text:
MXTabs

MXTabs.net was an American music tablature website created in 1999, offering free guitar, bass, and drum tablature created by users of the site, in addition to music reviews and instrument lessons. Although the site shut down in June 2006 in response to claims made by the Music Publishers Association (MPA) about the supposed illegality of music tabs, it has since been bought by MusicNotes and now offers free, legal tablature.

The site was in public-alpha stage for some time as not all features had been added and tabs were available only to countries where a licence was in place. The site came out of public alpha stage and was launched on 1 July 2008. The site is now defunct and the domain name redirects to Songsterr, which has no relation to MXTabs.

History
MXTabs was started as a hobby drum website in 1999. As the site grew in size and popularity, it added subsites for guitar and bass guitar. Users would submit tablature for a song, and that tab would be incorporated into the website. MXTabs continued to grow, increasing its database to over 150,000 tabs by December 2005, when the Music Publishers Association threatened websites that provided lyrics or tabs with jail time in addition to fines and shutting the websites down. The MPA took no legal action at that time, only warning that they would begin doing so in 2006. MXtabs responded on December 26, 2005 by taking their entire website offline. Later, the website was changed to simply forward viewers to its affiliate forum, MusicianForums.

On February 24, 2006, MXTabs was reinstated online by its owners, accompanied by an open letter explaining their belief in the site's mission to assist musicians in learning their instruments. The letter highlighted that MXTabs contributes up to $3000 monthly in sheet music sales and offers access to many tablatures for which no official sheet music exists, making it a unique resource for musicians seeking to learn specific songs. It also noted that tablatures have not been legally proven to be infringing and invited sheet music publishers to collaborate with MXTabs on establishing a licensing system for tabs. On June 25, 2006, MXtabs administrators removed the site's tablature content for a second time, after a reopening in February that year had failed to elicit the hoped-for response from the music publishing industry. Following this closure, the focus of the original MXTabs network pivoted towards webmaster Jeremy Ferwerda's review site, Sputnikmusic.

On March 27, 2007, MXTabs announced an agreement with the Harry Fox Agency, allowing for legal tabs in exchange for sharing ad revenue from the website. This deal also meant that tabs would be available for free to users, with MXTabs members contributing and refining the tablature content. Despite the anticipation of a summer 2007 reopening, MXTabs did not enter a private alpha phase until late in the year. The delay was attributed to challenges in securing contracts with the last few music publishers and the necessity of updating over 10,000 tabs to align with MXTabs' new operational model and incorporating desired features.

As of February 26, the site reopened with a new layout, although users in Canada encountered a message indicating licensing restrictions for certain songs. The site was operational in the United States, but some unlicensed songs prompted users to provide information to aid in obtaining licenses more quickly.

By May 9, tabs became available to users outside the United States, including Canada, United Kingdom and Australia, subject to licensing agreements. Following significant updates in May, including Tab Submissions and numerous new publisher agreements, MXTabs announced it would exit the public alpha stage and officially launch on July 1, 2008. The launch was celebrated with a promotion contest in partnership with Taylor Guitars.

On October 10, 2011, MXTabs.net ceased operations and redirected all its traffic to its partner site, Songsterr.com.

title: MXTabs


text:
User:OCNative

simple:User:OC Native es:Usuario:Nativo de OC fr:Utilisateur:OCNative pl:Wikipedysta:OCNative

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

title: User:OCNative


text:
Talk:Harry Hopkins

Unrelated information
It seems like this article describes a lot of New Deal Policies, which don't have much to do with Harry Hopkins. If the reader of the article is interested, reference him to the page describing the WPA, FERA, and other stuff, but don't actually include that information in the article. —Preceding unsigned comment added by 97.118.25.175 (talk) 03:28, 21 March 2011 (UTC)

American Ambassador to Moscow Averell Harriman reported[citation needed] to a class at George Washington University in the fall of 1992 that it was in 1945 that he observed how Stalin once abruptly terminated a conversation and proceeded to cross the span of a large hall at the Kremlin to greet Hopkins as he and Harriman entered. Harriman indicated that this breach of protocol was considered a strong indication of the respect that the Soviets had for Hopkins personally, a great honor.

This is a wonderful story if true; I have no idea if it is true but would like to know. Harriman died in 1986 which makes it difficult for him to have stated this to a Georgetown class in 1992. . . He would have been 101 years old. I a a history buff, not an historian, but would desire to know the validity of this story. — Preceding unsigned comment added by 74.134.36.46 (talk) 00:45, 7 October 2013 (UTC)

Jobs
Why no critical section on Harry Hopkins and the WPA?

Why is there no section in the article on the life of Harry Hopkins on the corruption (political and financial) of the WPA. There is a (small) section on the corruption (political and financial) of the WPA in the article on the WPA itself, but in the article on Harry Hopkins himself all that is said is that the WPA "created jobs" (no mention of the jobs it DESTROYED by the taxes needed to pay for it) and nothing at all on the corruption (political and financial) of the WPA. There were reasons that the heads of the WPA and the PWA did not get on - it was not just a personality clash. The PWA (whatever one thinks of the economics of it) was basically honest - the WPA was a corrupt political machine (designed to deliver votes), and Harry Hopkins (the man who created the agency and controlled it) can not escape some blame for that.

5.66.136.118 (talk) 06:07, 17 August 2013 (UTC)
 * Wikipedia requires reliable sources for information--ideally, in this case, historians or biographers. Could you indicate what books you're looking at to start us off? -- Khazar2 (talk) 11:57, 17 August 2013 (UTC)
 * taxes were not raised to pay for the WPA. (deficit financing was used--paid back at a time of postwar full employment and prosperity) so no jobs were "lost" Rjensen (talk) 16:40, 17 August 2013 (UTC)

Richard Rhodes, hardly a herald for the GOP or the political "Right", in his 1995 book, The Making of the Hydrogen Bomb, essentially corroborates much of Racey Jordan's statements to the HUAC, or at the least, finds enough credibility to suggest that the bulk of the testimony and claims about the Great Falls incidents, have merit. Jordan's earlier claims as well, from my point of view, have credibility as well.

If so, then the acts of "favoritism (my word) toward the Soviets appear to gain much more credibility from Hopkins' own statements about "being as one" with the soviets begin, to solidify the claims of preferential Soviet Lend Lease transactions. When the items that were delivered to the Soviets, while Hopkins was alive and in charge - and sometimes at the peril of American soldiers - the picture offered in this bio seems grossly misleading.

While it is becoming very clear that Hopkins' decisions were controversial at best, they greatly aided and abetted the Soviets. To make the claim that his motives were totally anti-american, though there was much evidence that the Soviets had been an enemy of the U.S. since the 1930's, one should not be crucified for stupidity. Nor should such ignorance and stupidity rise to such high offices in our country's government (although that criteria has reached totally unthought-of proportions, when viewing today's elected, appointed, and hired administrators.

The line is blurred for sure, but in light of our current self-destructive policies, created and forced by our current officials, it appears that the true story, at the end of WWII, was just " you ain't seen nothin yet!". — Preceding unsigned comment added by 2600:1013:B013:E902:58D7:5219:8C9D:7611 (talk) 07:07, 13 November 2013 (UTC)
 * Actually the Russians were doing a huge amount of fighting and dying and American policy was to give them all the help possible so as to minimize the number of Americans killed. In a world American policy "greatly aided and abetted the Soviets."  Hopkins job was to carry out American national policy.  A different policy would have helped the Nazis. Rjensen (talk) 10:11, 13 November 2013 (UTC)

Plasma cure?
So FDR brought in some experts who gave Hopkins plasma and saved him. Is there any medical basis for that notion? People had lots of strange ideas about what blood could do back then.

