of the Cinque Ports, or Chancellor of England. Offices provide troops, castles, towns, and even transport ships in some cases.
 * Ecclesiastical offices that can be bestowed on a noble, such as Archbishop of York or Bishop of Lincoln. Some, in the Avalon Hill edition, have troops, and all have towns under their control.
 * Mercenaries, such as Burgundian crossbowmen, Scottish archers, or Saxon foot soldiers.
 * Major (walled) towns such as Coventry, or Nottingham.
 * Ships, allowing transport quickly by sea and to/from ports and off-shore destinations like Ireland (shown in the Avalon Hill edition only), Calais, and the Isle of Man.
 * Round cardboard pieces with heraldic emblems that show the nobles' current positions on the map.
 * Each player gets a set of markers with different colors and a feudal badge to denote cities & castles under their control.
 * Square counters represent ships.

Set up
Each player is dealt some Crown cards (the number of cards depending on the number of players. For example, in a 3-player game, each player receives 12 cards; in a 6-player game, 6 cards.) For each noble family card received, the players are given the appropriate counters. Each player can then bestow any titles or offices that they also received upon their noble families.

Gameplay
To begin each player's turn, the player takes an Event card and follows the instructions in the upper half of the card.

Movement
Nobles can be moved up to five areas across the country (although not through the forest), or an unlimited distance on roads. If the noble wishes to pass through a town that the player does not own, or if a noble enters an area occupied by a noble of another faction, then a battle takes place.

Combat
Each noble has a combat strength that is augmented by titles, offices, mercenaries, and certain other cards held in the player's hand. A ratio of the strength of the two forces of nobles is tallied, an event card is drawn, and the ratio printed on the card determines if victory is achieved. If a force is defeated, all nobles in that force are captured and may be executed or ransomed by the victorious player. Most of the named places on the map have fortifications with significant additional defensive combat strength, but if a player places nobles inside these places and the town's defenses are breached, this can lead to the potential loss of all defenders.

Politics
Parliament can be summoned under specific circumstances. Unfilled offices and titles are assigned by Parliament, which can result in quite of lot of power changing hands.
 * In the original Philmar version, the person calling the Parliament has a more or less free hand in distributing the titles and offices as they choose, since there is no democracy and no voting.
 * In the Avalon Hill version, each noble uses their acquired voting strength in the House of Lords and the House of Commons to decide how to assign the spoils, where a majority vote is required in both Houses to assign any title or office. Nobles who are weak in combat strength can still be strong in either Lords or Commons votes, and vice versa.  Those who control the senior members of the York and Lancaster families or the crowned King (or Queen Regent) gain significant additional voting power as well.  Those who are enemies on the battlefield may ally in Parliament to distribute valuable offices and titles to bolster their position.

Diplomacy
One strong player can be brought down by several weaker players working together, and threats, promises, and agreements can be easier ways to get the desired results than by using brute force. Players can trade many types of cards, and agree on future spoils of war or honours awarded. However, no agreement made in the game is binding; supposed allies can change sides at will.

Noble and royal deaths
When nobles die, they eventually re-enter the game when a new head of a noble family assumes their place.

This is not true of the royal heirs, who are limited to a few specific historical characters, such as Henry VI, Richard, Duke of York, and Margaret of Anjou. These can be taken under control by a player's nobles, and moved about, traded, captured, or executed by them. They are also subject to death by combat or plague.
 * In the original Philmar game, the last royal heir to survive must be crowned for the owning player to win.
 * In the Avalon Hill edition, it is enough to own the sole surviving royal heir to win.

Publication history
Kingmaker was created by Andrew McNeil in the early 1960s, who unsuccessfully tried to find a publisher for it through the late sixties. He finally managed to interest Philmar in the game, and Kingmaker was published in the UK in 1974. The following year, American game company Avalon Hill published a revised edition in North America. TM Games also released an edition in 1983 that was essentially a re-issue of the Avalon Hill version, as did Gibsons Games the same year.

In 1994, Avalon Hill produced a computer game of Kingmaker that reproduced the look and play of the board game almost exactly, allowing the player to compete with up to five computer-controlled factions.

2022 Edition
Games designer Alan Paull of Surprised Stare Games was engaged by Gibsons Games to develop a new edition for release in 2020 with prototype playtesting happening at events around England. Due to Covid the game has been delayed until Autumn 2022 when it will be released on Kickstarter with general sale from 2023. The prototype stage is now complete and the game has been delivered to Gibsons Games who are working on game artwork and production.

Reception
The UK magazine Games & Puzzles published a number of reviews, starting with one in Issue 40 (September 1975) by John Humphries. After a lengthy examination of the Philmar edition, Humphries found the rules ambiguous, with "a number of omissions and errors." For example, he pointed out that although the Welsh border had an effect on the game, it was not printed on the map. He commented, "Practically every move requires an interpretation of the rules." He concluded by giving the game a poor rating of only 2 out of 6. A year later, the magazine had changed their mind, calling Kingmaker "Probably the best new game to reach the market in the last few years [...] one of those rare games which are as playable with two as it is with up to six (or more.)"

