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Langley Mill Pottery

Langley Mill Pottery was located in Langley Mill, Derbyshire on the Derbyshire – Nottinghamshire border. From its establishment in 1865 to its final closure in 1982, the pottery went through five distinct periods of ownership, producing a wide range of stoneware ranging from salt glazed ink bottles, utilitarian items and tableware to high quality and original art pottery.

Calvert Period – 1865 to 1883
In 1865, James Calvert, a chemist and druggist from Belper, Derbyshire, established the Langley Mill pottery on the site of a former brick-works. The company was known at that time as James Calvert. Historically, this area was already one of the major producers of stoneware pottery due to its location over the Derbyshire – Nottinghamshire Coal Field and several other stoneware potteries were already operational at that time. The local Coal Measures, as well as providing a ready source of fuel, were often associated with deposits of reddish clay, which proved to be highly suitable for the production of stoneware. It is therefore likely that Calvert chose the site for the new pottery with this in mind, although the close proximity of the Midland Railway and the Erewash Canal also afforded the prospect of excellent transport links.

In the 1870s, James Calvert entered into a short lived partnership with another Belper chemist and druggist, William Peter Adshead, to form Calvert & Adshead. Around 1880, after an unsuccessful attempt to sell the business, James Calvert went into partnership with his son, William Henry Calvert, the pottery then being called J. Calvert & Son.

The initial products of the pottery were items such as salt glazed inkpots, ginger beer bottles, polish pots, pitchers, jugs and mugs etc. These items were produced both for Calvert's own chemist and druggist business as well as being supplied to other similar businesses.

Calvert & Lovatt Period – 1883 to 1895
In 1883, Albert Lovatt and his brother, John Lovatt entered into partnership with William Calvert and the pottery's name was changed to Calvert and Lovatt. Both Lovatt brothers were born in Belper, Derbyshire and had previously been employed as potters at the nearby and larger Denby Pottery, operated by Joseph Bourne & Son.

The new partnership at Langley Mill resulted in the development and introduction of new ranges of art wares. These were designed and decorated by artists employed by the pottery such as Mary Helen Goodyer (c1856–1941), George Leighton Parkinson (1864–1938) and William Calvert's second daughter, Eleanor "Daisy" Calvert (1874–1925). In 1895 William Calvert left the pottery, dissolving his partnership with the Lovatt brothers and effectively ending the production of art ware pottery at Langley Mill. The detailed reasons for his departure are not known, but the general difficulties experienced by the pottery industry during the 1890s and the possible disappointing profitability of the Langley art ware due to its relatively high production costs, may have been significant factors. After Calvert's departure, the company was renamed Lovatt & Lovatt.

Wares from the Calvert & Lovatt Period
The output during this period was perhaps the most accomplished to come out of the pottery at any period and included a great variety of vases, bowls, jardinières, fern pots, pot pourri and other similar decorative items - as well as the usual domestic and utilitarian items. Typical decoration of art ware pieces at this time by Helen Goodyer consisted of intricate incised designs, usually with a botanical theme, executed through one or more layers of previously applied coloured slip. George Leighton Parkinson designs also utilised incised patterns, often in conjunction with painted scenes. Typically the subjects of these miniature painted scenes were English pastoral scenes or various famous landmarks, such as the ruins of Tintern Abbey. Often, gilding was also applied to the incised designs.

Art Wares produced at this time were usually marked on the base with an impressed "Langley Ware" mark, in a variety of designs. Occasionally, the artist concerned would also monogram some of the higher quality pieces. However, many pieces which were produced at Langley Mill seem to have no marks at all.

Lovatt & Lovatt Period - 1895 to 1930
The period from the turn of the 19th century to the end of World War I (1914–1918) was a period of unparalleled prosperity, innovation and expansion for the Langley Mill Pottery, with the proprietors becoming increasingly affluent and influential. In 1913, following Albert Lovatt's death, the pottery was converted into a private limited company, Lovatt & Lovatt Ltd. with John Lovatt and Bert Lovatt (Albert's second son) as joint chairman and managing director. Reginald, (Albert's third son) also joined the management of the company around this time. Unfortunately, after 1918, the post-war depression began to seriously affect the profitability of the pottery, a situation not helped by a period of apparently weak management.

