text:
Ibn-e-Safi

Ibn-e-Safi (26 July 1928 – 26 July 1980) (also spelled as Ibne Safi) was the pen name of Asrar Ahmad, a fiction writer, novelist and poet of Urdu from Pakistan. The word Ibn-e-Safi is a Persian expression which literally means Son of Safi, where the word Safi means chaste or righteous. He first wrote from the British India of the 1940s, and later Pakistan after the independence of British India in 1947.

His main works were the 125-book series Jasoosi Dunya (The Spy World) and the 120-book Imran Series, with a small canon of satirical works and poetry. His novels were characterised by a blend of mystery, adventure, suspense, violence, romance and comedy, achieving massive popularity across a broad readership in South Asia.

Early life and education
Asrar Ahmad was born on 26 July 1928 in the town 'Nara' of district Allahabad, India. His father's name was Safiullah and mother's name was Naziran Bibi. His ancestors were Hindus of the Kayashta community, specialised in the fields of education and administration, who converted to Islam many generations ago.

He received a Bachelor of Arts degree from Agra University. In 1948, he started his first job at 'Nikhat Publications' as an editor in the poetry department. His initial works date back to the early 1940s, when he wrote from British India. He also studied at the University of Allahabad where he was class fellow of Professor Mohammad Uzair and one year senior to Mustafa Zaidi. After the independence of India and Pakistan in 1947, he began writing novels in the early 1950s while working as a secondary school teacher and continuing part-time studies. After completing the latter, having attracted official attention as being subversive in the independence and post-independence period, he migrated to Karachi, Sindh, Pakistan in August 1952. He started his own company by the name 'Asrar Publications'.

Later life
He married Umme Salma Khatoon in 1953. In the period from 1960 to 1963, he suffered an episode of severe depression and spent some time in the psychiatry ward of a hospital, but recovered, and returned with a best-selling Imran Series novel, Dairrh Matwaalay (One and a half amused) which was published in India by the to-be -Prime Minister Lal Bahadur Shastri. In fact, he wrote 36 novels of 'Jasoosi Duniya' and 79 novels of 'Imran Series' after his recovery from depression. In the 1970s, he informally advised the Inter-Services Intelligence of Pakistan on methods of detection.

Death
Ibne Safi died on 26 July 1980 of pancreatic cancer at age 52. He was buried in Paposhnagar graveyard in Karachi.

Early attempts
Ibn-e-Safi started writing poetry in his childhood and soon earned critical acclaim in whole South-Asian community. After completing his Bachelor of Arts, he started writing short stories, humour and satire under various names such as "Siniki (Cynic) Soldier" and "Tughral Farghan." In the Nakhat magazines, he published several satirical articles which commented on various topics ranging from politics to literature to journalism. His early works in the 1940s included short stories, humour and satire.

Jasoosi Dunya and Imran Series
According to one of his autobiographical essays, someone at a literary meeting claimed that Urdu literature had little scope beyond sexual themes. To challenge this notion, Ibn-e-Safi began writing several detective stories in January 1952. These were published in the monthly digest, Nikhat, under the series name Jasoosi Dunya. In 1953, Ibn-e-Safi, along with his mother and sister, moved to Karachi, Pakistan, joining his father who had migrated there earlier in 1947.

In 1955, Ibn-e-Safi started the Imran Series, which gained as much fame and success as Jasoosi Dunya. Ibne Safi's novels – characterised by a blend of adventure, suspense, violence, romance, and comedy – achieved massive popularity by a broad readership.

Ibne Safi is the best writer of Imran Series and Jasoosi Dunya and creator of both the series.

Many a time, Ibne Safi created fictitious settings for his stories. The magical web of his writing is so captivating that these fantasy lands have become real in the minds of readers. Avid fans of the author are experts on the people and cultures of Shakraal, Karaghaal, Maqlaaq, Zeroland, and many other imaginary domains. In cities around India and Pakistan, one can find discothèques, bars, nightclubs, and hotels named after venues found in Ibne Safi's novels. Some places worth mentioning are Dilkusha, Figaro, Niagara, Tip Top, High Circle.

Other works
Besides humor and satire, he also wrote some short adventures, namely Baldraan Ki Malika (The Queen of Baldraan), Ab Tak Thee Kahaan? (Where had you been?), Shumal Ka Fitna (The Trouble from North), Gultarang, and Moaziz Khopri. In these adventures, Ibne Safi takes the reader to various fictitious, exotic lands of his own imagination.

In 1959, Ibne Safi started writing Aadmi Ki Jarain, a book based on human psychology. However, it remained incomplete due to his illness.

Dhamaka – A film by Ibn-e-Safi
Ibne Safi wrote the story and screenplay for a film 'Dhamaka' based on his novel 'Bebakon ki talash'. The film did not get the publicity and fame which it deserved and remains mostly forgotten.

"Dhamaka" was produced by Muhammad Hussain Talpur, based on the Imran Series novel Baibaakon Ki Talaash (Urdu for (In Search of the Outreageous). Pakistani film actor Javed Sheikh (then known as Javaid Iqbal) was introduced as Zafarul Mulk, the lead role in the film. Muhammad Hussain Talpur (film producer) played the role of Jameson and actress Shabnam played the role of Sabiha. Imran and X-2's team was not shown in the movie. The voice of X-2 was recorded by Ibne Safi himself. Actor Rehman played the role of a villain for the first time. The film featured a rendition of a ghazal by the singer Habib Wali Mohammed, "Rah-e-talab mein kaun kisi ka", which was written by Ibn-e-Safi. The movie was released on 13 December 1974.

Influence
The Bollywood screenwriter and lyricist Javed Akhtar was greatly inspired by Ibn-e-Safi's Urdu novels, which he grew up reading as a child. Akhtar was particularly influenced by the Jasoosi Dunya and Imran series of detective novels, such as The House of Fear (1955). He was influenced by the fast action, tight plots and economies of expression in the Jasoosi Dunya detective thrillers. He also remembered Ibn-e-Safi's novels for their fascinating characters with catchy memorable names, which left a lasting impression on Akhtar, whose Bollywood scripts later employed some of Ibn-e-Safi's narrative techniques, such as giving catchy names to the characters, his sense of plot, and speaking styles. Akhtar said that Ibn-e-Safi's novels taught him the importance of larger-than-life characters, inspiring famous Bollywood characters such as Gabbar Singh in film Sholay (1975) and Mogambo in Mr. India (1987).

Translations
The first English translations of Ibne Safi's mystery novels began appearing in 2010, with The House of Fear from the Imraan Series, translated by Bilal Tanweer and published by Random House India. In 2011, Blaft Publications in association with Tranquebar released four more novels, this time from the Jasoosi Duniya series, translated by the highly acclaimed Urdu critic Shamsur Rahman Faruqi.

Poetry
(Note: Most of the English translations of Urdu poetry and titles are literal and do not capture the true essence of the language. Some meaning is definitely lost in translation.)

Ibn-e-Safi was also a poet. He used to write poems under the pen name of "Asrar Narvi". He wrote in various genres of Urdu poetry, such as Hamd, Na`at, Manqabat, Marsia, Ghazal, and Nazm. His collection of poetry, Mata-e Qalb-o-Nazar (Urdu or in English (The Assets of Heart & Sight), remains unpublished.

Following is the list of his Ghazals:

 * Daulat-e-Gham (Urdu (The wealth of sorrow)
 * Zahan se Dil ka Bar Utra Hai (Urdu (Heaviness of the heart is unloaded by the mind)
 * Chhalakti aayay (Urdu (The liquor shows up overflowing)
 * Kuch to ta-alluq ... (Urdu (Some affiliation ...)
 * Aaj ki raat (Urdu (Tonight)
 * Baday ghazab ka ... (Urdu (Of Much Might ...)
 * Yun hi wabastagi (Urdu (Casual connection)
 * Lab-o-rukhsar-o-jabeen (Urdu (Lips and Cheeks and forehead)
 * Rah-e-talab mein kaun kisi ka (Urdu (In the path of demands, no one recognises anyone)
 * Kuch bhi to apne paas nahin ... (Urdu (Do not have anything ...)
 * Aay nigaraan-e-khoobroo (Urdu (Gorgeous Sculptures)
 * Kabhi sawab ki hain ... (Urdu (Sometimes, of virtuousness ...)
 * Kabhi qatil ... (Urdu for Sometimes killer ...)
 * Qafas ki daastaan hai ... (Urdu (It is the tale of imprisonment ...)
 * Maan (Urdu (Mother)
 * Shakist-e-talism (Urdu (Defeat of the Magic)
 * Talism-e-hosh-ruba (Urdu (The Breath-taking Magic)
 * Tanhayee (Urdu (Solitude)
 * Bansuri Ki Aawaz (Urdu (The Sound of Flute)

Awards and recognition

 * Sitara-i-Imtiaz (Star of Excellence) Award by the President of Pakistan in 2020

title: Ibn-e-Safi


text:
Grass skippers

Grass skippers or banded skippers are butterflies of the subfamily Hesperiinae, part of the skipper family, Hesperiidae. The subfamily was established by Pierre André Latreille in 1809.

Description and distribution
With over 2,000 described species, this is the largest skipper butterfly subfamily and occurs worldwide except in New Zealand. About 50 percent of grass skippers live in the Neotropics. 137 species are native to North America. Around 38 species are native to Australia. Genera Ochlodes and Hesperia exist exclusively in the Holarctic.

They are usually orange, rust, or brown in colour and have pointed forewings. Many species have dark markings or black stigmas on their forewings. Most members of this subfamily have an oval antenna club with an apiculus on the tip, although Carterocephalus and Piruna do not. The antennae generally has a sharp bend.

Hesperiinae larvae feed on many different types of grasses and sedges and palms, though some species are limited.

Adults typically visit flowers and hold their wings together while feeding. Hesperiinae are unique in that they hold their wings partially open while resting, with the forewings and hindwings held at different angles. This is known as the "jet-plane position". Most male grass skippers perch to await females.

Adults are strong fliers; they move quickly and usually in a linear direction. Some of the species, however, do flutter and these species patrol for females rather than perch.

Conservation
The following grass skippers are considered at risk.

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

title: Grass skippers


text: User:MoralHighGround

title: User:MoralHighGround


text:
User talk:MoralHighGround

Hi!

You have been temporarily blocked from editing for vandalism of Wikipedia. If you wish to make useful contributions, you may come back after the block expires.