In the June 1976 edition of Airfix Magazine, Bruce Quarrie had several issues with the game, starting with the rules, which he observed "could have been presented in clearer form." He also found that "The course of play seems to be predictable, one side, or alliance, being clearly in the ascendancy after an hour or two with little chance for a recovery by the opposition, unless they are fortunate enough to have luck beyond the law of averages." Quarrie's own experience was that every game ended in a stalemate, and he concluded, "To sum up, Kingmaker might be an excellent game but I cannot be certain of it!"

In his 1977 book The Comprehensive Guide to Board Wargaming, Nicholas Palmer called Kingmaker "a lively multi-player game loosely based on the Wars of the Roses [...] Hexless and very different from the usual wargames in most respects." He warned that the game was "Emphatically not for those seeking a test of skill, " commenting that it "becomes riotous with half a dozen players as nobles get whizzed home to look after local rebellions, plagues lay waste to armies, pretenders to the throne cower in Calais, and sittings of Parliament dish out high offices to powerful factions." Palmer called the Avalon Hill edition a stronger game than the original PhilMar edition, noting that it has "better Parliament rules and other improvements, including some clarification of obscure points."

In Issue 22 of Moves (August–September 1975), Richard Berg called the game components "a stunning physical production." Berg pointed out "two facets that are rarely, if ever, found in wargames. The first is a sense of humor [...] Secondly, Kingmaker forces you [...] to think as if you were a medieval baron, grasping, mercenary, and merciless." Berg concluded, "It is hard to convey my enthusiasm for Kingmaker in print. It has to be played to be appreciated, to be savored like a rare wine [...] All this is in Kingmaker, all this and more: the rich legacy of an era, the color, panache, and, yes, the cruelty of the Middle Ages, all magnified and illuminated by the finest game of the decade ... a class of style and wit."

In the 1980 book The Complete Book of Wargames, game designer Jon Freeman commented that the Avalon Hill version "may be the finest diplomacy-oriented simulation available." He noted, "The action is furious, and while the game is not a truly accurate portrayal of the Wars of the Roses, Kingmaker — far more than most games — imparts a vivid picture of the times." However, although Freeman allowed that the Avalon Hill edition had corrected some "opaque" rules found in the original edition, the Avalon Hill map was smaller and "definitely inferior to the original." Freeman concluded by giving the game an Overall Evaluation of "Excellent", saying, "Kingmaker is one of the finest games on the market."

Games named the Avalon Hill edition one of the Top 100 Games of 1980, calling it "a colorful recreation of the English War of the Roses" but warning players "Beware of plagues, revolts, bloody battles, and alliances between other contenders."

In Issue 4 of Games International, Mike Ohren noted that many games ended in stalemate as two or three powerful factions holed up in impregnable positions, not strong enough to win, but not weak enough to defeat. Ohren suggested a number of rule changes to prevent stalemates.

Kingmaker was chosen for inclusion in the 2007 book Hobby Games: The 100 Best. Game designer Greg Stafford explained, "A game's quality is measured by two things: fun and replayability. Kingmaker ranks way high in both. It is not perfect, but its strengths more than makeup for its weaknesses. The game is fun because it's a multi-player political wargame that is largely abstract, thus lacking a lot of the fussy detail required of a true historical simulation."

Awards
At the 1976 Origins Awards, Kingmaker won the Charles S. Roberts Award for "Best Professional Game of 1975."

Other recognition
A copy of Kingmaker is held in the collection of the Strong National Museum of Play (object 112.6892).

Other reviews and commentary

 * Boardgamer Vol.9 No. 1
 * Fire & Movement No. 137
 * 1981 Games 100 in Games
 * The Playboy Winner's Guide to Board Games

title: Kingmaker (board game)


text:
Talk:Arisaig, Nova Scotia

Untitled
Just a beginning.....

Have to check founding date, and continue history. Someone needs to copy the text from the cairns.

Needs info on current economy, fishery, population.

Needs photos of church, harbour, cairns, view from Smith's hill, old photos.

Lend a hand in adding information

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title: Talk:Arisaig, Nova Scotia


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Talk:Auror

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title: Talk:Auror


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title: Category:Governorates of Oman


text:
Talk:Spatha

More information
the spatha is a straight slashing sword used by the roman armies and miletery the sword was over three feet long.

The Spatha was originally used by Iberian-Celtic horsemen. The Romans adapted it after fighting their Iberian Wars.