Is it more likely that Hopkins just happened to get better at the same time? We have thousands of people walking around today with most of their stomach removed. That shouldn't be fatal in itself. — Preceding unsigned comment added by 23.119.204.117 (talk) 21:33, 1 July 2016 (UTC)

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title: Talk:Harry Hopkins


text:
Apollo's Chariot

Apollo's Chariot is a steel roller coaster at the Busch Gardens Williamsburg amusement park in James City County, Virginia, United States. The ride was the first Hyper Coaster designed by Swiss firm Bolliger & Mabillard. It officially opened to the public on March 27, 1999. This coaster is themed to the Greek and Roman god Apollo, who is the god of the sun, music, and healing. Apollo used his chariot to control the directions of the sun.

The 4882 ft ride is characterized by eight air-time hills, with heights ranging between 49 and 131 ft. Riders ascend 170 ft on the chain lift hill before dropping 210 ft at an angle of 65°. Apollo's Chariot has been well received, consistently ranking in the top 10 of the annual Golden Ticket Awards from Amusement Today.

History
Apollo's Chariot was announced on September 5, 1998, as the tallest and fastest roller coaster at Busch Gardens Williamsburg. An article in the Daily Press on January 23, 1999, mentioned that the ride was nearing completion with approximately 20 pieces of track left to be installed. Apollo's Chariot performed its first test runs in mid-February 1999.

The ride opened on March 27, 1999. Upon opening, it was the first hypercoaster from Swiss manufacturer Bolliger & Mabillard. Busch Gardens held Apollo's Chariot's opening ceremony three days later on March 30. Italian fashion model Fabio Lanzoni was brought in to promote the new roller coaster; this was part of Busch Gardens Williamsburg's annual program of celebrity appearances. During the ride's inaugural run, a 10-pound goose struck him in the face leaving his nose covered with blood. He was treated at a nearby hospital for minor cuts, while the goose was killed on impact. In 2021, he clarified that the goose hit a camera and a piece of that camera hit him in the face.

Characteristics
The 4882 ft Apollo's Chariot is a Hyper Coaster made by Bolliger & Mabillard. The park's existing terrain is utilized to allow a 170 ft lift hill to be translated into a first drop stretching 210 ft. With a top speed of 73 mph, the ride features eight air-time hills. Riders of Apollo's Chariot experience up to 4.1 times the force of gravity on the 2-minute, 15-second ride. Apollo's Chariot operates with three trains with nine cars per train. Riders are arranged four across in a single row for a total of 36 riders per train. This configuration of trains allows for a theoretical capacity of 1,750 riders per hour. Riders are restrained by a lap bar and the seats are elevated so riders’ feet don't touch the ground.

Ride experience
After departing from the station, the station will spiel the send-off recording "Thank you and enjoy your voyage to the sun on the wings of Apollo's Chariot!" as the train begins to climb the 170 ft chain lift hill while loudspeakers play the official theme song. When the train reaches the top, it drops down a few feet in a pre-drop. The pre-drop serves to reduce the stress and pull of the chain. After the pre-drop, the train goes down a 210 foot drop toward a water-filled ravine at a 65-degree angle and reaches a top speed of 73 mph. At the end of the ravine, the train enters a second airtime hill with a 131 ft drop. A short narrow above ground tunnel is at the bottom of the second drop. After the tunnel, the train descends a 144 ft drop, which banks to the left as it descends. The train then goes through an upward helix. Coming out of the helix, the train drops 102 ft then turns right and rises up into the mid-course brake run. The train drops 48 ft out of the brake run followed by another drop at 87 ft toward the ravine. The train then banks right, makes a 38 ft dip, turns left and goes through a small 16 ft dip. The train then makes one last 49 ft airtime drop before climbing up and into the final brake run. There is approximately 26 seconds of airtime during the 2-minute, 15-second ride.

Incidents
On July 15, 2018, a family from Virginia Beach, Virginia, suffered injuries as they were riding the roller coaster due to a ride operator accidentally pressing the emergency stop button, causing them to report concussions the next day. In July 2019, a guest from Virginia Beach sued Busch Gardens Williamsburg's parent company SeaWorld Parks & Entertainment. The guest claimed that he had suffered severe injuries on Apollo's Chariot due to the previous year's emergency-stop incident.

Reception
When Apollo's Chariot opened, the Daily Press described it as setting "a new standard in stomach-churning fun", enhanced by the fact that the ride had 26 seconds of airtime. In the ride's debut year, Busch Gardens Williamsburg had lower than expected levels of attendance. This was attributed to prolonged periods of inclement weather. As a result of this, the park planned to relaunch Apollo's Chariot in 2000 in an attempt to drive attendance.

In Amusement Today's annual Golden Ticket Awards, Apollo's Chariot has consistently ranked highly. In its debut year, it ranked position 20. In the 13 years since, the coaster has consistently ranked higher, peaking at #4 in 2005, 2007, 2008 and 2012.

title: Apollo's Chariot


text:
Cowasji Jehangir Readymoney

Sir Cowasji Jehangir Readymoney, CSI (24 May 1812 – 19 July 1878) was a Parsi community leader, philanthropist and industrialist of Bombay, India.

Family and background
Cowasji Jehangir Readymoney came from a wealthy Parsi family. His great-grandfather and two great-uncles had moved in the early 18th century from Navsari near Surat to Bombay and had become pioneers in the lucrative opium trade with China. The brothers were cash-rich and worked as bankers for various British clients, and they earned for themselves the sobriquet "Readymoney," which they later adopted as a surname.

Among the three brothers, only Hirji Jewanji Readymoney had surviving issue, two daughters. He arranged in the usual Indian way for them to marry into families of their own community and similar background. The girls were married into wealthy Parsi families; the elder married a Banaji, the younger a Dady Sett (or Dadiseth).

In the next generation, the son of the elder daughter, Jehangir Hirji, married the daughter of the younger daughter, Mirbai, again in a match arranged by their families in the usual Indian way. Jehangir Hirji was designated the heir of his grandfather and his two granduncles. He and Mirbai had two sons. The elder was the father of Jehangir Cowasji Jehangir Readymoney and the younger was Cowasji Jehangir, the subject of this page.

Business career
Cowasji Jehangir Readymoney's only formal education was at the (then) well-known school kept by Serjeant Sykes at one of Bombay's forts. At the age of 15, Readymoney entered the firm of Duncan, Gibb & Co. as "godown keeper," or warehouse clerk.

In 1837 Readymoney was promoted to the responsible and lucrative appointment of "guarantee broker" to two leading European firms in Bombay. By 1846 he was able to begin trading on his own account. In 1866 Readymoney was appointed a commissioner of income tax, his tactful management being largely responsible for the fact that this tax, then new to Bombay and unpopular, was levied with unexpected financial success.

Public service and philanthropy
Readymoney was appointed Justice of the Peace for the town and island of Bombay and a member of the Board of Conservancy. He was invested as a Companion of The Most Exalted Order of the Star of India (C.S.I) in 1871. In 1872, he was created a Knight Bachelor of the United Kingdom in recognition of his donations to the Indian Institute in London and other charitable causes in Bombay amounting to approximately £200,000.

Readymoney built colleges, hospitals, insane asylums; founded a refuge for people of "respectability" who found themselves destitute or friendless in Bombay; erected several drinking fountains of artistic merit; gave donations to the Catholic and the Presbyterian missions in India. He financed the erection, in 1869, of the Readymoney Drinking Fountain in Regent's Park, London, which was opened by the Princess of Teck, as a mark of gratitude from the Parsi community to the protection that British rule in India had given them.

Readymoney had a particular association with University of Bombay and he financed the erection of several notable buildings there, including the Convocation Hall designed by Sir George Gilbert Scott. Readymoney was also a member of the University's Faculty of Civil Engineering and its Senate. A statue of Readymoney, by Thomas Woolner, stands on the campus grounds. There is also a small bas-relief sculpture of him at the University of Edinburgh but Readymoney's connection to that establishment is unknown.

During his lifetime, Readymoney was known as the Peabody of Bombay. The reason for this epithet is unknown, but may be a reference to London's Peabody Trust, since Jehangir owned several large housing estates and is said to have identified himself with George Peabody.