By 1923, the profitability of the pottery had declined significantly further, with the Directors being forced to take large cuts in their salaries. According to the liquidator's affidavit, Lovatt & Lovatt Ltd ceased to be profitable from 1925; and, by 1930 had total liabilities of £15,230.

Finally, following the death of John Lovatt the previous year, the company went into voluntary liquidation on 18 July 1930. This ended the involvement of the Lovatt family in the affairs of the Langley Mill Pottery, although the Lovatt name did continue to be used by successive owners of the business.

Wares from the Lovatt & Lovatt Period
Despite the departure of Calvert, the cessation in the production of art ware proved to be only temporary and by the end of 1896, George Leighton Parkinson rejoined the company to head the Art Department. Art ware was always produced alongside the output of more mundane items and never constituted a major proportion of the pottery's output. In 1897, the production of decorated stoneware vases, pots and other items began again, although the output was not as fine as during the Calvert & Lovatt period as the emphasis was now on ease of production. Several ingenious methods to reduce production costs which did not result in a fall in quality were introduced, particularly in the area of decoration, resulting in the granting of Patent No. 8687 to the pottery in 1908. By 1905, lead had also been eliminated from the glazes used.

Examples of wares from this period are Mycovera Ware, Applique Ware and Lovique Ware. By 1903, the New Art Ware was in production, consisting of hand-painted impasto flowers on a matt glaze background. The years between 1903 and 1909 also saw the introduction of additional domestic wares including Daisy Ware, Princess Ware, Green Fireproof Ware, Myrtle Ware, Royal Blue Ware and Osborne Ware.

Oakes Period – 1931 to 1959
In 1931, the Pottery was acquired as a subsidiary of James Oakes & Co. (Riddings) Ltd. and renamed Lovatts Potteries Ltd. One of the first actions of the new ownership was to introduce a substantial programme of modernisation, including the installation of a gas-fired Dressler Kiln to replace the old Round Kilns. The Dressler kiln allowed the continuous production of ware, and was much more efficient in both fuel and labour than the traditional round kilns.

New ranges of distinctive domestic wares were quickly introduced including Marlborough, Sapphire, Rosslyn, Mavis and Hotspot. Production of the old Lovatt & Lovatt decorative and art wares mostly ceased and gilding was no longer used. At this time, the use of local clays was phased out and substituted by clays from Devon and Cornwall.

Wares from the Oakes Period
Production of the pottery at this time was principally domestic wares, but also included a considerable assortment of animal figures and also many utility items such as foot-warmers. It is at this time that the Langley "Windmill" trademark first appears. During World War II, (1939–1945), all art ware production ceased and the pottery output was switched to the manufacture of items for various UK Government Departments and products such as the very utilitarian General Household Brown Ware.

During the 1950s the pottery brought out a series of more colourful ranges, in particular, Barbecue Ware, Casino, Roulette and Lime Grove. Despite being critically acclaimed by the Council of Industrial Design, these wares unfortunately did not prove to be popular with the public and by 1958 the pottery was once again unprofitable. James Oakes & Co. therefore had no alternative but to put the pottery up for sale.

Denby Period – 1959 to 1982
During this time, another major stoneware pottery at neighbouring Denby, Derbyshire (Joseph Bourne & Son) was experiencing difficulties in meeting orders on time due to some technical problems, a lack of production facilities and skilled labour. Joseph Bourne & Son therefore bought the Langley Mill pottery in October 1959, for a reported £25,000. This merger was also seen as a means of preventing the Langley Mill pottery from falling into the hands of Denby's competitors.

The purchase of the Langley Mill pottery by Denby resulted in a merger of two of the larger producers of domestic stoneware in England. Initially, the two potteries were operated as two separate entities, with their own sales policies and distribution systems remaining unchanged.