You are have been doctoring articles as part of provocative edits and have broken the 3r rule. That you are also a banned user reappearing under false names is also known.

title: User talk:MoralHighGround


text:
User:Tkc1024

Introduction
What's my name?
 * Anglicized: T. Kai C. (Privacy issues.)
 * Korean: 최명근
 * Chinese: 崔明根 (Pinyin: Cuī Míng Gēn)
 * Japanese: たけしあかね (Takeshi Akane)

Where do I live? I currently live in Little Ferry, New Jersey.

Where have I lived before?
 * Cliffside Park, New Jersey
 * Fort Lee, New Jersey
 * Honolulu, Hawaii
 * Seoul, South Korea - I was born there.

What do I do when I'm not updating/researching in Wikipedia? Currently, I'm a student. I attend a magnet school called Academies @ Englewood (note to self: create article about the school) where I get to specialize in law & public safety. I'm also a Christian. I attend a local Korean Presbyterian church (even though I firmly do not believe in predestination). My hobbies include singing, drawing, writing, and organizing. Speaking of singing, I'm a bass/countertenor - it's debatable. but I have a 5 octave range.

How many languages do you speak? I speak Korean and English fluently. I was raised in Korea, so Korean came naturally for me, and English was just kind of "always there" in my life due to the gargantuous American influence on South Korea (Sesame Street and Barney were two shows I loved when I was a kid). I've taken a year of Italian in middle school, I'm currently taking Spanish in high school, and next year, I will double Spanish with French. I've taken interest in Japanese music and I was influenced by anime as a child, so Japanese language was also an influence on me. I've taken an interest in Portuguese and Esperanto too. I took Latin for a trimester and Chinese for two trimesters my sophomore year.

Any other info? I also own a Chihuahua.
 * Birthday: 24 October, 1988
 * Zodiac Sign: Scorpio/Libra (I was born on the cusp)
 * Chinese zodiac: Dragon
 * Bloodtype: AB- (Rarest phenotype)

About My Work Here...
I'm just an average kid, trying hard to contribute to my best of my knowledge. I want to contribute a lot more.

Articles I've Majorly/Partially Contributed to
...I'm hoping to do more as I learn about the world around me. =)
 * Ayumi Hamasaki and all her albums.
 * Sharan Q
 * A BALLADS and A BEST (I created them.)
 * Goto Maki
 * Englewood, New Jersey
 * My user page
 * Simple and Clean

Articles I'm Thinking of Creating/Working

 * Academies @ Englewood
 * My page when I become the next American Idol
 * Music theory related articles
 * Korea-related articles

Vocal Profile

 * Voice type: Lyric Baritone/Countertenor
 * Highest note: A6, D6
 * Lowest note: E1, B1
 * Vocal range: 5 octaves (C#1-D6)
 * Longest note: 10 seconds
 * Highest chest note: F#3

Books I Have to Read

 * Things Fall Apart - Chinua Achebe
 * The Red Tent - Anita Diamant
 * Memory Palace of Matteo Ricci - Jonathan D. Spencer
 * 1984 - George Orwell
 * The Little Prince - Antoine de Saint-Exupéry, The one book (of two) I recommend for everyone.
 * The Bible - Various authors

Artists

 * Kylie Minogue
 * Amuro Namie
 * Jet
 * Green Day
 * Tracy Chapman
 * Mariah Carey
 * DREAMS COME TRUE
 * LOST IN TIME

Albums

 * Kylie Minogue - Light Years
 * Various Artists - LOVE for NANA~Only 1 Tribute~
 * An all-star tribute album to fictional bands BLACK STONES and TRAPNEST in the manga NANA.
 * Madonna - Ray of Light
 * Green Day - American Idiot
 * Mariah Carey - Daydream
 * Kuraki Mai - Fairy Tale
 * Utada - Exodus
 * Utada Hikaru's attempt to break into the American market, miserably failed, but decent songs.
 * Ayumi Hamasaki - CYBER TRANCE presents ayu-trance
 * Ayumi Hamasaki's songs, remixed superbly by international DJs like System F who makes you forget that she sounds squeaky.

Songs

 * Queen - "Bohemian Rhapsody"
 * Southern All Stars - "namida no umi de dakaretai~Sea of Love~"
 * Robbie Williams - "It's Only Us"
 * Kylie Minogue - "Better the Devil You Know"
 * Green Day - "Jesus of Suburbia"

Videos

 * Every Little Thing - fragile
 * Reminiscent of the movie Sliding Doors
 * Ayumi Hamasaki - Endless sorow
 * Do As Infinity - boukenshatachi
 * Aikawa Nanase - Jealousy
 * Mariah Carey - Heartbreaker

Movies

 * I am Sam
 * Life is Beautiful
 * Schindler's List
 * To Live
 * Farewell My Concubine
 * Grave of Fireflies

title: User:Tkc1024


text:
Ian Nankervis

Ian James Nankervis (born 3 January 1948) is a former Australian rules footballer for the Geelong Football Club in the Victorian Football League (VFL). Nankervis played for Geelong for 17 seasons and was captain from 1978 to 1981, and again in 1983. Nankervis held the record of most senior level games for Geelong with 325 VFL games. Nankervis also represented Victoria at state level on 12 occasions.

VFL career
Nankervis was recruited from Barwon. Initially he played mainly as a forward pocket-rover, scoring a creditable 203 goals. He later developed into one of the finest back pockets in the VFL after then coach Rodney Olsson shifted him to that end of the ground

Nankervis was awarded the club's best and fairest award, the Carji Greeves Medal on three occasions in 1972, 1976 and 1977 and captained the team from 1978 until 1982 (110 games). Nankervis wore a guernsey with the number 40 during his tenure at the club. His brother Bruce Nankervis also played for Geelong.

In 2001 he was named in the Geelong Football Club Team of the Century and in 2005 was inducted into the Australian Football Hall of Fame.

Honours
Individual:
 * VFL:
 * Victorian team representative honours: 12 matches (captain in 1979)
 * All-Australian: 1980
 * Member of the Australian Football Hall of Fame: 2005 induction
 * Geelong Football Club:
 * Carji Greeves Medal: 1972, 1976, 1977
 * Geelong F.C. Leading Club Goalkicker Award: 1975 (equal with Larry Donohue)
 * Geelong F.C. captain: 1978 – 1981, 1983
 * Member of the Geelong F.C. Team of the Century: 2001 induction
 * Records:
 * Held the record of most games played for Geelong F.C. (325 games) until Corey Enright played his 326th game in Round 19, 2016. Enright's record was surpassed by Joel Selwood who played his 333rd game in a Semi Final on 3 September 2021 – leaving Nankervis in 3rd place.

Personal
Ian Nankervis, after retiring from football, taught physical education and science at a high school level, on Queensland's Sunshine Coast. Ian Nankervis taught at Corio Technical School in Geelong during the 1970s and 1980s

title: Ian Nankervis


text:
Charles Douglas, 3rd Duke of Queensberry

Charles Douglas, 3rd Duke of Queensberry, 2nd Duke of Dover, (24 November 1698 – 22 October 1778 ) was a Scottish nobleman, extensive landowner, Privy Counsellor and Vice Admiral of Scotland.

Life
Charles was born in Queensberry House in Edinburgh on 24 November 1698, the younger son of James Douglas, 2nd Duke of Queensberry, 1st Duke of Dover, and his wife Mary Boyle, daughter of Charles Boyle, 3rd Viscount Dungarvan,

On 17 June 1706, while still a child, Charles was created in his own right Lord Douglas of Lockerbie, Dalveen and Thornhill, Viscount of Tiberris and Earl of Solway. In 1711, he succeeded his father as Duke of Queensberry, superseding his mentally ill older brother James Douglas. This happened because, in view of James being insane, the crown had granted a novodamus which excluded him from the succession to the Dukedom, but left James the Scottish Marquessate of the same name (Queensberry). In any case, the insane James died in 1715, at which point the Duke inherited the Marquessate as well, becoming 4th Marquess of Queensberry.

In 1728, Queensberry (as he was now known) took up the cause of John Gay, a friend of his wife, after Gay was refused a license for his opera ''Polly. ''He quarreled with George II and resigned his appointments in the same year.

In 1746, the Duke of Queensberry invested in the British Linen Company as one of the original proprietors, hoping to aid the development of the Scottish economy through the manufacturing of linen to be sold to the American colonies and Caribbean plantations. In 1762, after the death of Archibald Campbell, 3rd Duke of Argyll, Queensberry became the Governor of the company until 1776. The period was one of turmoil and restructuring, as the directors of the company decided to stop manufacturing linen from factories owned in the Highlands and turn to financing independent manufacturers to continue their trade. It was an important moment in the history of Scottish finance and the future of the company.

He was a founding governor of London's Foundling Hospital, created in 1739. He was appointed Keeper of the Great Seal of Scotland in 1761 and was Lord Justice General from 1763 until his death in 1778. Queensberry was one of many who had lost heavily from the failure of the Douglas Heron and Co Bank in 1776. As his sons predeceased him, leaving him without heirs, his English titles, including the dukedom of Dover, became extinct, but the Queensberry title passed to his cousin, William Douglas.

Family
On 10 March 1720 he married Lady Catherine Hyde, a daughter of Henry Hyde, 4th Earl of Clarendon. They had two sons, who both predeceased him:
 * Henry Douglas, Earl of Drumlanrig (1722–1754)
 * Charles Douglas, Earl of Drumlanrig (1726–1756)


text:
Turkish folk music

Turkish folk music (Türk Halk Müziği) is the traditional music of Turkish people living in Turkey influenced by the cultures of Anatolia and former territories in Europe and Asia. Its unique structure includes regional differences under one umbrella. It includes popular music from the Ottoman Empire era. After the foundation of the Turkish Republic in 1923, Turkish President Mustafa Kemal Atatürk ordered a wide-scale classification and archiving of samples of Turkish folk music from around the country, which, from 1924 to 1953 collected more than 10,000 folk songs. Traditional folk music was combined with Western harmony and musical notation to create a more modern style of popular Turkish music.

History and development
Western music had begun to influence Ottoman music from before the early Tanzimat period. According to Degirmenci "the first westernization movement in music happened in the Army; in 1826 Giuseppe Donizetti, brother of the famous opera composer Gaetano, was invited to head the military band of Nizam-i Cedid (the Army of the New Order), which was founded by Selim III." Sultan Abdulhamit II was said to prefer Western music, saying "To tell the truth, I am not especially fond of alaturka music. It makes you sleepy, and I prefer alafranga music, in particular the operas and operettas." Music in the Ottoman period is often classified into the music of the palace (Classical Turkish Art Music, which became Turkish Art Music in the Republic), local traditional or rural music, and the music of religious orders, called tekke music. All the old Ottoman musical institutions and religious institutions were closed down at the start of the Republic period.