Death
After a long illness, Readymoney died in 1878. His nephew and adopted son and heir, Jehangir Cowasji Jehangir Readymoney, was created a Knight Bachelor (in 1895) and a Baronet (in 1908).

title: Cowasji Jehangir Readymoney


text: User talk:69.168.45.34

title: User talk:69.168.45.34


text:
User talk:Ryodox

Please don't change other peoples votes on vfd. --Phroziac (talk) 19:20, 16 July 2005 (UTC)

 * For my first edit when I didn't know how to properly edit Wikipedia.
 * --Ryodox 01:49, 3 September 2006 (UTC)

Last chance
This is your last warning. The next time you vandalize a page, as you did to David Duke, you will be blocked from editing Wikipedia. ←Humus sapiens ну? 01:39, 3 July 2006 (UTC)

 * This was for one of my earliest edits mistaken for vandalism. The dispute has been resolved.
 * --Ryodox 01:49, 3 September 2006 (UTC)

Where are you from?
Last time I check, African-Americans were free citizens able to vote. Did you just pop out of a time machine from the 1940's in Alabama? Get a life, and stop spreading your White Power propaganda on wikipedia! 69.167.100.155 06:54, 24 August 2006 (UTC)

 * This message was from one of DocFisherKing's alias IP addresses, wrongly accusing me of spreading "propaganda".
 * --Ryodox 01:49, 3 September 2006 (UTC)

 * Sure it was pal. DocFisherKing

David Duke

 * Thanks for the note. It actually un-wikified the link. Rgds, Rich Farmbrough 09:59 31 August 2006 (GMT).

Re: Content dispute?
Yes, a content dispute. This is not a simple case of vandalism on either side, and this should go through the dispute resolution process, not to WP:AIV. Thanks for writing. RadioKirk (u|t|c)  02:28, 3 September 2006 (UTC)

Notice to Ryodox and DocFisherKing
To Ryodox and DocFisherKing: you both would be well served to read WP:3RR, for which you both would be blocked were your dispute to continue. Pease also read what vandalism is (and is not) and why none of us owns any page at Wikipedia, including those within our own user space. Edit wars are counter to the ideals of the encyclopedia and will be dealt with accordingly (and, reversions to an "accepted version" had better include a link to theconsensus therefor). If, after reading this, you still disagree as to the content of the article, take it to dispute resolution.. RadioKirk (u|t|c)  02:49, 3 September 2006 (UTC)

 * I am willing DocFisherKing

Re:what do u make of this
It looks like a NPOV Statement.--CableModem 21:25, 17 September 2006 (UTC)
 * I agree. DocFisherKing

Contested Prod
Well any contested prod can be taken to AfD which is what I did. Whispering(talk/c) 21:09, 28 September 2006 (UTC)

3RR warning
Please refrain from undoing other people's edits repeatedly. If you continue, you may be blocked from editing Wikipedia under the three-revert rule. Rather than reverting, discuss disputed changes on the talk page. The revision you want is not going to be implemented by edit warring. Thank you. -Will Beback 09:35, 12 November 2006 (UTC)

 * PS: The same goes for alternate accounts and edits made while not logged-in. -Will Beback 09:35, 12 November 2006 (UTC)

 * Well that warning didn't mean anything to you User:Ryodox, now did it? DocFisherKing

 * I warned you because you were either had violated the 3RR policy or were on the verge of doing so., etc. Revert wars are a bad thing. Please do not rely on reverts to settle edit disputes. It's better to settle things and develop consensus on the talk page. Rather seeing anyone get blocked, I'd like to see us all come to an agreement about this material. -Will Beback 10:59, 12 November 2006 (UTC)

Well, nice try Ryodox
208.192.66.196 208.192.66.196
 * Record Type:  IP Address
 * UUNET Technologies, Inc. UUNET1996B (NET-208-192-0-0-1)
 * 208.192.0.0 - 208.255.255.255
 * WS/EXOP OF KEARNEY MISSOURI DBA UNITE | GREATER KANSAS CITY |
 * EXOP OF MISSOURI | CLAY COUNTY |UU-208-192-64-D4 (NET-208-192-64-0-1)
 * 208.192.64.0 - 208.192.79.255

http://en.wikipedia.org/w/index.php?title=Kearney%2C_Missouri&diff=prev&oldid=87189434

You didn't fool me! DocFisherKing

I offer peace
Anytime you would like to discuss anything with me Ryan, just leave me a message and I will be willing to respond to whatever topic you choose because I am very fond of you, however I can't stand all this racist, or "socialist", nonsense you have become involved with. It is a waste of your intellect. DocFisherKing

User page protection
There has been some vandalism of your talk page, so I've protected it from editing by new or unregistered users. You should still be able to edit it. Let me or another admin know if you'd like to have it unprotected. -Will Beback · † · 23:12, 17 January 2007 (UTC)

Image:Cthulhupainting.jpg
Hello Ryodox, an automated process has found an image or media file tagged as nonfree media, such as fair use. The image (Image:Cthulhupainting.jpg) was found at the following location: User:Ryodox. This image or media will be removed per statement number 9 of our non-free content policy. The image or media will be replaced with Image:NonFreeImageRemoved.svg, so your formatting of your userpage should be fine. The image that was replaced will not be automatically deleted, but it could be deleted at a later date. Articles using the same image should not be affected by my edits. I ask you to please not re-add the image to your userpage and could consider finding a replacement image licensed under either the Creative Commons or GFDL license or released to the public domain. Please note that it is possible that the image on your page is included vie a template or usebox. In that case, please find a free image for the template or userbox. Thanks for your attention and cooperation. User:Gnome (Bot)-talk 11:24, 19 May 2007 (UTC)

title: User talk:Ryodox


text:
Wikipedia:Articles for deletion/French peas-and-bacon stew

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Delete --Allen3 talk 22:25, July 31, 2005 (UTC)

French peas-and-bacon stew
Non-notable recipe from the Household Cyclopedia that has already been transwikied to Wikibooks (see French stew of peas and bacon). --Diderot 19:22, 16 July 2005 (UTC)
 * Delete, WP not a cookbook. -Splash 01:23, 17 July 2005 (UTC)
 * Keep. But it is an encyclopedia, and cuisine is an encyclopedic subject. -- Judson 23:16, 17 July 2005 (UTC)
 * Yes, and so the article should be about the history and cultural impact of French peas-and-bacon stew, not just a recipe for it. -Splash 23:34, 17 July 2005 (UTC)
 * Delete already in wikibooks. JamesBurns 03:18, 18 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Bagli

Bagli may refer to:

 * Bagli, Dewas, a town in Madhya Pradesh, India
 * Bagli Tehsil, the administrative division of Dewas district encompassing the town
 * Bagli Assembly constituency, a seat in the Madhya Pradesh Legislative Assembly
 * Bagli Party or Bagler, a political faction during the Norwegian Civil Wars
 * Bağlı, Aksaray, a village in Aksaray Province, Turkey
 * Bağlı, Osmangazi, a village in Bursa Province, Turkey
 * Bağlı, Uludere, a village in Şırnak Province, Turkey
 * Bağlı, Yenice, a village in Çanakkale Province, Turkey

title: Bagli


text:
Talk:Duke of Abercorn

Biography assessment rating comment
The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- KGV 05:13, 4 April 2007 (UTC) Did the Dukes of Abercorn sit in the House of Lords by virtue of the Marquessate, which was created in the Peerage of Great Britain? Mackensen (talk) 19:20, 16 July 2005 (UTC)

Yes but only from 1790. From 1786-90 the Earl of Abercorn sat as Viscount Hamilton of Hamilton.Alci12 14:35, 6 October 2005 (UTC)

TfD nomination of Template:TemplateName
Template:Timeline Dukes of Abercorn has been nominated for deletion. You are invited to comment on the discussion at the template's entry on the Templates for Deletion page. Thank you. Steven Fruitsmaak (Reply) 17:25, 29 August 2006 (UTC)

title: Talk:Duke of Abercorn


text:
User:FNiessink

Author of Task Coach.