 * That would be after the 70s BC (Quintus Sertorius); do you have a reference for that? here somebody claims that it was Gallic, and somebody else that it was Germanic. dab (ᛏ) 13:33, 13 August 2005 (UTC)
 * from here it would seem you are confusing the Spatha with the Gladius which was adopted in the 3rd century. dab (ᛏ) 13:37, 13 August 2005 (UTC)

≈== Typology == Should we consider the spatha and all of it's successor's to be of Germanic rather than roman origin? A similar blade typology can be seen in bronze age longswords from the netherlands(the swords are from just before the netherlands came under the germanic sphere of influence) and as far as I am aware the spatha was adopted after conflict with the Germmanic tribes. http://www.angelfire.com/me/ik/pics1.html

maybe Viking sword should become a separate article, and possibly also Migration Age sword/Germanic sword. Plus, we'll need Celtic sword to bridge Bronze Age sword with this article. dab (ᛏ) 13:51, 13 August 2005 (UTC)

 * ["this is all incorrect, the transition in the later roman empire from gladius to spatha was much more to do with the fact that many of the Roman legionaries at that point had been recruited from the roman provinces and as such were far more accustomed to a longer blade like a spatha. There is no evidence to show that there was a consistent difference of construction between gladii and spatha, and there are at least a few examples of pattern welded Gladii"]
 * I deleted this paragraph as it was clearly a discussion page issue, rather than something that should go in an article. I am, however, not in a position to determine the correctness of the comment. 206.253.219.50 23:03, 9 August 2006 (UTC) Nathen

Actually, we have little to no idea what the underlying reason was for the transition from shorter to longer swords amongst the Roman infantry; it's all pretty much guesswork and theories. It remains a very active debating point. The general consesus, though, seems to be that it was gradual and not uniform. Indeed, there is increasing archaeological evidence to suggest the Gladius Hispanicus had quite a long blade when first assimilated in the late Republic, perhaps 27" or so. Thanks for removing the paragraph --M.J.Stanham 00:30, 10 August 2006 (UTC)

 * I'm not sure how Vendel, Migrationary and Norse blades are considered spatha. They are certainly somewhat derivative, but the blades are fullered, the fittings advance from wood to metal and changed shape.  Also, "brazil nut pommels" are later than Viking era.
 * Add to that, all the Viking era swords I've handled were about 26" of blade and 6" of hilt section, for 32", not 37". I'd sure like to see one of these fencing length Viking swords everyone alludes to.
 * Also, pattern-welded gladii date back before BCE, per examples in "Swords and Hilt Weapons" ISBN1566192498 --Michael Z. Williamson

Well, Spatha vary in length and 26" of Blade would probably still qualify. My understanding is that Viking Sword Blades could go up to about 30", but were rarely longer. A rough guide to this sort of thing is 12" or less = Dagger / Knife, 12-24" = 'Short Sword' / Gladius / Semi Spatha / etc.. / 24-36" = 'Long Sword' / Spatha / Medieval Sword / etc... Such a system breaks down fairly easily, but it's just a rough guide. I think it's inspired by the Japanese categorising of blades by 'Shaku'. Classifying swords is very difficult, because the terminology is inadequette and means different thing in different times and places to different people. --M.J.Stanham 15:06, 18 September 2006 (UTC)

I'm going to rewrite the Viking section then. And it doesn't belong here. They're a distant descendant of the spatha, not a spatha. One might as well call the Italians Greeks, since their Latin predecessors were influenced by them...Mzmadmike 12:23, 14 August 2007 (UTC)

My understanding of the reasons for adoption of the Spatha, which is limited and based only on one writer, is that it was related to the use of cavalry. A longer blade is needed for a mounted soldier to strike a soldier on foot. It shouldn necessarily be assumed that increased numbers of legionaries being recriuted from the provinces brought about such changes, either (or similar changes seen in the late Empire, such as the adoption of trousers in preference to tunics, or the wearing of socks in northern Europe. These are just as likely to have come about through less direct exposure to non-Roman cultures, as through the direct recruitment of non-Romans as soldiers. Adrian Goldsworthy talks about both of these points in his "The Complete Roman Army", Thames & Hudson 203 Drew Bassett (talk) 21:00, 11 January 2008 (UTC)

External Links section needs a thorough cleanup
Kindly evaluate and rid the section of double links, dead links and possible SPAM...--The world salutes the Rising Star...Try to be One 13:08, 11 November 2006 (UTC)