Turkish nationalist intellectual Ziya Gokalp "stressed the importance of collecting folksongs to create a national music culture and indeed he engaged in the activity of collecting folksongs in Diyarbakir and carried out ethnographic research among Arabs, Kurdish, and Turkish tribes and hoped to establish a small museum of ethnography there." According to Gokalp, "our national music... is to be born of a synthesis of our folk music and Western music. Our folk music provides us with a rich treasure of melodies. By collecting and arranging them on a basis of Western techniques, we shall have built a national and modern music."

The Ministry of Education established the Bureau of Culture in 1920, which began to collect folk songs, around a hundred of which were published as Yurdumuzun Nagmeleri (Melodies of our Country) in 1926. Hungarian composer Béla Bartók was also invited to help collect folk songs in Turkey, 2000 of which were published between 1925 and 1935. A group of composers including Adnan Saygun and Ulvi Cemal who had been sent to study abroad on state scholarships, "took part in full-scale expeditions for the collection of folk music that were organized and sponsored by the Istanbul Municipal Conservatory (Istanbul Belediye Konservatuvari) between 1926 and 1929, and by the Ankara State Conservatory (Ankara Devlet Konservatuvarl) between 1936 and 1952".

Turkish 'folk music' was not a unified form of music until the state construction of the early Turkish Republic. Degirmenci has noted that "the history or the reconstruction of Turkish folk music reflects political aspects of the formation of the nation-state and Turkish nationalism." The foundation of the Turkish Republic also saw attempts to collect folkloric stories, and to create a more unified and pure Turkish language by removing many Persian and Arabic words to construct a vocabulary supposedly closer to that of ordinary people.

In 1937, a Turkish state radio was established and the dissemination of Turkish folk music became a priority for those in charge. Musicians were recruited by Muzaffer Sarisozen, "who acted as a talent scout, hand-picking regional performers who displayed exceptional talent."

In the 1960s, musicians like Aşık Veysel, Neşet Ertaş, Bedia Akartürk became popular folk artists. In the 1970s and 1980s, with the rising popularity of arabesque and Turkish light western, Turkish folk music lost some ground, but singers like Belkıs Akkale, İzzet Altınmeşe, Selda Bağcan, Güler Duman, and Arif Sağ made hit songs and became important representatives of the genre. By the late 1980s, proponents of a Kemalist-inspired Turkish folk music began to worry that the "Ataturk's "musical revolution" had not been entirely successful. Its failure could be demonstrated by the fact that the cultural vacuum in Turkish society alluded to by Gokalp had been filled not with the proposed new national fusion music, but with the hated arabesk, a genre that embodied the ideals and aesthetic of a predominantly foreign Eastern element."

Türkü
Türkü, literally "of the Turk", is a name given to Turkish folk songs as opposed to şarkı. In contemporary usage, the meanings of the words türkü and şarkı have shifted: Türkü refers to folk songs originated from music traditions within Turkey whereas şarkı refers to all other songs, including foreign music.

Classically, Türküs can be grouped into two categories according to their melodies:
 * Kırık havalar: These have regularly rhythmic melodies. Following subtypes belong to this category: deyiş, koşma, semah, tatyan, barana, zeybek, horon, halay, bar, bengi, sallama, güvende, oyun havası, karşılama, ağırlama, peşrev, teke zortlatması, gakgili havası, dımıdan, zil havası, fingil havası.
 * Uzun havalar: These have non-rhythmic or irregularly rhythmic melodies. The following subtypes belong to this category: barak, bozlak, gurbet havası, yas havası, tecnis, boğaz havası, elagözlü, maya, hoyrat, divan, yol havası, yayla havası, mugam, gazel, uzun hava (is used for the ones which don't fit into any other subtype)

Varieties of style, scales, and rhythm
Music accompanied by words can be classified under the following headings: Türkü (folksongs), Koşma (free-form folk songs about love or nature), Semai (folk song in Semai poetic form), Mani (a traditional Turkish quatrain form), Dastan (epic), Deyiş (speech), Uzun Hava (long melody), Bozlak (a folk song form), Ağıt (a lament), Hoyrat, Maya (a variety of Turkish folksong), Boğaz Havası (throat tune), Teke Zortlatması, Ninni (lullaby), Tekerleme (a playful form in folk narrative), etc. These are divided into free-forms or improvisations with no obligatory metrical or rhythmic form, known as "Uzun Hava", and those that have a set metrical or rhythmic structure, known as "Kırık Havalar" (broken melodies). Both can also be employed at the same time.

Music generally played without words, and dance tunes, go by the names Halay, Bengi, Karsilamas, Zeybek, Horon, Bar, etc. Each region in Turkey has its own special folk dances and costumes.

Here are some of the most popular:
 * Hora - A type of circle dance.
 * Horon - This dance is from Black Sea region, was performed by men only living in Trabzon, dressed in black with silver trimmings. Today, the dancers link arms and quiver to the vibrations of the kemenche (an instrument similar to violin).
 * Kasap Havası/Hasapiko -
 * Kaşık Oyunu - The Spoon Dance is performed from Konya to Silifke and consists of gaily dressed male and female dancers 'clicking' out the dance rhythm with a pair of wooden spoons in each hand.
 * Kılıç Kalkan - The Sword and Shield Dance of Bursa represents the Ottoman conquest of the city. It is performed by men only, in Ottoman battle-dress, who dance to the sound of clashing swords and shields, without music.
 * Zeybek - In this Aegean dance, dancers, called "efe", symbolize courage and heroism.

Time signatures
A wide variety of time signatures are used in Turkish folk music. In addition to simple ones such as 2/4, 4/4 and 3/4, others such as 5/8, 7/8, 9/8, 7/4, and 5/4 are common. Combinations of several basic rhythms often results in longer, complex rhythms that fit into time signatures such as 8/8, 10/8, and 12/8.

Stringed instruments
Plucked stringed instruments include the saz, a family of long-necked lutes including the guitar-sized bağlama (the most common) and the smaller cura and kanun, a type of box zither. Several regional traditions use bowed stringed instruments such as the kabak kemane (gourd fiddle) and the Black Sea Kemançe.

Wind instruments
Woodwind instruments, include the double-reed, shawm-like zurna, ney (duduk), the single reed, clarinet-like sipsi, the single-reed twin-piped çifte, the end-blown flutes kaval and ney, and the droneless bagpipe, the tulum. An old shepherd's instrument, made from an eagle's wing bone, was the çığırtma. Many of these are characteristic of specific regions.

Percussion instruments
Percussion instruments include drums – davul and nağara – the tambourine-like tef, a mini drum darbuka and kaşık (spoons).

Uses of music
Melodies of differing types and styles have been created by the people in various spheres and stages of life, joyful or sad, from birth to death. Ashiks (Turkish Minstrels), accompanying themselves on the saz, played the most important role in the development and spread of Turkish folk music. Musicias did not use accompaniment with saz, because Turkish Traditional Music was monophonic. Musicians played the same melody of a song but, when musicians hit the middle and upper strings (these strings must be played without touching keyboard of saz) polyphony was used.

Turkish folk musicians

 * ''Complete list: List of Turkish folk musicians.

 * Alişan
 * Ali Ekber Cicek
 * Mahmut Tuncer
 * Ahmet Kaya
 * Âşık Veysel Şatıroğlu
 * Dilber Ay
 * Yıldız Tilbe
 * Hakan Altun
 * Cengiz Kurtoğlu
 * İbrahim Erkal
 * Birol Topaloğlu
 * Erkan Oğur
 * Katip Şadi
 * Gökhan Birben
 * Kazım Koyuncu
 * Mahzuni Şerif
 * Oğuz Yılmaz
 * Ankaralı Namık
 * Arif Şentürk
 * Murat Göğebakan
 * Cem Karaca
 * Musa Eroğlu
 * Erkin Koray
 * Ersen ve Dadaşlar
 * Neşet Ertaş
 * Müslüm Gürses
 * Orhan Gencebay
 * Mahsun Kırmızıgül
 * Nuray Hafiftaş
 * Kubat
 * Emrah
 * İsmail Türüt
 * Arif Şirin
 * Ceylan
 * Fatih Kısaparmak
 * İbrahim Tatlıses
 * Yavuz Bingöl
 * Sinan Özen
 * Zara
 * Uğur Işılak

Sources and external links

 * Folk/Local Music at the Republic of Turkey Ministry of Culture and Tourism website
 * Musical instruments of Turkey — AllAboutTurkey.com
 * TIKA music
 * TURKISH FOLK MUSIC played by Hungarian musicians
 * Turkish Folk music songs archive
 * Listen to Turkish Folk Music

title: Turkish folk music


text:
Ana Hickmann

Ana Lúcia Hickmann (born 1 March 1981 ) is a Brazilian television presenter, businesswoman and former model who has worked for Victoria's Secret, Nivea, L'Oreal, Wella, Clairol and Bloomingdales. She has appeared in the South African version of the Sports Illustrated Swimsuit Issue, on the Italian version of GQ, and on the covers of Brazilian Vogue, Marie Claire, and Elle. She currently co-hosts a daytime TV show in Brazil and owns her own clothing, jewellery, cosmetics and accessories brand. Hickmann is also famous for her legs of 120 cm, and was once listed in the Guinness Book of World Records as "the model with the longest legs". She has been named as one of the most beautiful women in the world by GQ Italia in 2001.

Modeling
As a model, she has starred in advertisements and walked the runway for designers such as Giorgio Armani, Roberto Cavalli, Betsey Johnson, Kenzo, Hanae Mori, Alexandre Herchcovitch, Emanuel Ungaro, Lorenzo Riva, Leonard, Lolita Lempicka, Yves Saint Laurent, Yohji Yamamoto, Neiman Marcus, Schwarzkopf, Gai Mattiolo, La Perla, L'Oréal, Wella, Nivea, Valisere, Cia Marítima, Rosa Chá, Ellus, Cori, Vizzano, Equus Golden Lady, Adidas, Tic Tac, Volkswagen, LG, Sensodyne, Beauty Color, Rommanel, Marcyn, Recco, Britânia, among others.

In 2002, she walked the Victoria's Secret Fashion Show, and also starred in the video "What is Sexy?" directed by Michael Bay.

In June 2004 at the São Paulo Fashion Week, she walked the runway for her own line of animal print bikinis in partnership with the brand Sais de Cor, carrying an Albino Python snake wrapped around her neck. It was Hickmann's idea to walk the runway with the snake.

In 2006, she gave lessons on how to walk like a model for girls from the favela of Heliópolis, in São Paulo, for the fashion show that was held in the community on 27 August, within the social programming that Rede Record network performed in several places of São Paulo named "Dia de Fazer a Diferença" ("Day to Make a Difference"). Hickmann organised two fashion shows for the girls, one with wedding dresses and the other with clothes made by a group of seamstresses from the community of Heliópolis.