However, in terms of product lines, the new owners wished to impose a new direction on the Langley Mill pottery, placing a greater emphasis on the production of high quality kitchen ware and giftware. This period therefore saw a considerable number of new stoneware product ranges, some of which were targeted specifically at the American market.

In 1967 the name of the pottery was changed yet again to Langley Pottery Ltd. Principal designers during this period were the father and son team of Albert and Glyn Colledge and also Gill Pemberton and Thelma Hague. In 1976 the decision was made to unite the two potteries under a single name, so the Langley Pottery Ltd. and Joseph Bourne & Son collectively became Denby Tableware Ltd.

By the end of the 1970s, the two potteries were beginning to report annual losses, with the result that they were both sold to the Crown House group of companies. One of the first decisions of the new owners was that the Langley Mill site should be closed and production transferred to Denby. The final design to be produced at Langley Mill was "Falling Leaves", an oven-to-table ware designed by Thelma Hague.

Closure
Langley Mill pottery was closed in December 1982 with a special commemorative plate being produced to mark the last firing of the kiln and the sad end of 117 years of stoneware production. The site was eventually sold and the remaining buildings demolished in 1987. In 1997, the site was redeveloped and is now a small retail park.

In 1987, the ownership of the remaining Denby pottery changed again, being purchased by the Coloroll Group, but in 1990, as a result of a management buy-out, it once again became an independent pottery, trading as Denby Pottery Company Limited and in 1994 was floated on the London Stock Exchange. It is still producing high quality stoneware today.

title: Langley Mill Pottery


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User:Daduzi

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

title: User:Daduzi


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Roman Catholic Diocese of Jaipur

The Roman Catholic Diocese of Jaipur (Dioecesis Iaipurensis) in India was created on 20 July 2005, when the Diocese of Ajmer and Jaipur was split. It is a suffragan diocese of the Archdiocese of Agra. The parish church Our Lady of the Annunciation at Malviya Nagar is now the cathedral for the diocese.

The diocese covers 21 districts of the state of Rajasthan. Neighboring dioceses are the Diocese of Ajmer to the south, the Archdiocese of Delhi, the Diocese of Jalandhar and the Diocese of Simla-Chandigarh to the north, the Archdiocese of Agra and the Diocese of Gwalior to the east and Pakistan to the west.

Leadership

 * Oswald Lewis (20 July 2005 – 22 April 2023)
 * Joseph Kallarackal (22 April 2023 – present)

title: Roman Catholic Diocese of Jaipur


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São Lourenço, Minas Gerais

São Lourenço (Saint Lawrence) is a Brazilian municipality and spa town in the southern part of the state of Minas Gerais, in the Southeast of the country. It is one of the smallest Brazilian municipalities, with only 57.2 km2 (22.1 sq. mi), and is located at an equal distance - approximately 3.5h - from two major cities, São Paulo and Rio de Janeiro.

São Lourenço has a yearly mean temperature of 18 °C. In the winter the lows can reach 0 °C, sometimes with heavy frost.

The region has occasionally been affected by flooding; the most severe occurred in 1940, 1986, 1990 and 2000. In January 2000, heavy storms caused the waters of Rio Verde to rise more than 4.5m, leaving parts of the city underwater, including the city centre and the municipal park where the mineral water fountains are located.

Tourism is the main economic activity of the city although it has also become the regional hub for shopping, medical care, and banking. The city is served by Comte. Luiz Carlos de Oliveira Airport.

Throughout the year, several events take place in Sao Lourenço. They include the International Choir Festival, Cachaça Festival - cachaça is a hard liquor distilled from sugar cane juice, Winter Festival, Street Carnaval, Orchid Exhibits, Megacycle (a motorcyclists gathering), Vintage/Classic Cars Expo, a Hot Air Balloonists gathering, as well as several conferences of large Brazilian organizations.

In the beginning of August, the city celebrates its patron saint, Saint Lawrence, with a ten-day festival that includes live music, traditional food, and fireworks.