Origin and use of spatha
Sorry I'm going to have to make some radical changes here. The article does not quote any sources at all and is obviously based on the hoaky Internet articles that all rely on each other and don't quote any sources either. There's a bunch of totally wrong assumptions associated with them. The spatha never was a specifically cavalry weapon. There is no evidence of that. The statement seems to be based on the idea that Roman cavalry were auxilliaries and that auxilliaries were cavalry. Not so. Every legion had alae of native cavalry in it from earliest times. Moreover most auxilliaries were infantry not cavalry. The Germanics had some cavalry that served in the Roman army but there is no evidence that they carried the spatha while the infantry did not. All this is pure speculation and supposition, and it's wrong. And there is all that stuff about the spatha being a slashing sword. There's no evidence of that either. Like the gladius it could be used for cut or thrust. What do you think the long point was for? And then there are the various statements trying to connect Celtic swords and broadswords and all kinds of other swords to the spatha in some sort of line of development. But the sword picture is very complex. Like gladius it came to mean any sort of sword whether two-handed or dagger. I'm going to try to summarize the essence of what there is so bear with me. OR, come up with some evidence to substantiate what looks to me like pure duplicated hoak. Those sword salesmen will tell you anything. Want to buy a genuine cavalry spatha for 400 dollars?Dave 05:35, 24 December 2006 (UTC)

 * Looking forward to it, Dave. You did a great job with the Gladius article. I still have a couple of nits to pick, but it really is a hundred times improved. I will try to find some time to help out where I may.--M.J.Stanham 13:15, 24 December 2006 (UTC)

so whats the origin then??? — Preceding unsigned comment added by 2600:8803:F400:6120:CC0:30C3:4FBD:BAC4 (talk) 01:25, 1 October 2018 (UTC)

Viking swords
So I actually didn't get it, will these two pages (Spatha and Viking sword) be separated? I wanted to suggest this topic for discussion, but I've seen that the word "Viking" has already been used here, but unfortunately only used, and I haven't seen any signs of a decision.

 * These swords are not absolutely and totally different, but they are different enough that Viking sword to deserve it's own article and page in an encyclopedia. Siliconov 15:01, 26 December 2006 (UTC)

I think it is intended that such will be the eventual outcome. It depends how this page progresses. There is certainly a lot more to be said about the swords that developed from the Roman Spatha. Whether it is best to refer to them as Viking or Viking Age Swords is another matter. The Arming sword / Knightly sword Article presents a cut off point. --M.J.Stanham 19:29, 26 December 2006 (UTC)

 * Indeed, the pages will be separate eventually, but I would prefer writing the material first and separating later, otherwise we'll just have a content-less stub sitting around for the next year or so. As soon as somebody is willing to write a full article on the Viking sword, be my guest and separate it! dab (𒁳) 19:44, 6 February 2007 (UTC)

Length
Some sources measure blade length; other sources measure total length. When discussing sword length, it is very important (1) to specify whether you mean blade length or total length and (2) not to read others' references to the one as references to the other. It is sometimes helpful to provide both figures, though many more finds have broken hilts than broken blades. The article as written does not explain which length it refers to. The figures are somewhat too narrow for total length and far too high for blade length. Starting with Newstead, (Pit 14) is 77 cm total and 62 cm blade, (Pit 16) is 76 total, 63 blade. Kostolna (Grave 37) is 74 cm total. One of the spathae from Nawa is 71 cm total. Others push the upper bounds. Rottweil is 102 cm total, 87 cm blade. Jacob Haller 23:57, 31 March 2007 (UTC)

 * Absolutely true. This article is in a transitional stage and the more data that can be collated regarding extant Spatha examples the better. Both Imperial and Metric Measurements need eventually to be included, since both are current in the English speaking world. As I understand it, most Spatha blades range from around 24" (approximately 60 cm) to around 30" (approximately 75 cm), whilst the Grip, Guard and Pommel range from around 5" (12.5 cm) to 7" (17.5 cm). The Rottweil sounds like an exceptional find, but it's not surprising to find examples with blade lengths pushing 36" (90 cm). Blade shape, supposed date and find location would be useful for the purposes of this article, as the more citations we can provide the more stable the article is likely to be; the Gladius article is a good example of this approach. --M.J.Stanham 00:43, 5 April 2007 (UTC)

 * The only extensive list I'm aware of hasn't been peer-reviewed. Jacob Haller 03:02, 5 April 2007 (UTC)

Etymology
The word spatha derives from Ancient Greek σπάθη (spathe) "any broad blade, of wood or metal" (Liddell and Scott). Someone add this in the article nicely. Also the word remains today in Greek σπάθη (spathe), fem. and σπαθί (spathi), neut. Helladios 04:58, 8 May 2007 (UTC)

 * Can you provide sources? My understanding was that the term only appears in late classical Greek, and late classical Latin, both in the 2nd century and after. Moreover, that Spatha does not come from a Greek root. This suggests that both Greek and Latin borrowed the term from another language. Jacob Haller 05:48, 8 May 2007 (UTC)

σπάθη derives from εις-πάθη which literary means in-suffer. Learn a language first before you make comments that a term was borrowed by "another language". —Preceding unsigned comment added by 86.144.202.91 (talk) 07:27, 1 October 2007 (UTC)