In 2005 and 2006, she was the poster-girl and ambassador of the Tic Tac Mega Model, a contest to find new models in Brazil.

On 25 June 2016, she walked the runway for the first time in ten years as a special guest in the closing show of the Angola Fashion Week in Luanda. She walked the runway wearing a dress by Fiu Negru that was made especially for her by the Angolan designer Mariangela Almeida.

Entrepreneur
Her brand, AH (short for Ana Hickmann), was launched in 2002 and makes R$400 million by year. She currently distributes her own clothing, perfumes, bags, jewellery, watches, shoes, eyeglasses, sunglasses and cosmetics lines, and also manages a photography studio and a DJ agency.

Her line of nail polish sold more than 6 million units in Brazil in 2014. Her eyeglasses brand, Ana Hickmann Eyewear, is sold in over 55 countries between Europe, Asia and the American continent.

In 2013, Hickmann launched her first physical clothing store, Ana Hickmann Outlet, in the neighborhood of Lapa, in São Paulo. In 2016, she launched the store Ana Hickmann Collection in the city of Bauru, in the midwestern region of the state of São Paulo. As of 2017, her brand has six stores in the states of São Paulo and Paraná.

Hickmann launched her YouTube channel on 2 May 2017.

TV host
In 2004, she accepted the invitation of the Brazilian TV network Rede Record to present a fashion segment in the TV show Tudo a Ver, hosted by journalist Paulo Henrique Amorim. From 2005 to 2009, she co-hosted the daytime TV show "Hoje em Dia" ("Nowadays"), next to Britto Jr and Eduardo Guedes on Rede Record.

In 2009, she started hosting her own TV show, replacing Eliana on Tudo É Possível ("Everything is Possible"), on Sunday afternoons, also on Rede Record. In 2012, she hosted the reality show Top Model, o Reality, which was part of her show Tudo É Possível and inspired by Brazil's Next Top Model and America's Next Top Model, in which 14 models lived with Hickmann in her house in Itu, São Paulo, and the winner would sign a contract with the agency Way Model Management and a contract of R$150,000 to be the face of Ana Hickmann's brand for one year. Hickmann was not a judge on the contest, and she only served the role of a host.

From 2012 to 2014, she co-hosted the daytime TV show Programa da Tarde ("Afternoon Program") on Rede Record, (with Britto Jr and Ticiane Pinheiro). One of the regular guests on her show was the magician Mario Kamia, who performed a range of tricks and illusions. Some of Kamia's illusions involved using Hickmann as his assistant, including dividing her into three in the Zig-Zag Girl and sawing her in half using a Buzz Saw.

Since 2015, she co-hosts Hoje em Dia alongside César Filho, Ticiane Pinheiro and Renata Alves.

Personal life
Hickmann, who is of German heritage, was once listed in the Guinness Book of World Records as "The model with the longest legs", measuring 46.5" (118 cm, measured from hip to heel) out of a total height of 73". Since 2002, the Guinness Book no longer lists this title. Hickmann has stated that her legs are actually 120 cm long and even measured them on live TV.

Besides her native Portuguese, Hickmann speaks English, German, Italian, French and Spanish.

She was ranked No. 47 and No. 85 on the Maxim Hot 100 Women of 2004, and 2005, respectively.

On 14 February 1998, at age 16, she married former model Alexandre Corrêa. In August 2013 Hickmann announced that she was pregnant with the couple's first child. She gave birth to their son, Alexandre, on 7 March 2014.

On 21 May 2016, Hickmann was a victim of attempted murder when Rodrigo Augusto de Pádua invaded the hotel room where she was and fired at her, her sister-in-law and her brother-in-law. Hickmann was not hit but her sister-in-law took two shots and was hospitalized. The perpetrator, who was a fan of Ana, was shot and killed at the scene.

After an incident of domestic violence, she asked a divorce from her husband, in 2023.

title: Ana Hickmann


text: User talk:84.92.47.66

title: User talk:84.92.47.66


text:
User:Elvarg

All is relative.

Pages I created or primarily contributed to:

 * Kwantlen University College -- my college.
 * Zeliard -- one of my favorite old games; also experimenting as editor on creating the best possible article I can out of scratch.

title: User:Elvarg


text:
Bell Bottom Blues (Derek and the Dominos song)

"Bell Bottom Blues" is a song written by Eric Clapton and Bobby Whitlock, and performed by Derek and the Dominos. It dealt with Clapton's unrequited love for Pattie Boyd, the wife of his friend George Harrison, and appeared on the 1970 double album Layla and Other Assorted Love Songs. Issued as a single, backed with "Keep on Growing", the song reached number 91 on the Billboard Hot 100 in 1971. A re-release backed with "Little Wing" peaked at number 78 on the same chart.

Background and recording
"Bell Bottom Blues" was recorded before Duane Allman joined the recording sessions for the Layla album, so Clapton was the only guitarist on the song. Clapton compensated for this by playing multiple guitar parts, including a sensitive, George Harrison-style guitar solo and chime-like harmonics. The other musicians on the recording were Bobby Whitlock on Hammond organ, Carl Radle on bass and percussion, and Jim Gordon on drums, including tabla and backwards snare. Whitlock also sang occasional harmony vocals.

Composition
Bell-bottoms are a style of trousers that were popular at the time. According to Clapton, the song was written for Pattie Boyd after she asked him to get her a pair of bell-bottom blue jeans from the United States. Clapton wrote the song for her, along with many others on the album such as "I Looked Away" and "Layla". The lyrics described a lovers' quarrel. Bill Janovitz of AllMusic noted the raw anguish in Clapton's voice in the pre-chorus and chorus:

contrasted with the somber longing expressed in Clapton's voice in the verses:

Author Jan Reid also praised Clapton's singing on the song, noting that his phrasing managed to suggest that despite the pain he is feeling, the woman's antics remind him of the "joy of just being alive".

The Rolling Stones, in their song Soul Survivor, on their Exile on Main St. album, released in 1972, sing, “I got the bell bottom blues.”

Songwriting credit
The writing of the song was originally credited to Eric Clapton alone, but is now jointly credited to Clapton and Bobby Whitlock. Whitlock stated in an interview in 2011 that "Eric started the song ... He played me the first two verses at his house and I helped with the last verse", and that it was credited to Clapton alone by a "clerical error". In 2015, in an interview by Mike Rossi for Facio Create, Whitlock stated that Clapton had now formally accepted that Whitlock had contributed, and in future the song would be jointly credited. The BMI website now credits both writers.

Reception
In a review upon the album's release, Rolling Stone writer Ed Leimacher called "Bell Bottom Blues" (as well as "Have You Ever Loved a Woman") filler. Cash Box described the song as "a progressive ballad that should see powerful top forty reception" and as being "instrumentally enticing and surprisingly melodic." Record World said it was "soulful and subtle, not unlike George Harrison's latest." Billboard said "Eric Clapton's rocking blues ballad, served up in an emotion packed vocal workout is a winner headed for a high Hot 100 spot. A retrospective of the album in Rolling Stone praised the song as an epic that "feels as if it's going to shatter from the heat of its romantic agony". AllMusic critic Bill Janovitz admired both Clapton's guitar playing and his anguished vocal performance. In The New Rolling Stone Album Guide, J. D. Considine cited the track as an example of how Layla and Other Assorted Love Songs is "about the transformation of the blues, a process Clapton and his band mates manage through a variety of means", adding that the song "distills the pop-blues approach of Blind Faith and Cream into a memorable chorus and exquisite metaphor".

Adaptations
Cher recorded "Bell Bottom Blues" on her 1975 album, Stars. Matthew Sweet and Susanna Hoffs covered the song on their 2009 album, Under the Covers, Vol. 2. Bruce Springsteen borrowed the line "I don't wanna fade away" from "Bell Bottom Blues", for his 1980 song "Fade Away". Lady Gaga referenced the title in her song "Dope", where she sang "I'm sorry and I love you, sing with me, 'Bell Bottom Blue'."


text:
Wikipedia:Articles for deletion/Charva

 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 Redirect. I didn't merge it as its all POV. I give up caring about this topic, so now you can be as London-centric as you want. Hedley 02:48, 25 July 2005 (UTC)

Charva
Redirect to Chav, not notable enough for separate article SqueakBox 21:26, July 17, 2005 (UTC)