title: User:FNiessink


text: File:Amy Grant - Her Greatest Inspirational Songs.jpg


text:
Wikipedia:Articles for deletion/Allanboyd - the antipoet

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Delete --Allen3 talk 22:28, July 31, 2005 (UTC)

Allanboyd - the antipoet
Delete nn, probable case of vanity. TheMidnighters 19:21, 16 July 2005 (UTC)
 * Keep Delete, gets 1570 Google hits. Not all are this person (and he needs a space in his name), though. But the Google summaries do seem to suggest some notable coverage in Australia. I could be wrong though, so I'm persuadeable. -Splash 04:50, 18 July 2005 (UTC)
 * Well, I don't feel strongly on the matter but a Google search of "Allan Boyd" antipoet returns 135 results. The majority of which are ads for poetry workshops and listings in magazines for his shows. I've found no mention of published works, but that might have been me. So what we have is a guy in the suburbs who wrote an internet opinion piece a year ago and now coordinates small workshops and performs as other nn poets do. And I didn't see the notable coverage you mentioned. It's basically comparable to a local band who independently produced their own ep and play at the local bars. --TheMidnighters 14:21, 17 July 2005 (UTC)
 * You are right. I've changed my vote. -Splash 04:50, 18 July 2005 (UTC)

 * Delete per TheMidnighters. Dcarrano 22:34, July 17, 2005 (UTC)
 * Delete self promotion, as per TheMidnighters. JamesBurns 03:19, 18 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Premchand Roychand

Premchand Roychand Jain (1832–1906) was an Indian businessman known as the "Cotton King" and "Bullion King" from Bombay.

Life
Premchand Raichand Jain was born in 1832 in a Porwal Jain family. He was the son of Roychand Dipchand Ji Jain, a merchant from Surat. The Roychand family moved to Bombay when Premchand was a young boy. He was educated at Elphinstone College. Recorded as the first Indian broker able to speak, read and write English, he entered the lists as a stock broker in 1849. Apart from the capital markets, Jain had significant business interests in the cotton and bullion trades along with the stock market. He was a founding member of The Native Share & Stock Brokers Association which is now Bombay Stock Exchange, the second largest stock exchange of India. He earned significant profits from the cotton boom which was triggered by the start of the American Civil War in April 1861 which stayed till 1865.

He lost the majority of his fortune in the Backbay reclamation scheme, and other such ventures. He subsequently earned a portion of it back and turned to philanthropic ventures. The Rajabai Clock Tower in the University of Bombay was named for his mother and was built from a donation of ₹200,000 in 1878. He was director of the Bank of Bombay, the largest in the Bombay Presidency. He also invested in other schools, including many for girls such as J.B. Petit High School for Girls; he also established the "Premchand Roychand Award" for outstanding art students with the University of Calcutta. He also donated to the Asiatic Society.

He died in 1906. His bungalow in Byculla that he named Premodayan became Regina Pacis Convent, an orphanage and school for destitute girls.

Legacy
Premchand Roychand Scholarship award was started by Premchand Roychand Jain in 1866. It is very old and prestigious scholarship award. Each year this competition and award is organized by University of Calcutta.

title: Premchand Roychand


text:
Luke Goss

Luke Damon Goss (born 29 September 1968) is an English actor, and drummer of the 1980s band Bros. He has appeared in numerous films including Blade II (2002) as Jared Nomak, One Night with the King (2006) as King Xerxes, Hellboy II: The Golden Army (2008) as Prince Nuada, Tekken (2009) as Steve Fox, Interview with a Hitman (2012) as Viktor, and Traffik (2018) as Red.

Career
Goss, along with twin brother Matt Goss, started his career with the 1980s boy band Bros. In total he has charted with thirteen hit singles in the UK.

When Bros broke up in the early 1990s, Goss worked with the Band of Thieves where he released two singles "Sweeter Than The Midnight Rain" and "Give Me One More Chance", he then released "L.I.F.E." under the band's name change Thieves Like Us due to a change in lineup. His autobiography "I Owe You Nothing" was a top 10 best seller and went on to have three subsequent printings. He also began to appear in stage musicals including Grease and What a Feeling, and has turned to acting in films full-time, with his first most notable role being the villain in Blade II. He also appeared as The Creature in the Hallmark Channel's Frankenstein. Goss can be seen in the 2004 crime drama, Charlie in which he plays real-life gangster Charlie Richardson. In the 2005 comedy The Man, he starred as another villain, Joey/Kane, alongside Eugene Levy and Samuel L. Jackson.

He has since had roles in One Night with the King, as King Xerxes. He appeared in Bone Dry, as Eddie and in the thriller Unearthed, as Kale. Goss received a CAMIE (Character and Morality in Entertainment) Award for his work in One Night with the King on 12 May 2007 at the Beverly Hills Hotel in Los Angeles. Both One Night with the King and Bone Dry were viewed at the 2007 Cannes Film Festival. Bone Dry premiered in Los Angeles on 9 January 2008.

In the autumn of 2008, Goss returned from filming Hellboy II: The Golden Army in Budapest, Hungary, in which he plays Prince Nuada. The sequel was released in North America on 11 July 2008.

In February 2008 he signed to play the role of Steve Fox in Tekken, which was filmed in Shreveport, Louisiana. He was seen in a commercial for the new Cadillac Escalade Hybrid. In January 2010, Goss won the role as Frankenstein in Death Race 2 which was originally played by Jason Statham in the first film, under the direction from Roel Reiné, which began shooting on location in Eastern Europe in February 2010. Goss also played the lead role in Syfy's dark tale television film Witchville. In May 2010, he won the Ultimate Badass Award at the PollyGrind Film Festival for his role in the zombie-vampire film The Dead Undead. In February 2018, Goss released his directorial debut Your Move.

Personal life
Goss was born in Lewisham, London, the son of Alan Goss and his wife Carol (nee Read). His twin brother is Matt Goss.

Both Goss siblings studied at Collingwood College, Surrey.

title: Luke Goss


text:
Indian rope trick

The Indian rope trick is a magic trick said to have been performed in and around India during the 19th century. Sometimes described as "the world’s greatest illusion", it reputedly involved a magician, a length of rope, and one or more boy assistants.

In the 1990s the trick was said by some historians to be a hoax perpetrated in 1890 by John Wilkie of the Chicago Tribune newspaper. Peter Lamont has argued that there are no accurate references to the trick predating 1890, and that later stage magic performances of the trick were inspired by Wilkie's account.

There are old accounts from the 9th century (by Adi Shankara), the 14th century (by Ibn Battuta), and the 17th century (by the Mughal Emperor Jahangir) of versions of the trick, but this is denied by Lamont as the accounts described are different from the "classic" Indian rope trick.

The trick
There are three variants of the trick, which differ in the degree of theatricality displayed by the magician and his helper:

 * In the simplest version, a long piece of rope is left in a basket and placed in an open field, usually by a fakir. The rope levitates, with no external support. A boy assistant, a jamoora, climbs the rope and then descends.
 * A more elaborate version has the magician (or his assistant) disappearing after reaching the top of the rope, then reappearing at ground level.
 * The "classic" version was much more detailed: the rope seems to rise high into the sky, disappearing from view. The boy climbs the rope and is lost to view. The magician calls to the boy, and feigns anger upon receiving no response. The magician arms himself with a knife or sword, climbs the rope, and vanishes as well. An argument is heard, and then human limbs fall, presumably cut from the assistant's body by the magician. When all the parts of the body, including the torso, land on the ground, the magician climbs down the rope. He collects the limbs and puts them in a basket or covers them with a cape or blanket. The boy reappears, uninjured.

Robert Elliot of the London Magic Circle, when offering a substantial reward in the 1930s for an outdoor performance, found it necessary to define the trick. He demanded that "the rope must be thrown into the air and defy the force of gravity, while someone climbs it and disappears."