 * Well, the term appears in early classical Greek in works such as: Herodotus The Histories, 7.69, Aeschylus Libation Bearers 232, Plato Lysis 208d etc., so it was used in Greek since at least the 5th century BCE. Helladios 07:48, 8 May 2007 (UTC)

 * Some sources for the above etymology apart from the one I already mentioned (Liddell and Scott: A Greek-English Lexicon) are: Lewis and Short: A Latin Dictionary, Valpy: Etymological Dictionary of the Latin Language and www.etymonline.com . I’ll wait for a couple of days and if no one else does it, then I’ll add the correct etymology myself. Helladios 17:07, 11 May 2007 (UTC)

Info requested
More info on the Spatharius (carrier of the Spatha), is requested. Who knows more than is on that article allready? Randalph P. Williams 11:25, 29 June 2007 (UTC)

Specific concerns

 * Length. If we are counting blade length, instead of blade+hilt length, then these figures are too high.
 * Presumed Germanic auxiliaries. Could be Celtic auxiliaries or even legionaries. It's one hypothesis, but we don't know much for sure about differences between legionary and auxiliary equipment. It is, however, associated with cavalry sites (e.g. Newstead) before it is common at infantry sites.
 * Gladius as light infantry weapon. The gladius completely disappears after the 1ate 1st/early 2nd century. After that it was gone, not relegated to light infantry.
 * Gladius as shorter. Gladius length dropped sharply between the late Republic and the early Empire, but there was certainly overlap in the former period.
 * Gladius as leaf-shaped. Gladii varied in shape. The "Mainz type" were more leaf-shaped than the "Pompeii type." Jacob Haller 20:18, 24 July 2007 (UTC)

 * As far as I am aware, the Gladius does not completely disappear forever during the 2nd Century. For some diagrams of extant Roman Swords see this website: http://romanmilitaryequipment.co.uk/figures.htm There is, however, a question as to how you determine what is and is not a Gladius. This received lengthy discussion in the preperation of the Gladius Article, but essentially we have a disconnect between how the Romans used the word Gladius (generically to mean Sword) and how we have come to use the word Gladius in modern English (Roman 'Short' Sword). By way of example, we can point to Vegetius who uses the word Gladius as a general word for Spatha and Semi Spatha (whatever he precisely meant by those terms). It is probably more accurate to speak in terms of 'types' of Gladius, but even that is not without problems. Regardless, it is true that there is no evidence that the Gladius became a Light Infantry Weapon, only that the Spatha was increasingly adopted by the Infantry. M.J.Stanham 02:38, 3 September 2007 (UTC)
 * As were thrusting spears, according to Stephenson 2001, among others. Jacob Haller 03:18, 3 September 2007 (UTC)
 * On your third point, the gladius appears on Trajan's Column. As that was finished in 113, the gladius was in no way "gone" by that point. —Preceding unsigned comment added by 67.166.241.196 (talk) 22:18, 3 January 2008 (UTC)

Latinized Time References

 * In an article dealing with distinctly Roman concepts, the use of latinized time references is both appropriate and necessary for cultural integrity. Further, this article was originally written using AD/BC time references that were subsequently (and improperly) edited out.  In my opinion and based on the original text of this article, the recent "undoing" of my correction to AD/BC from the CE/BCE time references is both hypocritical and improper.  I invite a conversation on this matter.Jpetersen46321 15:59, 4 November 2007 (UTC)

Image
I find it questionable to display a $129.95 replica made in India as the main, or indeed only, illustration of the article. Especially seeing that this particular replica is a "late Roman spatha" sporting a double fuller. Now I don't know if there are any known Roman spathae with double fullers, but unless we are able to substantiate that there are, even as exceptions, it is extremely misleading to show this image. --dab (𒁳) 17:08, 7 January 2009 (UTC)

Confusing
There seem to be confusions in the article between the word "spatha" and the thing it describes. Presumably this is an article primarily about swords, the etymology of the word should be relegated to a paragraph at most.

There is too much "German stuff," the Germans from the period 100BC-600AD were not at the forefront of metallurgical/weapons development, they reacted to influences. As the Nydam and other weapon hoards testify they largely used Roman gladius-type swords when Roman influence was at its height. Later, they adopted longer swords due to Sarmatian and Alan influence, as did the Romans (to be accurate they extended the use of longer swords). The bar-like guard common to most post 400AD swords was a steppe-Iranian development, first seen on the Eurasian steppes. Both the Germans and the Romans adopted this form of hilt from the Sarmatian peoples. This type of sword can be seen c.400AD on ivory plaques, being worn by the Roman general Stilicho and the Roman emperor Honorius.

The Viking Age stuff doesn't mention that most of the blades, even the ones with Scandinavian hilts, were forged in the Rhineland. Many were inlaid with the the words ULFBEHRT FECIT, which was a bit like the running wolf mark in the 17th and 18th centuries, a claim to good quality.