 * Just to explain why Squeakbox is listing this while voting to redirect: vfd for this page was suggested here and there is an active dispute in progress as to how to make this article more npov. Some feel it should be deleted outright, and so listing here was suggested.  Personally I feel it should be merged with Chav. -- Francs2000 | Talk [[Image:Flag of the United Kingdom.svg|25px|  ]] 21:32, 17 July 2005 (UTC)
 * Would prefer a delete but will settle for redirect. Despite its pretensions, the article makes no attempt to reference its claims and reads like a personal essay. There's barely a single assertion that can't be immediately questioned eg Charvas often stay within their own 'clan', and gang fights can be common, again backing up the theory of mild US influence. What is a charva 'clan'? Are their fights common or not? Whose theory are we talking about? How is their gang fighting a US-influenced phenomenon? adamsan 21:40, 17 July 2005 (UTC)
 * Redirect to Chav. The word 'charva' is just a variant of 'chav' used mainly in the North East of England, and despite the extensive discussion on the talk page I remain to be convinced that it warrants its own article. AdorableRuffian 21:44, 17 July 2005 (UTC)
 * Delete (or redirect to chav if we absolutely must). Nasty class prejudice, as well as mainly being a dialect variant of chav. — OwenBlacker 22:41, July 17, 2005 (UTC)
 * Delete, or if neccessary, redirect to chav. This article is POV and unverified. I do not see how it can be verified either. Furthermore, it seems to be a close regional variant of chav, which only minor, if any, differences. -- Joolz 00:25, 18 July 2005 (UTC)
 * Although a vote from someone who lives where they do will make little difference, Strong über "Or your children will be next~!" keep for the simple reason articles on Islam which are POV aren't deleted. Also, this is not the same thing as chav, which is to be honest even less factually correct than this one. Hedley 08:34, 18 July 2005 (UTC) Delete because I, quite frankly, couldn't care less. Hedley 18:07, 19 July 2005 (UTC)
 * Merge any NPOV information into Chav and redirect. Charva, Chav, Townie etc are different regional names for the same group of people, but the southern-English Chav is the name the media (predominantly based in southern England) have taken to using, and so is the best known of all the names. The others should be redirects. Thryduulf 08:45, 18 July 2005 (UTC)
 * That can only be true if one restricts onesself to the U.K. concept(s) of a townie, note. Uncle G 19:17, 19 July 2005 (UTC)
 * Redirect to Chav. JamesBurns 09:33, 18 July 2005 (UTC)
 * Merge and redirect with chav.. I have seen no evidence against the idea that charva is nothing but a regional variant of chav, and the POV issues here are so great (the article would be a stub if all the unverifiable POV were deleted) that we would benefit more from concentrating on a single article. BTW, we shouldn't keep bad articles because others are doing it. If there are articles on Islam with such amounts of POV, we should try to remedy that instead of making other articles as POV as them. EldKatt (Talk) 10:48, 18 July 2005 (UTC)
 * Merge and redirect with chav. All regional variants should be treated similarly. Secretlondon 11:21, 18 July 2005 (UTC)
 * Merge and redirect with chav. As the article has no references and presents opinion as fact, it is unlikely that there will be much material worth merging. Warofdreams 13:08, 18 July 2005 (UTC)
 * Merge and redirect. The distinction between this lot and the chavs made in para 2 is totally groundless, anyway: [chav] = "often anybody who is stereotypical of the lower class". Nah, that's not right. –Hajor 20:11, 18 July 2005 (UTC)
 * Mrege and redirect. James F. (talk) 15:04, 19 July 2005 (UTC)
 * Merge and redirect. I agree with EldKatt, alleged POV somewhere is not an excuse for abuse (for it is far worse than just biased writing) here. It disturbs me that User:Hedley is taking this line. Morwen - Talk 15:08, 19 July 2005 (UTC)
 * Merge and redirect with chav. I've never quite understood why this merited a seperate article from chav in the first place. I've lost count of the number of different names I've heard depending on the part of the country being talked about. Neither "chav" or "charva" are the terms used where I come from, but "chav" is the one that's been picked up by the national media. While there may be regional variations I don't see that chavs of one part of the country are totally unrelated to charvas of another part. The article also has quite a POV problem: "Charvas are widely thought in the North as the scum of British youth today." Presumably the charvas themselves don't take this view. The article's blanket statements about charvas almost remind me of the 1911 EB's country articles talking about the "national character" of somewhere. Compare "Most charvas are considered to be unintelligent, and rarely show any intelligence that they may have, in order to look good around their mates.", "Socially charvas are seen as dis-obedient with a mind of their own." and "Although some can be reasonable, most commit crimes.", with "If the Chinese character is inferior to the European, this inferiority lies in the fact that the Chinaman's whole philosophy of life disinclines him to change or to energetic action. He is industrious; but his industry is normally along the lines marked out by authority and tradition. He is brave; but his courage does not naturally seek an outlet in war." I think we'd do well to have all this stuff under one article so it can be kept in a reasonable state. No one is saying we can't talk about regional differences, so this is a merge, not a delete. — Trilobite (Talk) 18:18, 19 July 2005 (UTC)
 * I've lost count of the number of different names I've heard depending on the part of the country being talked about. Neither "chav" or "charva" are the terms used where I come from, but "chav" is the one that's been picked up by the national media. - round our way it's Ned -- Francs2000 | Talk [[Image:Flag of the United Kingdom.svg|25px| ]] 19:05, 19 July 2005 (UTC)
 * Wikipedia has Ned (Scottish), notice, from which I excised a whole load of such regional synonyms (which are all in Wiktionary) a while back. Uncle G 19:17, 19 July 2005 (UTC)
 * Which illustrates the need to merge because I'm not Scottish. Kev is another local one too. -- Francs2000 | Talk [[Image:Flag of the United Kingdom.svg|25px|  ]] 19:28, 19 July 2005 (UTC)
 * Comment. Feel free to vote at Votes_for_deletion/Ned (Scottish) to help nuke localisation on Wikipedia, which we clearly want. Hedley 00:10, 20 July 2005 (UTC)
 * That's a mischaractization. The issue here is sourcing and verifiability.  The editors commenting above appear to be commenting on the fact that in fact there is no localization here, and that, regional pride in who had the concept first and whose spellings are the correct ones notwithstanding, there are no sources provided that make a distinction between the concepts of a charva and a chav.  Whereas the BBC and Anoop Nayak from the University of Newcastle think that the two are the same thing. Uncle G 09:51, 20 July 2005 (UTC)
 * Merge with Chav. —Ashley Y 03:00, July 20, 2005 (UTC)
 * Comments: There seems to be some confusion as to why this article is on VfD. I certainly didn't vote as I did because of the POV issues alone, as should be clear from my previous comments. I hope, and indeed believe, that nobody else did either. As of now, it's unlikely that I'll vote either way in the Ned VfD since I don't want to spend my time reading up on that term, but in the case of charva I hold the firm opinion that it's not different enough from chav to have its own article. The thing that could change that would be new facts being unearthed that point to more differences, but that hasn't happened yet. EldKatt (Talk) 07:58, 20 July 2005 (UTC)
 * Delete redirect to Chav.--Ade myers 23:53, 24 July 2005 (UTC) The article tries but fails to convince me of the difference from Chavs. Although it does make a valid point about the rise in chav/charva culture due to post-industrial deprevation, especially in the North of England.
 * 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.

title: Wikipedia:Articles for deletion/Charva


text:
Remixed & Revisited

Remixed & Revisited is a remix album by American singer and songwriter Madonna. It was released on November 24, 2003, by Maverick Records and Warner Bros. Records. The album contains four songs, in remixed form, from her 2003 ninth studio album American Life and a previously unreleased song, "Your Honesty", originally written and recorded for her 1994 sixth studio album Bedtime Stories. The other tracks included are the live performance of "Like a Virgin" and "Hollywood" on the 2003 MTV Video Music Awards—which ended with Madonna kissing co-performers Britney Spears and Christina Aguilera—and a remix of 1985 single "Into the Groove".

The release peaked at number 115 on the Billboard 200 in the United States, while reaching the number one in Portugal and top-five in Denmark, Greece and Italy. It received mixed reviews from critics; "Your Honesty" was generally the only song to receive praise. The remix album also marked the closing release under her contract with Maverick Records.

Background
In 2003, Madonna planned to release a special commemorative box set to celebrate her twentieth anniversary in the music business and the release of her first studio album, Madonna, in 1983. The plan for the box set was eventually cancelled and Remixed & Revisited was conceived in its place. The compilation contains remixed versions of four songs from American Life and a previously unreleased song called "Your Honesty"; co-written and co-produced by Dallas Austin, the track is from Madonna's sixth studio album Bedtime Stories era (1994). "Nobody Knows Me" was remixed by performance artist Mount Sims, Headcleanr mixed "American Life" and "Love Profusion". DJ Jason Nevins remixed "Nothing Fails", while "Into the Hollywood Groove" was created by The Passengerz. On December 9, 2003, Warner Music France released a box set version containing both the remix collection and the original album American Life in a cardboard sleeve entitled Édition Spéciale 2CDs: American Life + Remixed & Revisited.

2003 MTV VMA performance
The medley track "Like a Virgin/Hollywood" was performed during the opening of the 2003 MTV Video Music Awards on August 27, 2003, where Madonna was joined by Britney Spears, Christina Aguilera, and Missy Elliott. The performance started with Spears appearing on stage on top of a giant wedding cake while wearing a wedding gown and veil; she sang the first few lines of "Like a Virgin" before Aguilera appeared from behind the cake and joined her. Madonna then emerged from the cake wearing a black coat and a hat and started singing "Hollywood" before proceeding to kiss Spears and Aguilera on the lips. Missy Elliott came out from a wedding chapel to sing her song "Work It" halfway through the performance. The kiss generated strong reaction from the media. Feminist author Camille Paglia described the moment as great; she noted that the kiss was like Madonna saying to Spears, "I'm passing the torch to you." However, according to her, Spears could not take advantage of the kiss as later her career and lifestyle came under immense media scrutiny and criticism. Paglia said that "literally from that kiss, from that moment onward, Britney has spiraled out of control. It's like Madonna gave her the kiss of death!" Madonna commented on the kiss; "I am the mommy pop star and she is the baby pop star. And I am kissing her to pass my energy on to her." This performance was listed by Blender magazine as one of the twenty-five sexiest music moments on television history. MTV listed the performance as the number-one opening moments in the history of MTV Video Music Awards.

Critical reception
Stephen Thomas Erlewine of AllMusic felt that the presence of a "strong hook and a strong sense of fun" was missing from the compilation, except for the song "Your Honesty", which he declared as the best track despite feeling its beats to be a little outdated. He compared the work of the remixers as "as subtle as a jackhammer, whether it's on the metallic-flaked "American Life" by Headcleanr or the '90s-retro Nevins mix of "Nothing Fails". On all these mixes, Madonna sounds as if she's out of step with the music of 2003". Erlewine also compared Spears' vocals with that of Madonna's during her early days and Aguilera's with that of Cher's. Nathan Brackett of Rolling Stone commented that the release "improves upon American Life's standout single "Love Profusion", but the rest botches an opportunity to revive interest on its parent album". Fabian from Daily Breeze commented that Remixed & Revisited "is an amusing collection of novelties." Sarah Crompton from Boston Herald proclaimed the album to be "more fun than her full-length 2003 offering American Life." The Malay Mail said that the remixes from the album are for "true blue Madonna fans." Phil Udell from Hot Press called it an "impressive seven-track collection". An editor from The Journal Gazette expressed "It's a bundle of energetic fun, even if Madonna sounds a little shaky".

A writer for The Miami Herald was negative towards the release saying that "Madonna's latest misstep is this pointless Remixed & Revisited seven-track EP in which she tries to resell five songs from her recent American Life CD to an audience who deserve far better efforts from the queen, than this." Ricardo Baca from The Denver Post compared Madonna to actress Drew Barrymore on the cover of the EP, feeling that the singer looked foolish and that the tracks were weak attempts at "spicing up" the already non-commercial songs from American Life. Kevin C. Johnson from St. Louis Post-Dispatch said that with the remixes, Madonna "put some life" back into the songs of American Life, complementing "Your Honesty" and wondering why it was left from the Bedtime Stories sessions. Keith Caulfield of Billboard was impressed with "Your Honesty" and the remixes of "Love Profusion" and "Nobody Knows Me". He said, "Die-hard fans, even those unenamored of American Life will dig this EP." New Straits Times's Christie Leo, said "the remixes are more vivid and fleshed out, especially 'Nothing Fails' and 'Love Profusion'". In his book The Essential Rock Discography, Martin Charles Strong called the release as "equally dispensable as its parent album".