The accounts
In his commentary on Gaudapada's explanation of the Mandukya Upanishad, the 9th-century Hindu teacher Adi Shankara, illustrating a philosophical point, wrote of a juggler who throws a thread up into the sky; he climbs up it carrying weapons and goes out of sight; he engages in a battle in which he is cut into pieces, which fall down; finally he arises again. A few words further on Shankara referred to the principle underlying the trick, saying that the juggler who ascends is different from the real juggler who stands unseen, "veiled magically", on the ground. In Shankara's commentary on the Vedanta Sutra (also called the Brahma Sutra) he mentioned that the juggler who climbs up the rope to the sky is illusory, and so is only fancied to be different from the real juggler, who is hidden on the ground. The fact that Shankara referred to the trick's method was pointed out in 1934 in a discussion of the Indian rope trick in the Indian press. These Sanskrit texts of Shankara are the basis for the claim that the trick is of great antiquity in India.

Edward Melton, an Anglo-Dutch traveler, described a performance he saw in Batavia about 1670 by a troupe of Chinese jugglers. Grasping one end of a ball of cord in his hand, a juggler threw up the ball which went out of sight, then swiftly climbed the vertical cord until he, too, was out of sight. Body pieces fell and were placed in a basket. Finally the basket was upturned, the body pieces fell out topsy turvy, and Melton "saw all those limbs creep together again," the man being restored to life. A detailed engraved illustration accompanied this account.

Ibn Battuta, when recounting his travels through Hangzhou, China in 1346, describes a trick broadly similar to the Indian rope trick.

Pu Songling records a version in Strange Stories from a Chinese Studio (1740) which he claims to have witnessed personally. In his account, a request by a mandarin that a wandering magician produce a peach in the dead of winter results in the trick's performance, on the pretence of getting a peach from the Gardens of Heaven. The magician's son climbs the rope, vanishes from sight, and then (supposedly) tosses down a peach, before being "caught by the Garden's guards" and "killed", with his dismembered body falling from above in the traditional manner. (In this version the magician himself never climbs the rope.) After placing the parts in a basket, the magician gives the mandarin the peach and requests payment. As soon as he is paid, his son emerges alive from the basket. Songling claims the trick was a favorite of the White Lotus society and that the magician must have learnt it from them (or they from him), though he gives no indication where (or how) he learnt this.

Skepticism
There has long been skepticism regarding the trick.

Demonstrations and rewards
In 1911, Charles Bertram reported how he had visited India and communicated with over a hundred magicians in search of the trick. According to Bertram "none of them laid any claim to being able to perform it, and when they were questioned upon the subject, disclaimed any idea of ever having seen, and in many cases, having heard of it." He offered a reward of £500 but no magician took the challenge of demonstrating the trick.

In 1917, Lieutenant Frederick William Holmes stated that whilst on his veranda with a group of officers in Kirkee, he had observed the trick being performed by an old man and young boy. The boy climbed the rope, balanced himself and then descended. The old man tapped the rope and it collapsed. This demonstration did not include the disappearance of the boy. In February 1919, Holmes presented a photograph he had taken of the trick at a meeting with members of The Magic Circle. It was examined by Robert Elliot, who stated it was not a demonstration of the Indian rope trick but an example of a balancing trick on a bamboo pole. Elliot noted that "the tapering of the pole is an absolutely clear feature and definitely shows that it was not a rope." Holmes later admitted this, but the photograph was reproduced by the press in several magazines and newspapers as proof of the trick having been successfully demonstrated. Although discredited, the photograph is considered to be the first ever taken of the trick.

In 1919, G. Huddleston writing in Nature, claimed to have spent more than thirty years in India and knew many of the best conjurors in the country but not one of them could demonstrate the trick.

Lord Frederick Spencer Hamilton in 1921 described an alleged demonstration of the trick, told to him by Colonel Bernard. Bernard described taking photographs of the boy climbing the rope, disappearing and reappearing at a courtyard in Calcutta. However, the courtyard had been filled with dense smoke and when he had developed the photographs they revealed that "neither the juggler, nor the boy, nor the rope had moved at all." This caused Hamilton to suggest that the juggler had somehow drugged or hypnotized Bernard. Elliot criticized this second-hand account as nothing more than "hearsay evidence." He found the details and lack of witnesses suspicious, concluding that Bernard had hoaxed Hamilton.

L. H. Branson in his book Indian Conjuring (1922) wrote that "the trick has never been performed out of doors. That is to say that a rope thrown up into the air has not remained suspended in mid-air, nor has any boy ever climbed up it. That when at the top he has not disappeared and that after his appearance he did not come down in bits, covered with blood or otherwise." Branson offered £300 to anyone who could demonstrate the trick in the open.

Magicians such as Harry Blackstone Sr., David Devant, Horace Goldin, Carl Hertz, Servais Le Roy and Howard Thurston incorporated the Indian rope trick into their stage shows. However, their stage versions involved the use of curtains, mirrors and wires. The real challenge was to perform the full trick including the disappearance of the boy in broad daylight, outside in the open air. Thurston considered this to have never been achieved and in 1927 offered a reward of 5,000 rupees to anyone who could demonstrate it.

The journalist James Saxon Childers reported in 1932 that he visited India with a desire to see the trick but noted that "the first conjuror I asked about the rope trick smiled at me, the second laughed, and the third swore that the trick could not be done, had never been done, and that only the amazing credulity of the Occident nurtures the rumor."

In 1934 the Occult Committee of The Magic Circle, convinced the trick did not exist, offered a large reward to anyone who could perform it in the open air.

The American magician Robert Heger claimed to have perfected the trick over 20 years and would demonstrate it to an audience on stage in Saint Paul, Minnesota. He claimed he would perform in London to The Magic Circle if his demonstration was successful. However, his demonstration was a failure as the boy who climbed the rope was observed by the audience to have swung to the end of another rope behind a curtain.

A man named "Karachi" (real name Arthur Claude Darby), a British performer based in Plymouth, endeavoured to perform the trick with his son "Kyder" on 7 January 1935 on a field in Wheathampstead, Hertfordshire. After being granted four days to prepare the site, the presentation was filmed by Gaumont British Films. His son could climb the rope but did not disappear, and Karachi was not paid. The Occult Committee demanded the trick must include the disappearance of the boy.

In 1935, Karachi sent a challenge to the skeptics, for 200 guineas to be deposited with a neutral party who would decide if the rope trick was performed satisfactorily. His terms were that the rope shall rise up through his hands while in a sitting posture, to a height of 10 ft, his son Kyder would then climb the rope and remain at the top for a minimum of 30 seconds and be photographed. The rope would be an ordinary rope supplied by a well-known manufacturer and would be examined. The place could be any open area chosen by the neutral party and agreed to by the conjurers, and the spectators could be anywhere in front of the carpet on which Karachi would be seated. The conjurers of the Occult Committee refused to accept Karachi's terms.

In 1936, Jasper Maskelyne stated that he had "perfected half of an Indian rope-trick"; he could make the rope rise into the air in an open space and have a boy climb it but could not make the boy disappear. Maskelyne never demonstrated his method but offered £2,000 to anyone who could perform the full trick in open space. Nobody ever claimed this reward and he considered the full trick to be a myth, never successfully demonstrated.

In 1950, John Booth offered a reward of 25,000 rupees to any conjuror in India who could successfully demonstrate the trick. Many other rewards have been offered but all went unclaimed.

Examination of eyewitness accounts
In 1996, Nature published Unraveling the Indian Rope Trick, by Richard Wiseman and Peter Lamont. Wiseman found at least 50 eyewitness accounts of the trick performed during the late 19th/early 20th centuries, and variations included:
 * The magician's assistant climbs the rope and the magic ends.
 * The assistant climbs the rope, vanishes, and then again appears.
 * The assistant vanishes, and appears from some other place.
 * The assistant vanishes, and reappears from a place which had remained in full view of the audience.
 * The boy vanishes, and does not return.