I don't think the Varangian comment can really stand, the Byzantine emperor Manuel I (1143-1180) is recorded as saying he thought that Western European swords were based on Byzantine models, not the reverse.

Urselius (talk) 10:51, 12 May 2009 (UTC)

I would be very interested in references to establish that This being the general "spatha" article, its scope spans the entire first millennium, but emphasis should be on the Roman era spatha (i.e. the first half of the millennium), as we have dedicated sub-articles on the Migration period sword (450-700) and the Viking sword (700-1100). --dab (𒁳) 16:40, 12 September 2010 (UTC)
 * The bar-like guard common to most post 400AD swords was a steppe-Iranian development
 *  most of the [Viking Age] blades, even the ones with Scandinavian hilts, were forged in the Rhineland

There is a lot of confusion in this article.

If the this type of a sword was in use since the first century AD then how come that etymology of the word we find from greek written word from IV century AD when this word wasn't in use before in greek language. yllbardh 13:45, 29 March 2013 (UTC)

Copy-edited
I have generally cleaned up grammar (and a few instances of spelling). However, not knowing much about the subject there were a few things which did not sound correct but I could not change without altering the meaning. Could someone have a quick glance through and then confirm that the copy-edit tag can be removed. Thanks Jamioe (talk) 10:25, 11 April 2010 (UTC)

Dubious claim removed
I removed unsourced claim "The predecessor of the spatha is the 3rd century BC (La Tène) Celtic sword". It's at least dubious, considering the sourced since 6th century BC σπάθη as the actual predecessor of spatha. The Cat and the Owl (talk) 09:58, 21 May 2010 (UTC)

Well, this is just the origin of the Greek word. You have to distinguish the origin of the word from the origin of the actual Roman sword that came to be known as spatha. You might as well claim that it is incorrect that the first guitars date to the Renaissance period because the word kithara is already ancient Greek. --dab (𒁳) 10:07, 21 May 2010 (UTC)

 * However sources (see LSJ) stating that σπάθη was defined as a "broad blade of a sword" since 6th century BC . The Cat and the Owl (talk) 10:18, 21 May 2010 (UTC)

Yes? Your point being? σπάθη is just a Greek word for "blade, paddle, spoon, etc." This is not ancient Greek Wikipedia, and this article is not about blades or paddles in general, but about the Roman sword that happened to be called spatha in Latin. The Greek word is just the etymology. You will be hard put to dig up 6th century BC swords in Greece that can be argued to be the morphological predecessor of the Roman spatha. The morphological predecessor is La Tène, even if the word is Greek. There is a difference between words and things. --dab (𒁳) 10:23, 21 May 2010 (UTC)
 * I see your point. The Cat and the Owl (talk) 10:31, 21 May 2010 (UTC)

title: Talk:Spatha


text:
Jon Secada

Juan Francisco Secada Ramírez (born October 4, 1961), better known as Jon Secada, is a Cuban-born American singer, songwriter and record producer. He has won two Grammy Awards and sold 15 million records, making him one of the best-selling Latin music artists. His music fuses funk, soul music, pop, and Latin percussion.

Secada has written songs for Gloria Estefan, Ricky Martin, and Jennifer Lopez. He has toured with Luciano Pavarotti and recorded duets with Jim Brickman, Olivia Newton-John, and Frank Sinatra.

Secada has performed several times at A Capitol Fourth, an annual Independence Day concert from the United States Capitol televised by PBS.

Early life
Secada was born in 1961 in Havana, Cuba. Secada's father, José, was incarcerated for 3 years as a political prisoner to the communist Cuban government. In 1971, the Secadas received permission to emigrate and moved to Miami. His parents opened a coffee shop. Secada was raised in Hialeah, Florida.

Education
In 1979, Secada graduated from Hialeah Senior High School in Hialeah, Florida. During his performance of A Christmas Carol in 11th grade, he says he realized his musical potential and was encouraged by teachers to pursue music as a career.

After graduating from high school, Secada attended the Frost School of Music at the University of Miami, where he received a Bachelor of Music in 1983 and a Master of Music in jazz vocal performance in 1986. He graduated cum-laude and was later inducted into the Iron Arrow Honor Society, the highest honor bestowed by the University of Miami.

Career
From 1986 to 1991, Secada was a teacher at Miami Dade College.

In 1986, Secada's University of Miami acquaintances introduced him to Emilio Estefan, a musician in Miami Sound Machine and husband of Gloria Estefan. Estefan listened to one of Secada's demos and then became Secada's mentor and manager. This led to Secada becoming a backup singer for Miami Sound Machine.