Commercial performance
In the United States, Remixed & Revisited debuted at number 115 on the Billboard 200, selling 22,000 copies in its first week. It also debuted and peaked at number 128 on the Top Comprehensive Albums chart. According to Nielsen SoundScan, the EP has sold 114,000 copies as of August 2005 in the United States. The Nevins' mix of "Nothing Fails" charted on the Canadian Singles Chart at seven and topped the Hot Dance Club Play chart. It also debuted on the album charts of Belgium, in Flanders and Wallonia, and Switzerland. The album charted in Italy as a single, reaching a peak of number two. It also charted in Finland and Denmark as an EP on the singles charts.

Personnel
Adapted from the Remixed & Revisited AllMusic credits

Production
 * Madonna – producer
 * Mirwais Ahmadzaï – producer (except "Your Honesty")
 * Dallas Austin – producer ("Your Honesty")
 * Ray Carroll – additional production; remixer ("American Life", "Love Profusion")
 * Mount Sims – additional production; remixer ("Nobody Knows Me")
 * Jason Nevins – additional production; remixer ("Nothing Fails")
 * Vin Nigro – additional production ("Nothing Fails")
 * Joe "Magic" – additional production ("Nothing Fails")
 * Soul Diggaz – remixer ("Into the Hollywood Groove")
 * The Passengerz – editor ("Into the Hollywood Groove")
 * Chris Griffin – mixing ("Into the Hollywood Groove")
 * Pat Kraus – mastering

Additional musicians
 * Missy Elliott – "Into the Hollywood Groove", "Like a Virgin"/"Hollywood"
 * Christina Aguilera – "Like a Virgin"/"Hollywood"
 * Britney Spears – "Like a Virgin"/"Hollywood"

Design
 * Bret Healey – art direction
 * Kevin Reagan – art direction
 * Regan Cameron – photography

title: Remixed & Revisited


text:
Bogie (disambiguation)

A bogie is part of a railway car.

Bogie may also refer to:

Australia

 * Bogie, Queensland, a locality in the Whitsunday Region
 * Bogie, a river in Queensland, Australia—see Bogie River Hills

United Kingdom

 * River Bogie, Scotland

United States

 * Boca Ciega High School, a senior high school in Gulfport, Florida, colloquially called Bogie

People

 * Nickname
 * Humphrey Bogart (1899–1957), American actor
 * Xander Bogaerts (born 1992), Aruban professional baseball player
 * W. A. "Bogie" Roberts, a footballer in the late 1890s
 * Moshe "Bogie" Ya'alon, Israeli politician
 * Surname
 * Bogie (surname)

Other uses

 * Bogie, an attendant of Jack in the Green, a character in traditional English May Day parades and other May celebrations
 * Bogies, a recurring feature in the Dick & Dom in da Bungalow British television show for children
 * The Bogies, a comic strip in The Dandy
 * 15495 Bogie, an asteroid
 * A type of flatbed trolley for moving bulk loads

title: Bogie (disambiguation)


text:
File:C element asymmetric.png

Asymmetric C-element design and symbol

title: File:C element asymmetric.png


text:
Lompoc Unified School District

The Lompoc Unified School District is located in the City of Lompoc, California and operates schools in and around the city, servicing Lompoc, Mission Hills, Vandenberg Village, and Vandenberg Air Force Base.

The school district's Superintendent is Dr. Clara Finneran.

Elementary schools

 * Buena Vista Elementary School
 * Clarence Ruth Elementary School
 * Crestview Elementary School
 * Leonora Fillmore Elementary School
 * Arthur Hapgood Elementary School
 * La Cañada Elementary School
 * La Honda Elementary School
 * Los Berros Elementary School
 * Miguelito Elementary School

[Lompoc Unified school district]

Middle schools

 * Lompoc Valley Middle School
 * Vandenberg Middle School

High schools

 * Cabrillo High School
 * Lompoc High School
 * Maple High School

Home School Programs

 * Mission Valley

Adult education

 * Adult education program

title: Lompoc Unified School District


text:
Asymmetric C-element

Asymmetric C-elements are extended C-elements which allow inputs which only effect the operation of the element when transitioning in one of the directions. Asymmetric inputs are attached to either the minus (-) or plus (+) strips of the symbol. The common inputs which effect both the transitions are connected to the centre of the symbol. When transitioning from zero to one, the C-element will take into account the common and the asymmetric plus inputs. All these inputs must be high for the up transition to take place. Similarly when transitioning from one to zero the C-element will take into account the common and the asymmetric minus inputs. All these inputs must be low for the down transition to happen.

The figure shows the gate-level and transistor-level implementations and symbol of the asymmetric C-element. In the figure the plus inputs are marked with a 'P', the minus inputs are marked with an 'm' and the common inputs are marked with a 'C'.

In addition, it is possible to extend the asymmetric input convention to inverted C-elements, where a plus (minus) on an input port means that an input is required for the inverted output to fall (rise).

title: Asymmetric C-element


text:
Korg DW-8000

The Korg DW-8000 is a polyphonic hybrid digital-analog synthesizer released in 1985. It blends digital waveforms with an analog filter and amplifier, followed by a digital delay for adding echo effects. It boasts eight-note polyphony and its keyboard is equipped with velocity sensitivity and aftertouch.

Background
The DW-8000 was released shortly after Korg's previous polysynth, the DW-6000, and built upon its predecessor's sound engine by enhancing it with velocity sensitivity, a digital delay effect, and expanded eight-voice polyphony. It also introduced 16 digital waveforms, doubling the DW-6000's eight, along with an arpeggiator, an additional key assign mode, additional modulation waveforms, and an 'auto-bend' feature.

Sounds and features
The DW-8000 features a five-octave keyboard with aftertouch capabilities affecting modulation, filter, and volume, alongside 64 preset slots, a joystick, an arpeggiator, and MIDI. The front panel features two buttons for program and parameter selection, numeric keys for choosing program and parameter numbers, and a data slider with +/— buttons for more precise parameter editing, echoing the design used on the Korg Poly-61, Korg's first synthesizer with digital controls.

The DW-8000 employs Korg's Digital Waveform Generator System (DWGS), which features sampled waveforms stored across four 256 Kbit ROM chips. These waveforms range from standard synth shapes like sawtooth, square, and sine, to more complex sounds including bells, clavinets, acoustic and electric pianos, organs, guitars, and saxophones. A unique sample is utilized for each octave, and the waveforms were created using additive synthesis, which were then encoded onto the ROM chips. The DW-8000 features two oscillators, offering controls to modify their relative volumes and detune the second oscillator, creating a rich chorus-like effect.

There are various key assign modes, including polyphonic and polyphonic portamento. Unison modes combine all eight voices for a fuller monophonic sound, however, it lacks the ability to detune voices in unison mode. The DW-8000's voltage-controlled amplifier (VCA) and voltage-controlled filter (VCF) are analog, which contributes to its rich sound. The VCF's resonance produces a clear whistle at high settings and a warm sound at lower pitches. Keyboard velocity and aftertouch can control volume and filter cutoff, and vibrato can be added using aftertouch. Both the VCA and VCF envelopes feature six-stage envelopes featuring Attack, Decay, Break Point, Slope, Sustain and Release stages, allowing for complex envelope shapes to be created.

The DW-8000 features a digital delay effect with adjustable delay times up to 500 milliseconds, and controls for delay time, feedback, effect level, and modulation. These settings allow for a range of effects including flanging, double tracking and long echo effects. These delay settings can be saved with the synth patch for easy recall. It also features an 'auto-bend' option for initial note slides. It allows subtle or pronounced note adjustments, akin to a trumpet's entry or portamento. Settings include time, intensity, and the ability to choose whether it affects oscillator one, two, or both. The built-in arpeggiator includes controls for tempo control, octave range, pattern modes for up/down and assign, and a Latch function for sustaining arpeggios after releasing the keys. It can also sync to external MIDI clock signals.

The DW-8000 can store 64 patches, and the optional MEX8000 memory expander allows users to access four more banks, each holding 64 patches.

EX8000
The EX-8000 is the rack-mounted counterpart to the DW-8000, containing all the same features, including the digital delay effect.

title: Korg DW-8000


text:
Kurtzman

Kurtzman is a surname. Notable people with the surname include:

 * Alex Kurtzman (born 1973), American film and television screenwriter and producer
 * David Kurtzman (1904–1977), American university Chancellor
 * Harvey Kurtzman (1924–1993), American cartoonist and editor of several comic books and magazines
 * Joel Kurtzman (1947–2016), American economist and novelist
 * Jeffrey Kurtzman, American musicologist and music editor
 * Katy Kurtzman (born 1965), American actress
 * Robert Kurtzman (born 1964), American film director, producer, screenwriter, and special effects creator

title: Kurtzman


text:
Tears in Heaven

"Tears in Heaven" is a song by English guitarist, singer, and songwriter Eric Clapton and Will Jennings, written about the death of Clapton's four-year-old son, Conor. It appeared on the 1991 Rush film soundtrack. In January 1992, Clapton performed the song in front of an audience at Bray Studios, Berkshire, England for MTV Unplugged, with the recording appearing on his Unplugged album.

The song was Clapton's best-selling single in the United States and reached number two on the Billboard Hot 100. In the United Kingdom, where Clapton is from, it reached number five on the UK Singles Chart, and also charted in the top 10 in more than 20 countries. It won three Grammy Awards for Best Male Pop Vocal Performance, Song of the Year, and Record of the Year. In 2004, Rolling Stone ranked "Tears in Heaven" 353rd on its list of "The 500 Greatest Songs of All Time".

Writing
On 20 March 1991, Clapton's four-year-old son, Conor, whom he had with Lory Del Santo, died after falling from the 53rd-floor window of a New York City apartment belonging to a friend of Conor’s mother. After isolating himself for a period, Clapton began working again, writing music for the film Rush (1991). He dealt with his grief by co-writing "Tears in Heaven", with Will Jennings, for the soundtrack. Clapton said he admired Jennings' work with Steve Winwood.

According to Jennings, Clapton wrote the lyrics for the first verse, and asked him to write the rest. Jennings urged Clapton to write the entire song due to the personal subject matter, but eventually agreed. He said it was "a song so personal and so sad that it is unique in my experience of writing songs".

In an interview in 1992, Clapton said the song "was in the back of my head but it didn't really have a reason for being until I was scoring this movie ... And it is a little ambiguous because it could be taken to be about Conor but it also is meant to be part of the film." In another interview, he said: "I almost subconsciously used music for myself as a healing agent, and lo and behold, it worked... I have got a great deal of happiness and a great deal of healing from music."