Climate
São Lourenço has a humid subtropical climate (Köppen: Cwa) with rainy summers and warm, dry winters.

title: São Lourenço, Minas Gerais


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Department of Justice (Hong Kong)

The Department of Justice (DoJ), is the department responsible for the laws of Hong Kong headed by the Secretary for Justice. Before 1997, the names of the department and the position was the Legal Department and Attorney General  respectively. The Department of Justice provides legal advice to other departments in the government system, “drafts government bills, makes prosecution decisions, and promotes the rule of law”.

History
In March 2021, after 15 of 47 pro-democracy figures were granted bail by a court, the DoJ immediately filed an appeal, sending the 15 people back to their detention cells.

Also in March 2021, Hong Kong Free Press reported that 3 defendants were acquitted of rioting because they were not physically present at the riot, with the DoJ later complaining to the Court of Final Appeal that the acquittal was erroneous and that people could still be participants in a crime even if not physically present, such as by using social media and pressing the "like" button.

In April 2021, a spokesman for the DoJ commented on US ambassador Hanscom Smith's criticism of Hong Kong's arrest of Jimmy Lai, claiming that "It is regrettable to note that the convictions have drawn unfair criticisms with political overtones. Any assertion to suggest that 'Beijing [is] eroding Hong Kong's freedoms' is totally baseless."

Separately in April 2021, the DoJ asserted that in cases involving the national security police, the police would be exempt from laws that cover the search and seizure of journalists' material. In response, the Hong Kong Journalists Association said that the move would make it more difficult for journalists to protect their sources.

Also in April 2021, after the sentencing of Jimmy Lai and other pro-democracy figures drew criticism from overseas politicians, the DoJ released a statement saying that though the government attaches great importance to rights and freedom, those freedoms are not absolute.

In December 2022, the DoJ said criticisms were "far from the truth" when the CEO of Maxwell Chambers said "Hong Kong, in particular, was one place where some parties with very long-term contracts avoided putting it as the seat of arbitration, due to uncertainty about the legal environment after Hong Kong returned to China, even with assurances of 50 years of self-government and freedom of speech."

In August 2023, after the High Court blocked the DoJ from banning the song Glory to Hong Kong, the DoJ appealed and claimed that the Chief Executive should have more power than the courts, for national security matters.

Organisation

 * Secretary for Justice's Office
 * Prosecutions Division (Hong Kong) - headed by the Director of Public Prosecutions, handles prosecutions in the majority of appeals and trials in the Court of First Instance and District Court.
 * Civil Division - headed by the Law Officer (Civil Law), provides legal advice on civil law to all Government bureaux and departments and represents the Government both as solicitors and as barristers in all civil litigation, including arbitrations
 * Legal Policy Division - servicing the needs of the Solicitor General, and giving legal policy advice in respect of matters currently being considered by the Government
 * Law Drafting Division - is responsible for drafting almost all legislation, and all Government subsidiary legislation
 * International Law Division - is headed by the Law Officer (International Law) and provides advice on public international law to the Government and negotiates, or provides legal advisers on negotiations, for bilateral agreements. Also handles mutual judicial assistance matters.
 * Administration and Development Division - is headed by the Director of Administration and Development

Offices

 * Justice Place - current
 * 23rd Floor, High Block, Queensway Government Offices - former

title: Department of Justice (Hong Kong)


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Groove Is in the Heart

"Groove Is in the Heart" is a song by American dance band Deee-Lite, released in August 1990 by Elektra as their debut and lead single from their first album, World Clique (1990). Written and produced by the band, it was a hit in many countries, reaching number-one in Australia and on both the Canadian RPM and US Billboard dance charts. Today it is widely recognized as a classic of its genre. It was accompanied with a psychedelic 60s-themed music video.