In 1991, Secada co-wrote and was a backup singer for "Coming Out of the Dark," a number-one hit song inspired by a tour-bus accident involving Gloria Estefan in 1990, in which her back was broken. In 1992, he released his self-titled debut album, which sold 7 million copies. In 1994, he performed a duet with Frank Sinatra, a re-recording of "The Best Is Yet to Come," released on Sinatra's album Duets II. He also performed at the awards for Miss Venezuela 1994. In 1995, he performed on Broadway in Grease, and he also presented at the 49th Tony Awards. He also recorded "If I Never Knew You", a duet with Shanice for Pocahontas. In 1999, he co-wrote and co-produced "She's All I Ever Had" for Ricky Martin.

In 2003, he performed in Cabaret. He also co-wrote "Juramento" for Ricky Martin. From 2006 to 2009 Secada was a judge on Latin American Idol for its entire four-season run. In 2007, he co-wrote three songs, and performed in one, on Lilian Garcia's album ¡Quiero Vivir!.

In 2017, he released a tribute album with cover versions of songs by Benny Moré.

Personal life
From 1988 to 1993, Secada was married to Jo Pat Cafro. In May 1995, he started dating Maritere Vilar. They were married in February 1997 and have two children.

Secada resides in a 7,284 square-foot house, with a tennis court and pool, a few blocks west of the University of Miami, his alma mater, in Coral Gables, Florida.

Secada has created the Jon Secada Music Scholarship at the University of Miami, raised funds for The Recording Academy's effort "Keeping Music in Schools," and supports many initiatives including the Pediatric AIDS Unit at Jackson Memorial Hospital, Make-A-Wish Foundation, and the Boys & Girls Clubs of America.

Discography

 * Jon Secada (1992)
 * Otro Día Más Sin Verte (1992)
 * Heart, Soul & a Voice (1994)
 * Si Te Vas (1994)
 * Amor (1995)
 * Secada (1997)
 * Better Part of Me (2000)
 * The Gift (2001)
 * Amanecer (2002)
 * Same Dream (2005)
 * A Christmas Fiesta/Una Fiesta Navideña (2007)
 * Expressions (2009)
 * Classics/Clasicos (2010)
 * Otra Vez (2011)
 * To Beny Moré With Love (2017)

Awards and nominations
{| class="wikitable sortable plainrowheaders" ! scope="col" | Award ! scope="col" | Year ! scope="col" | Nominee(s) ! scope="col" | Category ! scope="col" | Result ! scope="col" class="unsortable"| Ref. !scope="row"|ASCAP Latin Music Awards !scope="row" rowspan=5|ASCAP Pop Music Awards !scope="row" rowspan=2|BMI Latin Awards ! scope="row" rowspan=8|BMI Pop Awards !scope="row"|Billboard Music Awards !scope="row"|Billboard Latin Music Awards !scope="row" rowspan=1|Cash Box Year-End Awards !scope="row" rowspan=3|Grammy Awards !scope="row"|Hit Awards (Hong Kong) !scope="row"|Latin Grammy Awards ! scope="row" rowspan=7|Lo Nuestro Awards
 * 2000
 * "Bella"
 * Most Performed Song
 * Won
 * 1992
 * "Coming Out of the Dark"
 * rowspan=5|Most Performed Songs
 * Won
 * rowspan=3|1994
 * "Angel"
 * Won
 * rowspan=3|
 * "Do You Believe in Us"
 * Won
 * "Just Another Day"
 * Won
 * 1995
 * "I'm Free"
 * Won
 * Won
 * 1995
 * "I'm Free"
 * Won
 * Won
 * 1993
 * "Otro Día Más Sin Verte"
 * Song of the Year
 * Won
 * 2001
 * "Bella"
 * Award-Winning Song
 * Won
 * Award-Winning Song
 * Won
 * rowspan=4|1994
 * "Just Another Day"
 * rowspan=8|Award-Winning Songs
 * Won
 * rowspan=4|
 * "Do You Believe in Us"
 * Won
 * "Angel"
 * Won
 * "I'm Free"
 * Won
 * rowspan=2|1996
 * "Mental Picture"
 * Won
 * rowspan=2|
 * "If You Go"
 * Won
 * 1998
 * "Too Late Too Soon"
 * Won
 * rowspan=2|
 * 2001
 * "She's All I Ever Had"
 * Won
 * "Too Late Too Soon"
 * Won
 * rowspan=2|
 * 2001
 * "She's All I Ever Had"
 * Won
 * Won
 * 1993
 * Himself
 * Top Adult Contemporary Artist
 * Won
 * 2001
 * "Así"
 * Latin Dance Club Play Track
 * Nominated
 * 1994
 * "If You Go"
 * Top Pop Album
 * Nominated
 * rowspan=2|1993
 * Himself
 * Best New Artist
 * Nominated
 * rowspan=3|
 * Otro Día Más Sin Verte
 * Best Latin Pop Album
 * Won
 * 1996
 * Amor
 * Best Latin Pop Performance
 * Won
 * Best Latin Pop Performance
 * Won
 * 1993
 * Himself
 * Top Male Artist
 * Won
 * 2017
 * To Beny Moré With Love
 * Best Traditional Tropical Album
 * Won
 * rowspan=5|1993
 * rowspan=2|Himself
 * Male Artist of the Year, Pop
 * Won
 * rowspan=5|
 * New Pop Artist of the Year
 * Won
 * Jon Secada
 * Pop Album of the Year
 * Won
 * "Angel"
 * Pop Song of the Year
 * Nominated
 * "Otro Día Más Sin Verte"
 * Video of the Year
 * Nominated
 * 1994
 * Himself
 * Male Artist of the Year, Pop
 * Nominated
 * 1995
 * "Si Te Vas"
 * Video of the Year
 * Nominated
 * Nominated
 * 1995
 * "Si Te Vas"
 * Video of the Year
 * Nominated
 * Nominated