Release
Shortly after the single was released, Clapton recorded the song in front of an audience at Bray Studios, Berkshire, England as part of a set for MTV Unplugged, released as Unplugged. The album topped numerous charts, including the US, Japan and Australia, reached number two in the UK, and was nominated for nine Grammy Awards the year it was released.

United States and Canada
"Tears in Heaven" is Clapton's best-selling single in the United States. With more than 2,800,000 copies sold – both physical and digital – it remains one of the best-selling pop singles of the 1990s and one of the best-selling singles released by any non-American artist. The Reprise Records single reached number two on the Billboard Hot 100 singles charts, where it was held off the number one spot by Vanessa Williams' single "Save the Best for Last" for four weeks and charted for a total of 26 weeks. It is Clapton's highest-charting single on the Hot 100 after "I Shot the Sheriff", which is Clapton's only Hot 100 number one single to date. While charting on America's most important single chart, Clapton received several sales awards by the Billboard magazine, including a "Hot Shot Debut" and a "Power Pick/Sales" certificate. After the physical single release was certified with a Gold disc by the Recording Industry Association of America (RIAA) on March 18, 1992, the single was still selling about 150,000 copies every week.

On April 15, 1992, "Tears in Heaven" was certified with a Platinum certification award for sales of more than 1,000,000 copies in the United States. It topped the Top Single Sales chart, compiled by the Billboard magazine in 1992. The release also topped Billboard magazines Adult Contemporary chart, on which "Tears in Heaven" charted for a total of 30 weeks, and also became a number one single on the Top 100 Cashbox charts. By the end of 1992, "Tears in Heaven" sold more than 2,300,000 copies in the United States alone. The pop single also received a lot of airplay, charting 20 weeks on the Top Radio Songs chart, peaking at number three, and reaching position nine on the Mainstream Rock Songs chart, where "Tears in Heaven" stayed for a total of 18 weeks. Also, it was later the fourth-favourite recurrent airplay single, as the Billboard magazine reported in summer of 1992. The 1992 single release was the 6th-best-selling single recording in the United States that year, reaching number six on the Billboard year-end Hot 100 chart as well as the 5th-most successful Adult Contemporary release. It also ranked at number five on the Top Single Sales chart, compiled by the Billboard magazine and reached position 25 on the Top Radio Songs year-end chart in 1992.

In Canada, the Reprise Records single release topped all of the three pop single sales chart in the country and is therefore Clapton's most successful single in Canada to date. The song reached the number one top position on both the Canadian Hot Adult Contemporary Tracks and Top 100 Singles chart, compiled by the RPM magazine. In addition to the already rare success, reaching number one on both of the charts, "Tears in Heaven" was The Record magazine's top retail selling single release. Shortly after the single was released in Canada and topped all of these three record charts, it was certified with a double Platinum sales certification for physical sales exceeding 200,000 copies. In 1992, "Tears in Heaven" was the 17th-best-selling single on RPM magazine's Hot Adult Contemporary Tracks chart.

Europe and Oceania
The pop single release was especially successful in Europe, reaching the Top 10 in 12 countries and the Top 20 in 15 of them. The single charted at number three on the European Hot 100 Singles chart in 1992, and was Europes 21st best-selling single of 1992. In Austria, the physical single peaked at number 25 on the Ö3 Austria Top 40 singles chart, and eventually charted at number ten in week four, reaching its highest charting position in the country. In total, the single of "Tears in Heaven" spent 12 weeks on the nations single sales chart. It was eventually certified with a Gold disc by the International Federation of the Phonographic Industry (IFPI) in Austria and reached number 61 on the country's year-end chart in 1992. In Flanders (Belgium), the single reached three singles charts. In 1992, it peaked at position 44 on Ultratop's Top 50 single chart, and reached its peak position, 16, in week four and five, while on chart for a total of ten weeks. At that time, the single also peaked at number ten on the Belgian VRT Top 30 singles chart, where "Tears in Heaven" spent eight weeks on chart.

In 2010, when a remastered physical edition of the single was released in Belgium, it reached number 16 on the Back Catalogue chart. The song was Belgium's 159th best-selling single in 1992, and certified with a Platinum disc for sales over 50,000 copies by the Belgian Entertainment Association. In Denmark, "Tears in Heaven" topped the single sales chart and was certified Platinum for sales exceeding 10,000 copies by IFPI Denmark, as it spent a total of 29 weeks on chart. In France, the single peaked at number two on the French singles chart, where it charted for 34 weeks. On chart week 28, it was certified with a Platinum award by the Syndicat National de l'Édition Phonographique (SNEP) for sales of more than 500,000 copies in the country. In Germany, the single placed itself on its lowest charting position, number 42. In total, the single charted for eleven weeks on the German singles chart, and sold more than 170,000 both digital and physical copies to date. "Tears in Heaven" topped the single charts in Ireland and was certified with a Platinum disc by the Irish Recorded Music Association (IRMA), selling more than 50,000 copies in 1992, as it reached both of the year-end charts in 1992 and 1993 with positions five and 47. In Italy, the single reached Top five positions as both a physical as well as a digital download single. In 1992, the single peaked at number four on the Italian single chart, compiled by Musica e dischi. Later, the single re-entered the nations single chart as a digital download and streaming single, reaching number five on the charts, now compiled by the Federazione Industria Musicale Italiana (FIMI).

In addition, the digital single was certified with a Platinum disc, for sales and streams exceeding 30,000 units. The single was a medium successful hit in the Netherlands. It reached position 17 on the Dutch Top 40 singles weekly chart, where it stayed for ten weeks, and reached number 131 on the chart's year-end list in 1992. It also reached the Dutch Single Top 100 chart, peaking at number 13 and staying for 21 weeks on chart, before placing itself on position 87 on the year-end Single 100 chart. In Norway, the single topped the VG-lista singles chart in 1992. In Spain, the single charted at number seven on the nation's singles chart, and was eventually certified with a Gold disc, commemorating the sale of more than 25,000 copies in the country by the Productores de Música de España (PROMUSICAE). In Sweden, "Tears in Heaven" reached number four on the Sverigetopplistan singles chart, where it spent a total of 30 weeks on chart.

In October 1992, it was presented with a Platinum sales award by the Swedish Recording Industry Association (GLF), when it exceeded 50,000 sold units in the country. It reached number 86 on the 1992 Swedish year-end chart. In Switzerland, the single was also a Top ten hit, peaking at number seven on the Schweizer Hitparade, where "Tears in Heaven" stayed for 15 weeks. Here too, the single was presented with a Gold certification by the International Federation of the Phonographic Industry, for sales exceeding 25,000 copies in Switzerland. It was the 38th most-bought single in Switzerland in 1992. "Tears in Heaven" was also a major success for Clapton in his home country, the United Kingdom. The single reached number five on the charts, compiled by the Official Charts Company and spent a total of 14 weeks on the British charts, selling 140,000 copies in the first five weeks. Shortly after, the single was certified with a Gold disc by the British Phonographic Industry (BPI), for sales more than 400,000 copies in the country. With total sales of more than 300,000 copies by the end of 1992, "Tears in Heaven" reached number 56 on Great Britain's 1992 year-end chart.

In Australia, "Tears in Heaven" was a hit record despite charting in the lower positions of the ARIA Singles Chart. In 1992, the pop Reprise Records single placed itself at number 102 on Australia's year-end chart. However, in 1993, it would generate far more single sales, become Australia's 28th best-selling single alongside "Layla". In 1993, the single release was also certified with a Platinum record sales certification by the Australian Recording Industry Association (ARIA) for sales figures exceeding 70,000 physical units. In New Zealand, the single topped the country's single chart for the first five weeks on chart, and spent a total of 18 weeks on the country's single sales chart. On May 31, 1992 – just four weeks on chart in New Zealand – "Tears in Heaven" was certified with a Gold disc by the Recording Industry Association of New Zealand (RIANZ), commemorating the sale of more than 7,500 copies in the country.

Asia and South America
In Asia, "Tears in Heaven" was mostly successful in Japan, where the Reprise Records single stayed for a total of thirty-seven weeks on the nation's Hot 100 single sales chart, compiled by Oricon. Because "Tears in Heaven" was not released as a maxi single or part of a double A-side by Reprise or Warner Bros. Records in Japan, it was not eligible to chart on any other charts. While charting in Japan in 1992, the pop single release was certified with a triple Platinum disc by the Recording Industry Association of Japan (RIAJ), for sales overstepping the 300,000 sales mark. By the end of 1992, "Tears in Heaven" sold more than 389,000 units in Japan, however, not enough for a quadruple Platinum certification award. For the year-end closing of Oricon, it was revealed, the 1992 single release was the fortieth best-selling release on the Hot 100 Singles chart. On the summary of 1992's most-purchased international singles in Japan, "Tears in Heaven" reached number sixty-three. In Taiwan, the Recording Industry of Taiwan (RIT) awarded the single release with a Gold disc, for digital download sales exceeding more than 175,000 units in the country. On Taiwan's year-end chart of 2007, "Tears in Heaven" ranked at position seventy-seven. The song is also successful in South Korea, singers Kang Susie and Lisa Ha (Ha Soo-bin) once covered the song.

"Tears in Heaven" is Clapton's commercially most successful single release in South America to date, as it reached the single sales charts of three countries. In Argentina, the Reprise Records release topped the country's single charts, compiled by the Cámara Argentina de Productores de Fonogramas y Videogramas (CAPIF). Also, the pop tune topped the singles chart in Brazil, and reached the 1992 year-end charts, placing itself on number fourteen. In Brazil, the single release was certified with a Platinum disc for physical sales of more than 250,000 copies. It is Clapton's highest-selling single in Brazil, as "Change the World" was certified with a Gold disc, and a rare certification for any physical single, as the world's best-selling single "Candle in the Wind 1997" achieved similar sales figures. At last, "Tears in Heaven" peaked at number eight on Asociación Colombiana de Productores de Fonogramas (ASINCOL)'s physical format singles chart in Colombia. It also reached number thirty-eight on the country's year-end chart of 1992, compiled by ASINCOL, and is Clapton's only charting single in the country.

Legacy
Clapton made numerous public service announcements to raise awareness for childproofing windows and staircases. Clapton stopped performing "Tears in Heaven" in 2004, as well as the song "My Father's Eyes", stating: "I didn't feel the loss anymore, which is so much a part of performing those songs. I really have to connect with the feelings that were there when I wrote them. They're kind of gone and I really don't want them to come back, particularly. My life is different now. They probably just need a rest and maybe I'll introduce them for a much more detached point of view." Eventually, however, both songs would make it back into Clapton's regular setlists, with the latter being performed as recently as 2013, and the former in 2022.