Accounts collected by Wiseman did not have any single account describing severing of the limbs of the magician's assistant. Perhaps more importantly, he found the more spectacular accounts were only given when the incident lay decades in the past. It is conceivable that in the witnesses' memory the rope trick merged with the basket trick.

Citing their work, historian Mike Dash wrote in 2000: "Ranking their cases in order of impressiveness, Wiseman and Lamont discovered that the average lapse of time between the event and witness's report of the event was a mere four years in the least notable examples, but a remarkable forty-one years in the case of the most complex and striking accounts. This suggests that the witnesses embroidered their stories over the years, perhaps in telling and retelling their experiences. After several decades, what might have originally been a simple trick had become a highly elaborate performance in their minds... How, though, did these witnesses come to elaborate their tales in such a consistent way? One answer would be that they already knew, or subsequently discovered, how the full-blown Indian rope trick was supposed to look, and drew on this knowledge when embroidering their accounts."

In 2008, a neuroscience paper suggested that the Indian rope trick may have "partially resulted from the misinformation effect."

Hoax
In his book on the topic, Peter Lamont claimed the story of the trick resulted from a hoax created by John Elbert Wilkie while working at the Chicago Tribune. Under the name "Fred S. Ellmore" ("Fred Sell More") Wilkie wrote of the trick in 1890, gaining the Tribune wide publicity. About four months later, the Tribune printed a retraction and proclaimed the story a hoax. The retraction received little attention, and in the following years many claimed to remember having seen the trick as far back as the 1870s. According to Lamont, none of these stories proved credible, but with every repetition the story became more widely believed despite being only a myth.

Lamont also claimed that no mention appears in writing before the 1890 article. He argued that Ibn Battuta did report a magic trick with a thong, and Jahangir with a chain, not a rope, and the tricks they described are different from the "classic" Indian rope trick. He said that the descriptions of the trick in Yule's editions (1870s) of Marco Polo's book are not in the body of the work, but in a footnote by Yule, and only refer to these non-classic accounts.

Lamont's popular but controversial work dismissed the accounts such as Shankara's and Melton's as irrelevant to his theme. This is because his book is not really about the trick itself, but about what he called the 20th-century legend of it being Indian, the fame of the trick, which peaked in the 1930s. It is this fame, chapter 8 of his book claimed, which originated from Wilkie's hoax.

Magic techniques
The magician John Nevil Maskelyne in 1912 reported a possible explanation for the trick from a witness to whom he had spoken. It was suggested that the position of the Sun was crucial to the trick:

"The jugglers brought a coil of what appeared to be a large rope. As they uncoiled it and held it up it became stiff; it was evidently jointed bamboo with the joints made to lock. It was covered to look like a rope, and it formed a pole about thirty feet long. A diminutive boy, not much larger than an Indian monkey, climbed up to the top of the pole and was out of sight of the audience unless they bent forward and looked beneath the awning, when the sun shone in their eyes and blinded them. As soon as the boy was at the top of the pole the jugglers made a great shouting, declaring he had vanished. He quickly slid down the pole and fell on the ground behind the juggler who held the rope. Another juggler threw a cloth over the boy and pretended that he was dead. After considerable tom-tomming and incantation the boy began to move, and was eventually restored to life."

In 1935, Harry Price suggested that a strong sun and jointed rope could explain the trick. He translated an article by the German magician Erik Jan Hanussen who claimed to have observed the secret to the trick in a village near Babylon. According to Hanussen the spectators were positioned in front of a blazing sun and the "rope" was actually made from the vertebrae of a sheep covered with sailing cord that was twisted into a solid pole. A "smoke producing preparation", combined with the blinding sun, gave the illusion of disappearance for the boy.

Will Goldston, who was mostly skeptical, wrote that a possible explanation for the illusion of the suspended rope may have been a bamboo rod, covered with rope. Others such as P. C. Sorcar have suggested that a long horizontal thread or wire was used to support the rope. Joseph Dunninger has revealed methods of how the suspended rope could be performed by camera trickery.

Analyzing old eyewitness reports, Jim McKeague explained how poor, itinerant conjuring troupes could have performed the trick using known magical techniques. If a ball of cord is thrown upwards, one end being retained in the hand, the ball rapidly decreases in size as it rises. As it unwinds completely the illusion of the ball disappearing into the sky is striking, especially if the pale cord is similar in color to any overcast cloud. Before the cord has time to fall the climber leaps up, pretending to climb, but really being lifted by a companion. Skilled acrobats could make this quick "climb" look very effective until the climber's feet are at or even above the lifter's head. Then a noisy distraction from other members of the troupe is the misdirection needed which allows the climber to drop unseen to the ground and hide. This type of "vanishing by misdirection" is reported as having been used very effectively by a performer of the basket trick in the 1870s.

The lifter continues to look upwards and holds a conversation with the "climber" using ventriloquism to create the illusion that a person is still high in the air and is just passing out of sight. By now there is no cord or climber in the air, only an illusory climber as Shankara described (see above under "accounts"). Ventriloquism is quite capable of producing this remarkable effect, and a report from near Darjeeling by a school headmaster who witnessed the trick states specifically that ventriloquism was used. As to the falling of the pieces of the climber, according to an Indian barrister-at-law who saw a performance about 1875 which included this feature, it appears to have been produced very largely by acting and sound effects. When a magician acts out the visible catch of an imaginary deck of cards thrown by a spectator, or throws a ball in the air where it vanishes, the appearance or disappearance really occurs at the location of the magician's hand, but to most spectators (two out of three in actual testing ) the magic appears to occur in mid-air. McKeague explained the falling body parts as being produced by much the same acting technique. He explained Melton's account of seeing the limbs "creep together again" (see above under "accounts") as being the result of contortionists' techniques.

It has always been the outdoor disappearance of the climber, away from trees and structures, which has led to claims the illusion is "humanly impossible". McKeague's explanation not only solves the mystery of the mid-air disappearance but also provides an alternative explanation for the Wiseman-Lamont observation discussed above that eyewitness reports were more impressive when much time had elapsed. In the late 19th and early 20th centuries as the fame of the trick increased performers would have had increasing difficulty in puzzling audiences with it, until finally the disappearance of the climber ceased to be a feature and the rare witness who had seen it spoke of a time long before. This is because misdirection of attention is extremely unlikely to be effective when the audience is expecting the disappearance, a fact which also explains why no one could claim any reward for a performance where it was specified the disappearance must be included. The increasing fame of the rope trick and the basket trick ended the possibility of using "vanishing by misdirection" in the methodologies for both tricks.

John Keel reports that he was told the secret of the trick in 1955 from an aged mystic who claimed to have performed it in the past. A horizontal wire is stretched above the site, anchored at ground points of higher elevation, rather than obvious nearby structures. The rope has a weighted hook, and an invisible thread which is draped over the wire above; when the rope is tossed upward the thread is used to pull it and hook it in place. The magician wears loose baggy clothing, in which are concealed the "body parts" that he tosses down. The boy then conceals himself inside the magician's voluminous outer garment, and clings to him as the magician climbs down seemingly alone. Keel describes his public attempt to perform a simpler version, but failing badly, according to "two articles and a cartoon that appeared in Indian newspapers".

Penn & Teller examined the trick while filming their three-part CBC miniseries Penn & Teller's Magic and Mystery Tour. According to that miniseries, the tour travelled the world investigating historical tricks, and while in India they travelled to Agra, where they recreated the trick. Penn and Teller invited two British tourists shopping nearby to see what they claimed was a fakir performing the trick. As they walked back, an assistant ran up and claimed the fakir was in the midst of the trick, so they rushed the rest of the way so they wouldn't miss it. As the witnesses neared the room they dropped a thick rope from a balcony. The witnesses saw what they thought was the end of the trick, the rope falling as if it had been in mid-air seconds before. A sheet was then removed from a boy with fake blood at his neck and shoulders, hinting that his limbs and head had been reattached to his torso. According to their account, the rumour that a British couple had witnessed the trick was heard a few weeks later in England.

title: Indian rope trick


text:
Ă

Ă (upper case) or ă (lower case), usually referred to in English as A-breve, is a letter used in standard Romanian and Vietnamese orthographies. In Romanian, it is used to represent the mid-central unrounded vowel, while in Vietnamese it represents the short a sound. It is the second letter of the Romanian, Vietnamese, and the pre-1972 Malaysian alphabets, after A.