Television series

 * Alice's Wonderland Bakery as King of Hearts

title: Jon Secada


text:
User:Fropuff/Drafts/Hom functor

 * Official page: Hom functor

Preservation of limits
Covariant Hom functors preserve all limits. In particular, they preserve all small limits, and are therefore continuous. By duality, the contravariant Hom functors take colimits to limits. Covariant Hom functors do not necessarily preserve colimits.

Given a diagram F : J → C and an object X of C the limit of composite functor Hom(X, F–) : J → Set is given by the set of all cones from X to F:
 * lim Hom(X, F–) = Cone(X, F)

The limiting cone is given by the maps
 * $$\pi_i : \mathrm{Cone}(X,F) \to \mathrm{Hom}(X,F_i)$$

where $$\pi_i(\psi) = \psi_i$$. If F has a limit in C then Hom(X, lim F) is naturally isomorphic to the set of all cones from X to F so that
 * Hom(X, lim F) = lim Hom(X, F–)

Moreover, the Hom functor Hom(X, –) takes the limiting cone of F to the limiting cone of Hom(X, F–). It follows that Hom(X, –) preserves the limits of F.

Categorical objects associated with Hom sets
The are great variety of objects associated with Hom sets. These are summarized in the following table. In this table
 * C is a category,
 * A, A1, A2, and B, B1, B2 are objects in C,
 * $$f:A_1\to A_2$$ and $$g:B_1\to B_2$$ are morphisms in C.

title: User:Fropuff/Drafts/Hom functor


text:
Lisa Marie (actress)

Lisa Marie Smith, known professionally as Lisa Marie, is an American model and actress.

Early life
Lisa Marie was born in Piscataway, New Jersey, where she was raised by her father and grandparents. She studied ballet for eight years at the New Jersey Ballet and learned classical piano. She moved to New York City at age 15 to study theatre, dance and music.

Career
She was a model for Robert Mapplethorpe and was featured in photographer Bruce Weber's ad campaign for designer Calvin Klein's Obsession perfume.

Marie went on to appear briefly in Let's Get Lost, Weber's documentary on the life of jazz trumpeter Chet Baker, and had a small role in Woody Allen's film Alice. In 1989 she appeared on Malcolm McLaren's song "Something's Jumpin' in Your Shirt" from his 1989 album Waltz Darling. From 2000 to 2002 she hosted the short film series Exposure on the Sci-Fi Channel.

Marie has appeared in magazines including Maxim, Playboy, and Esquire. She has also had her own photographs exhibited and published in magazines; Vanity Fair ran side-by-side photos taken by her and her partner, film director Tim Burton. Marie appeared in several of Burton's films including portraying actress/1950s television horror movie hostess Vampira in the 1994 biopic Ed Wood.

In 2015, Marie starred in the horror film We Are Still Here with Barbara Crampton, Andrew Sensenig, Larry Fessenden, Monte Markham, and Susan Gibney.

Personal life
Marie met film director Tim Burton at a coffee bar in New York on New Year's Eve in 1992, when she had just finished modeling for Calvin Klein, and Burton had been having difficulty in his four-year marriage. According to a Boston Herald article, they claimed to have bonded over mutually witnessing two UFO sightings in California. They were engaged from 1993 to 2001 and she appeared in small roles in most of his productions made during this time.

Burton abruptly ended their relationship following the premiere of 2001's Planet of the Apes, which he directed. Marie had a small role in the film, while Burton's new girlfriend Helena Bonham Carter was one of its lead actresses. Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay.

TV appearances

 * General Hospital, Jennifer Smith #1 1979–1980
 * Miami Vice, Cinder – in the episode "Baseballs of Death" (1988)
 * Showbiz Today, herself – in the episode dated December 12, 1996
 * The Howard Stern Radio Show, herself – in the episode dated December 11, 1999
 * Exposure, herself as presenter (2000–2001)

title: Lisa Marie (actress)