Genesis wrote and recorded the song "Since I Lost You" for the 1991 We Can't Dance album. Phil Collins, a longtime friend and collaborator of Clapton's, said in interviews the song was inspired by Clapton's loss of Conor.

Dana Key wrote a song in response to "Tears in Heaven" and Clapton's loss of Conor titled "Dear Mr. Clapton" The song appears on Key's 1995 solo album Part of the Mystery.

Other performances
In January 2005, Ozzy Osbourne and Sharon Osbourne assembled an all-star cast to collaborate on "Tears in Heaven". Sales from the recording benefited the Disasters Emergency Committee's Tsunami Earthquake appeal and the tsunami victims in Southeast Asia. The line up included Gwen Stefani, Mary J. Blige, Pink, Slash, Duff "Rose" McKagan, Steven Tyler, Elton John, Phil Collins, Ringo Starr, Andrea Bocelli, Katie Melua, Josh Groban, Scott Weiland, Paul Santo, Robbie Williams, and Rod Stewart. Ozzy Osbourne and Kelly Osbourne also sang on the song.

title: Tears in Heaven


text:
File:FromBabelToDragomans.jpeg

 Fair Use rationale for From Babel to Dragomans as provided by the uploader:
 * This book cover is a single low resolution image of a book being treated in a non-profit online encyclopedia (Wikipedia) article which is seeking to advance knowledge and learning for the benefit of the public.

 * Purpose of the use:	 			Nonprofit educational purposes
 * Nature of the publication. 			Basic non profit encyclopedic article on the book
 * Amount of the work being used: 	 Low resolution image of the book cover
 * Effect on the market: 				Likely to book publishers's benefit

authors: ಮಲ್ನಾಡಾಚ್ ಕೊಂಕ್ಣೊ

title: File:FromBabelToDragomans.jpeg


text:
Noleta

Noleta is an unofficial name used to designate the unincorporated urban area between Goleta and Santa Barbara in California, United States. It is bounded on the east by Santa Barbara and Hope Ranch, on the west by Goleta, on the north by the Santa Ynez Mountains and on the south by the Pacific Ocean, and largely includes the zip codes 93105, 93110, and 93111. Approximately 30,000 people live in the area.

The area is called Noleta because of its history of voting "no" on incorporation with the City of Goleta (i.e. "no" to "Goleta"), and as a pun on the more famous neighborhood "North of Little Italy" in New York City. As it is unincorporated, the area is under county government administration. While Noleta has a history of voting "no" on incorporation, neither the City of Santa Barbara nor Goleta have attempted to annex the Noleta area. Both communities are reluctant to absorb the community because the area's tax base does not generate enough revenue to pay for the services it requires. Nevertheless, both cities compete to influence the community.

The reluctance of "Noleta-ers" to incorporate is largely based on a variety of reasons including:
 * reluctance to have a Goleta address
 * reluctance of some home owners to incur the regulatory restrictions of either Goleta or Santa Barbara
 * differing views on the numbers, density and siting of new housing in the area.

As an unincorporated area of Santa Barbara County, residents are addressed by the US Postal Service as Santa Barbara.

2005 events
The struggle between Goleta and Santa Barbara to include the area within their sphere of influence, usually the first step towards eventual annexation, took a new twist in May 2005, when residents of the area presented a petition to Santa Barbara City Hall with 4,150 signatures, requesting inclusion in Santa Barbara's sphere of influence. Goleta officials declared in June that they had no intention of serving people outside their official city boundaries, as opposed to Santa Barbara, which did. On September 1, 2005, the issue of the future sphere of influence over the "Noleta" area was discussed by the Santa Barbara City Council at City Hall in Santa Barbara.

On August 24, 2005, the Santa Barbara City Council unanimously backed a proposal to put the area officially under the city's sphere of influence. The only opposition to the proposal came from residents of mobile homes in the area, who worry that they could lose their rent protection, which they have under Santa Barbara County rules, but would potentially disappear under Santa Barbara City rules.

The petition drive to get Noleta included in the Santa Barbara sphere of influence was led by two committees, the "West Santa Barbara Committee" and the "Committee of One."

Prior to the 2008 recession, pressure to build new housing in the area had been intense, due to two reasons: the area contained the largest number of undeveloped parcels on the South Coast, and there was a general lack of affordable housing in the Santa Barbara area, as the median home price in 2005 had reached approximately 1.3 million dollars. In mid-October 2005, the Santa Barbara County Board of Supervisors authorized $43,000 to fund a growth outline for the area. Several large-scale housing projects were proposed by the county in the Noleta area, which were opposed by many local residents due to traffic and quality-of-life concerns.

News articles

 * "Noleta" residents gear up to defeat housing proposal
 * Noleta Local Guide to Cities

title: Noleta


text:
File:RaceAndSlaveryInTheMiddleEast.jpeg

 Fair Use rationale for the article Race and Slavery in the Middle East as provided by the uploader:
 * This book cover is a single low resolution image of a book being treated in a non-profit online encyclopedia (Wikipedia) article which is seeking to advance knowledge and learning for the benefit of the public.

 * Purpose of the use:	 			Nonprofit educational purposes
 * Nature of the publication. 			Basic non profit encyclopedic article on the book
 * Amount of the work being used: 	 Low resolution image of the book cover
 * Effect on the market: 				Likely to book publishers's benefit

authors: ಮಲ್ನಾಡಾಚ್ ಕೊಂಕ್ಣೊ

title: File:RaceAndSlaveryInTheMiddleEast.jpeg


text:
Budget of Germany

The public sector budget of Germany is divided among the administrative divisions of the country.

The Federal Statistical Office of Germany breaks down the 2023 general government budget into the following categories:

The International Monetary Fund reports Germany's government revenue and expenditure amounted to 47.0% and 49.5% of GDP in 2022.

In terms of accounting period, the national government's fiscal year aligns with the calendar year (1 January to 31 December).

Purpose
The primary purpose of the budget is to create an overview of the country's revenues and expenses for the following fiscal year or years. Since the budget is based on past expenditures, it is merely a prediction of the future which can lead to unexpected budget deficits as the fiscal year progresses. In the short term, such deficits are commonly financed by borrowing money which has led to the significant long-term debt of the German federal government.

Procedure
The Bundestag passes the budget as an addendum to the annual or bi-annual budget act (Art. 110, Basic Law). Revenues and expenses are separated by ministries and other administrative entities.

Budget guidelines
Specific guidelines established by law govern the creation of the budget. Specifically, these are:
 * 1) Completeness: the budget must include all instances of revenues and expenditures separately.
 * 2) Clarity: the budget must be organized along ministry and functional lines.
 * 3) Unity: the budget must include all revenues and expenditures
 * 4) Accuracy: revenues and expenditures must be estimated based on actual fair market value or expected values. To avoid manipulations, such estimates are conducted by a separate official body.
 * 5) Historical Succession: the budget must be enacted before the fiscal year starts. If there is no budget for the current fiscal year, the previous budget continues in effect.
 * 6) Specificity: expenditures must be designated as falling into a specific area, at a specific time, and at a specific level.
 * 7) Publicity: all debates on the budget in the Bundestag as well as the final enacted budget are publicly available and accessible. Some expenditures, however, may be classified with appropriate restrictions on who can access information on those.

Example budget
The federal budget for 2021 is €369.3 billion. With total government spending of €1.76 trillion in 2021, the federal budget comprises only a fraction of total public sector spending in Germany.

Germany's budget for the 2005 fiscal year can be found below, which also outlines the basic budget structure.
 * Notes

title: Budget of Germany


text: Category:Telemundo affiliates

title: Category:Telemundo affiliates


text:
Wonderful Tonight

"Wonderful Tonight" is a ballad written by Eric Clapton. It was included on Clapton's 1977 album Slowhand which is his most popular album. Clapton wrote the song on his 1974 Martin D-28 guitar about Pattie Boyd. The female vocal harmonies on the song are provided by Marcella Detroit (then Marcy Levy) and Yvonne Elliman. The song is his most popular download on Spotify with more than 480,000,000 streams.

Background
On 7 September 1976, Clapton wrote "Wonderful Tonight" for Boyd while waiting for her to get ready to attend Paul and Linda McCartney's annual Buddy Holly party. The song is mentioned in her autobiographical book Wonderful Today.

Reception
Billboard described "Wonderful Tonight" as "perhaps Clapton's prettiest and mellowest love ballad in some time." Billboard particularly praised Clapton's guitar playing during the interludes. Cash Box said that "Eric’s singing is superbly understated; the guitar work is simple and evocative" and praised "the gentle beat and organ accompaniment." Record World called it a "light, pretty ballad from [the album] that should also move quickly up the charts" and praised Clapton's singing."

Personnel

 * Eric Clapton – lead vocals, guitar
 * Jamie Oldaker – drums, percussion
 * Carl Radle – bass guitar
 * Dick Sims – Fender Rhodes, Hammond organ
 * George Terry – guitar
 * Yvonne Elliman – harmony and backing vocals
 * Marcy Levy – harmony and backing vocals

Performance
In 1988, Clapton appeared in the Nelson Mandela 70th Birthday Tribute concert as a guest guitarist for Dire Straits. The group became his backing musicians for a surprise performance of "Wonderful Tonight" during their set.

Damage version
British R&B group Damage covered "Wonderful Tonight" and released it as the fifth single from their debut studio album, Forever (1997), in April 1997. The single peaked at number three on the UK Singles Chart, becoming the band's highest-charting single. The song is prominently performed by Coreé Richards, with little vocal input from any other members of the band. The music video features the band performing the song in a recording studio with cut scenes of a girl preparing to go on a night out. The B-side, "I'm Ready", launched the career of Craig David, being the first song he had ever written to be released by himself or another artist.

Track listings

 * UK CD1
 * 1) "Wonderful Tonight"
 * 2) "I'm Ready" (Bromfield, Richards, Simpson, Jones, Harriott, Craig David)
 * 3) "Wonderful Tonight" (Ethnic Boyz Mix)

 * UK CD2
 * 1) "Wonderful Tonight" (acoustic mix)
 * 2) "Just My Imagination" (Whitfield, Strong)
 * 3) "Love II Love" (acoustic mix)

 * UK cassette single
 * 1) "Wonderful Tonight"
 * 2) "I'm Ready" (Bromfield, Richards, Simpson, Jones, Harriott, David)

Charts
Weekly charts

Year-end charts

David Kersh version
"Wonderful Tonight" was covered by country singer David Kersh in 1998. His version went to number 29 on the Hot Country Songs chart.

Butch Baker version
The song was covered by country music singer Butch Baker, whose rendition reached number 66 on the Billboard Hot Country Songs chart in 1989.

title: Wonderful Tonight