Ă/ă is also used in several languages for transliteration of the Bulgarian letter Ъ/ъ.

Romanian
The sound represented in Romanian by ă is a mid-central vowel, i.e. schwa. Unlike in English, Catalan and French but like in Indonesian (using e rather than ă), the vowel can be stressed. There are words in which it is the only vowel, such as măr ("apple") or văd  ("I see"). Additionally, some words that also contain other vowels can have the stress on ă like cărțile ("the books") and odăi  ("rooms"). Another grapheme  with diacritic in Romanian is <â>.

Vietnamese
Ă is the 2nd letter of the Vietnamese alphabet and represents. Because Vietnamese is a tonal language this letter may have any one of the 5 tonal symbols above or below it (or even no accent at all, since the Vietnamese first tone is identified by the lack of accent marks, see also Vietnamese phonology): Ằ ằ, Ắ ắ, Ẳ ẳ, Ẵ ẵ, Ặ ặ.

Malay
The sound represented in pre-1972 Malaysian orthography by ă is a vowel. It occurred in the final syllable of the root word such as lamă ("long", "old"), mată  ("eye"), and sană  ("there"). The letter was replaced in 1972 with a in the New Rumi Spelling.

Balinese
Ă or ă are used in Balinese romanization, e.g. Kabupatén Tăbăṅan (Tabanan Regency ).

Pronunciation respelling for English
In some systems for Pronunciation respelling for English including American Heritage Dictionary notation, ă represents the short A sound,.

title: Ă


text:
Polish–Ottoman War (1633–1634)

The Polish–Ottoman War of 1633–1634 was one of the many military conflicts between the Crown of the Kingdom of Poland together with the Grand Duchy of Lithuania (the Polish–Lithuanian Commonwealth) and the Ottoman Empire and its vassals.

Background
Mehmed Abazy was the governor of the Ottoman province of Sylistria (Silistra, today in Bulgaria). In 1632, after the death of the Polish king Sigismund III Vasa, the Tsardom of Russia broke an armistice and started a war with the Commonwealth (Smolensk War 1632–1634). Abazy mobilized his troops and called Moldavian, Wallachian and Nogai Tatar (of the Budjak Horde) as reinforcements. Abazy was ambitious and possibly acted without the sultan's or the grand vizier's knowledge as the Ottoman Empire was deeply involved with a war against the Safavids (1623–1639). The sultan claimed ignorance of Abazy's actions but it's possible that sultan Murad IV secretly agreed to the risky campaign against the Commonwealth.

1633
Around June 29, 1633 a strong Tatar group of the Budjak Horde (about 1,000 men) raided the area near the city of Kamieniec Podolski. This raid ended and the Tatars returned to Moldavia with their loot and slaves. Meanwhile, the Commonwealth commander, Hetman Stanisław Koniecpolski was in Bar and moved immediately in pursuit with 2,000 cavalry when the news reached him. The hetman crossed Dniestr river and entered the Ottoman-controlled territory of Moldavia, which had been the theatre of the previous Commonwealth-Ottoman war just a few decades earlier (the Moldavian Magnate Wars). The Tatars probably thought they were safe and slowed down thus allowing the hetman to catch up to them on July 4 near Sasowy Róg at the river Prut. Several dozen Tatars were killed and captured, the rest dispersed. Among the captives were several high-ranking Nogai Tatars and Khan Temir's son-in-law (Khan Temir, Kantymir – chief of Budjak Horde, a well known and ferocious Nogai Tatar leader). Most of the loot, all captives, cattle and horses were recovered.

Koniecpolski, who had an extensive spy network through the region and was responsible for much of the Commonwealth foreign policy there, had probably known about Abazy's plans at this moment. He returned to the left bank of Dniestr, started the construction of a fortified camp near Kamieniec Podolski (an important city and a strong fortress in the Podolia region) and called for reinforcement of about 3,000 regular troops in his disposition: Cossacks and private troops of magnates (about 8,000 men). Abazy started his march in the second half of September with Ottoman troops from his province, vassal troops and about 5,000–10,000 Tatars, including almost the whole Budjak horde led by Kantymir. In mid-October he was near Chocim (Khotyn) and learned about Koniecpolski's preparations. Abazy started negotiations, probably wanting to outmanoeuver Koniecpolski by diplomacy. It is possible that he got news about the sultan's increasing dissatisfaction, and decided to hurry his plans. Abazy crossed the Dniestr about October 20. Kantymir started his attacks on October 20 and continued during the next day. On October 22 Abazy attacked with his full forces but was repelled with heavy losses and ordered a retreat. It can only be speculated whether he got orders from Constantinople (Istanbul), if he did not believe that he could defeat Koniecpolski, or if he heard the false news that more Cossack reinforcements were coming to aid Koniecpolski.

1634
In next year a full war with the Ottoman Empire was close (according to one source, the sultan created a huge army, while according to others, it was close to being formed); however the sultan suffered from another failure: his vassal, khan of Crimea Canibek Giray (also known as Janibek or Dzhanibek), had decided to attack Muscovy. Muscovite troops were fighting with Polish troops, then-Polish Ukraine was bolstered by Cossacks and Koniecpolski's troops, and many times Tatars themselves offered to the Commonwealth to raid Muscovy in exchange for “gifts” (or were sent “gifts” to do so). An army of Tatars, approximately 20,000 strong, attacked Muscovy in 1632, and again in 1633 in even larger numbers. Attacks continued until 1637. In June 1634, Tatars operated in the area of Kursk, Orel, and Mtsensk. A year later they attacked the Lesser Nogai Horde and Azov Horde. In 1636 Crimean Tatars attacked again and the Greater Nogai horde changed their allegiance to Crimea. The southern defenses were destroyed and the country was depopulated (the number of jasyr captives sold in Crimea is estimated at 10,000). Russian historians accuse the Poles of coordinating their attacks with those of Tatars.

Meanwhile, Commonwealth victories against Muscovy (Shein had been forced to capitulation near Smolensk in February 1634, while further plundering of Muscovite lands by Cossacks, the Commonwealth troops, and Tatars continued) caused the tsar to decide to seek peace with the Polish new king, Władysław IV. A new peace treaty in Polanowo (or Polanówko, called pokój polanowski in Polish) was signed in June 1634. The terms of the previous treaty were confirmed and in exchange for a large amount of money Władysław resigned the tsar title. After that Władysław went south with some of his troops to Ukraine.

In September 1634 about 29,000 Commonwealth soldiers were concentrated near Kamieniec Podolski. These included expanded regular troops of Koniecpolski (6,500 including Piechota wybraniecka), 5,500 infantry and dragoons that came with the king from Smolensk, private troops of magnates and mercenaries hired by provinces. Commonwealth forces were making preparations for war, the Smoleńsk campaign showing that the Polish infantry reform program had succeeded. New reforms in artillery were introduced, which resulted in creation of new centers of cannon-making, and additionally Cossacks could be mobilized. The whole situation changed dramatically: instead of opening a second front and attack on the soft belly of a desperate Commonwealth, the sultan would have to confront the entire power of a victorious king. In order to explain the previous year's “misunderstandings,” the sultan sent his envoy Chavush Shaheen aga to Warsaw, blamed Abazy, and promised to punish him. Abazy tried to hide or cover his failure by sending the sultan rich gifts; however, he was called to Istanbul and sentenced to death.

The peace treaty was extended, and the sultan promised to displace the Budjak horde but never did so. Additionally Abazy was “relieved” and the new governor of Silistria received orders not to make any mischief.

title: Polish–Ottoman War (1633–1634)


text:
Category:Malaysian Formula One drivers

This category includes all Malaysian drivers who have participated in (or attempted to participate in):
 * a Formula One race, or
 * an FIA World Championship race (not all of which were Formula One races).

title: Category:Malaysian Formula One drivers


text:
The Devil and Daniel Mouse

The Devil and Daniel Mouse is a 1978 Canadian animated Halloween television special, based on the 1936 short tale The Devil and Daniel Webster by Stephen Vincent Benét. The Devil and Daniel Mouse is the second television special produced by the Canadian animation firm Nelvana Ltd.

Nelvana's iconic polar bear logo made its first appearance at the end of the special. The polar bear was eventually used as an in-credit logo later in their specials from 1979 to 1980 and from after 1980 to 1988.

Plot
The story is about two struggling mouse folk musicians, Daniel and Jan, who are fired from their latest gig because their music is deemed too old-fashioned and not with the times. They worry about their future; Daniel encourages Jan not to give up and goes to pawn his guitar in order to buy groceries. Jan wanders off on her own and in despair says she would give anything to be a big star. At once she encounters a shifty reptilian character in a white suit who introduces himself as "B.L. Zebub", a record producer.

He and his weasel assistant, Weez Weezel, offer her fame and fortune in exchange for signing a contract in her own blood. Jan does not read the fine print and trusts B.L., signing herself over to his record production company. Little does she know that B.L. is none other than the devil himself, and at midnight at the height of her fame, he will return to collect her soul. To assist her, Weez conjures three band members from thin air, a rabbit (Rabbit Delight), a beaver (Boom Boom Beaver), and a praying mantis (Pray Mantis).

As the lead singer of "Funky Jan and the Animal Kingdom", Jan is soon the most popular rock star on the planet, while Daniel is left out in the cold. But when B.L. comes for her soul and she realizes what she has done, a distraught Jan goes to Daniel for help. A trial is held in the woods over Jan's soul, with Weez as the judge, a jury of ghosts of shady music industry creatures, and Daniel acting as Jan's attorney. As an additional stipulation, the Devil states that should Daniel lose the trial, his soul, as well as Jan's, will be taken as payment.

At first, the trial seems hopeless, considering Daniel has no education as a lawyer and cannot present even the beginnings of a reasonable argument to release Jan. Having nothing else to offer, Daniel begins to sing a heartfelt song. Jan joins in, as do her three heretofore unhelpful band members. The other animals watching the trial begin to sing and clap along to the tune along with Weez and the jury of three lost souls (whom were multiplied three times into 12 by B.L. himself). Enraged, the Devil attempts to summon forth demons to stop the heroes, but the spirits he conjures also fall prey to the sway of Daniel's music. Weez declares that Dan and Jan have won their case and the ghostly jury agrees.

A frustrated Devil finally leaves, returning to Hell and taking Weez and all of his other minions with him. The two mice embrace one another as the film ends. The final frame repeats the story's moral: "A song from the heart beats the Devil every time."

Songs

 * Look Where the Music Can Take You performed by John Sebastian & Valerie Carter (credited as Laurel Runn)
 * I've Got a Song to Sing performed by Valerie Carter (credited as Laurel Runn)
 * Roxy Marathon Concert Medley performed by Valerie Carter (credited as Laurel Runn)
 * Can You Help Me Find My Song? performed by Valerie Carter (credited as Laurel Runn)
 * Look Where the Music Can Take You performed by John Sebastian & Valerie Carter (credited as Laurel Runn)
 * Look Where the Music Can Take You (Finale) performed by John Sebastian & Valerie Carter (credited as Laurel Runn)

Nelvana story album
A tie-in story LP record was released by Nelvana Records in 1978.' Narrated by John Sebastian, the album features dialog lifted straight from the film's soundtrack as well as songs performed by Sebastian, Valerie Carter (credited as Laurel Runn) and the Reggie Knighton Band. As in the film, the dialogue is interspersed with several of the songs.

Full-colour storybook
First published by Avon/Camelot in 1979, the storybook was written by screenwriter Ken Sobol and features music and lyrics for three John Sebastian penned songs (I've Got a Song, Can You Help Me Find My Song? and Look Where the Music Can Take You). Simplified for younger readers, many of the visual gags and a few scenes were omitted from the book.

Home video
The Devil and Daniel Mouse was simultaneously issued as a stand-alone title on Betamax and VHS as well as featured on several compilations of Nelvana's TV specials.

Nelvanamation (Volume 1)
The first and more widely available compilation to feature the film was Nelvanamation (Volume 1). Also featured on this video are Romie-0 and Julie-8, Intergalactic Thanksgiving and A Cosmic Christmas.

The Devil and Daniel Mouse and Tales of Fantasy and Science Fiction
Headlining a collection similar to Nelvanamation, this CED Videodisc also includes Romie-0 and Julie-8, Easter Fever, Intergalactic Thanksgiving and A Cosmic Christmas.

Rock & Rule
The Devil and Daniel Mouse became the inspiration for Nelvana's first feature film, Rock & Rule. The film and How We Made the Devil and Daniel Mouse, a vintage "making of" documentary, were both included on the two-DVD and Blu-ray versions of that film in a slightly edited form of 22 minutes from its original 25-minute running time.

In popular culture
Dialogue from this film was used by the rock band Bauhaus in the song "Party of the First Part", found on some versions of The Sky's Gone Out and 1989's Swing the Heartache: The BBC Sessions. A dialogue sample from the film was also used by Black Dresses at the end of their song "Maybe This World Is Another Planet's Hell?", from the album Peaceful as Hell.

title: The Devil and Daniel Mouse


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Brothel creeper

Brothel creepers, sometimes shortened to creepers, are a style of shoe that has thick crepe soles, often in combination with suede uppers. This style of footwear became fashionable in the years following World War II, seeing resurgences of popularity at various times since then.

History and origins of the name
A version of this style of shoe became popular with World War II soldiers in North Africa, who adopted suede boots with hard-wearing crepe rubber. Writing in The Observer in 1991, John Ayto put the origin of the name 'brothel creeper' to the wartime years. The Smithsonian suggests the crepe in the thick sole may have given the shoes the title creeper. It may also be associated with a Ken Mackintosh dance tune popular in 1953 and called "The Creep".

This style of thick soled shoe was first developed commercially in 1949 by George Cox Limited of Wellingborough, Northamptonshire, UK, and marketed under the "Hamilton" name, based on George Cox Jr.'s middle name. Initially they came in shades of blue, ranging from pastel shades to electric blue, and were made of suede or polished leather. Later, more extravagant patterned versions were created.

Teddy Boys
The shoes were taken up by the Teddy Boys–along with drainpipe trousers worn with exposed socks and drape jackets. The shoes were also widely worn by the Ton-Up boys of the 1950s and later on the rockers of the '60s, who wore them as an alternative shoe when not riding their motorbikes.

The stilyagi (Russian: стиляги) youth subculture in the Soviet Union of the mid 1950s adopted home-made brothel creepers as footwear, dubbing them "shoes on semolina" (ботинки на манной каше) alluding to the sponginess of the thick crepe sole.

Punk, Rock and later revivals
The brothel creeper regained popularity in the early 1970s when Malcolm McLaren sold them from his "Let it Rock" shop in London's King's Road.

In the early 1980s NaNa's of Los Angeles manufactured and sold them from their shop in Santa Monica. Teddy Boys were the obvious customers, but the brothel creeper also proved to be popular among regular customers when McLaren and his partner Vivienne Westwood changed the shop to more rocker-oriented fashion.

The shoe has since been adopted by subcultures such as indie, ska, punk, new wavers, psychobilly, greasers and goth, Japanese visual kei, and was worn by Bananarama, The Cure frontman Robert Smith and Saffron, singer of Republica.

Since 2011 popular artists such as Miley Cyrus, Carly Rae Jepsen and Yungblud have been seen wearing them.

Puma Creepers by Rihanna
In 2015, Puma and Rihanna launched a collaborative shoe line called the Puma Creeper, which won an award for Shoe of the Year in 2016.

title: Brothel creeper