Background
Though the album version was not recorded until 1990, the song was originally written in the late 1980s; it was performed live as early as 1989. The backing track was built around many samples, primarily the main riff from Herbie Hancock's track "Bring Down the Birds" from the Blowup soundtrack and Vernon Burch's "Get Up", which provided the drum track and also formed the basis for the breakdown featuring a slide whistle. Parliament-Funkadelic bassist Bootsy Collins provided guest vocals, and the rap is provided by Q-Tip of A Tribe Called Quest.

Music video
The music video for Groove Is in the Heart was directed by Hiroyuki Nakano and features lead singer Lady Miss Kier dancing (as well as other band members) against a 1960s psychedelic themed background. It was nominated for a number of categories at the 1991 MTV Video Music Awards without winning any.

Chart performance
An immediate smash in nightclubs, the song went to number-one on the US Hot Dance Club Play chart and also hit number four on the Billboard Hot 100. It peaked at number-one for one week in Australia in November 1990, while it reached number two in New Zealand.

In the UK, the record was equally popular and was released as a double A-side with "What Is Love", and, with the UK single released with the subtitle "peanut butter mix" (because the single was heavily edited and completely omitted the contributions by Bootsy Collins and Q-Tip), it eventually reached number two during September 1990. Its placing second was due to a rule instituted in the UK Singles Chart in the 1980s, which settled any "ties" over chart positions due to equal sales: the single with sales that had increased most from the previous week would reside above the other, controversially giving "The Joker" by the Steve Miller Band the top place. Following complaints from Deee-Lite's record company, WEA, the rule, of which this song had been the only victim, was scrapped and joint positions were once again allowed. However, it turned out that the 2,595 panel sales that both records achieved for this week of September 15, 1990, had been rounded up, with chart compilers Gallup later releasing the data that showed that the Steve Miller Band hit was indeed a fraction ahead, Deee-Lite having been narrowly defeated by 44,118 to 44,110 copies. "The Joker" spent a second week at the number-one spot and thereafter convincingly outsold "Groove Is in the Heart". It did however hit number one on The Network Chart Show and ITV's Chart Show both of which monitored an earlier cut off period.

In Europe, the single entered the top 10 also in Finland (9), Greece (3), Ireland (8), Italy (7), the Netherlands (10) and Spain (8), as well as on the Eurochart Hot 100 Singles, where it peaked at number five in September 1990. Additionally, it was a top 20 hit in Belgium (19), Germany (17) and Switzerland (13), while it peaked within the top 30 in Austria (25). "Groove Is in the Heart" earned a gold record in the US, after 500,000 singles were sold. In Australia and the UK, it earned a platinum record, when 70,000 and 600,000 units, respectively, were sold.

Critical reception
Upon the release, J.D. Considine from The Baltimore Sun found that "Groove Is in the Heart" "bounces happily from rap to funk to house without losing either momentum or its sense of humor." Bill Coleman from Billboard wrote, "Sometimes you can believe the hype. Hot New York City underground dance trio more than lives up to prerelease push with this sizzling groove'n'sample funk jam, kicked into gear by the sultry and charismatic vocal presence of future diva Lady Miss Kier." He also added, "'Groove' is, well, very groovy. A house-paced track with a hip-hop sensibility." Bevan Hannan from The Canberra Times described the song as "good fun". David Giles from Music Week said it's a "fine single". He added, "Pure Seventies funk with a Nineties groove." Helen Mead from NME stated that it is "playfully funky". A reviewer from People Magazine noted it as "hopping". Ross Grady from The Rice Thresher said it is "one of the creamiest slabs of vinyl ever to come from the house music scene." Caroline Sullivan from Smash Hits wrote that the "ripping floor filler" has "got the samples and twiddly electronoises so necessary for dancefloor success nowadays, but there's also a hummable melody and sense of humour about it all." NME and The Village Voice's Pazz & Jop annual critics' poll named "Groove Is in the Heart" the best single released in the year 1990.

Retrospective response
AllMusic editor Ned Raggett wrote in his review of World Clique, "Its reputation may rest on only one hit single – but what a hit. 'Groove Is in the Heart' defined the summer of 1990 on radio and MTV with its delicious combination of funk, modern dance sheen, and Lady Miss Kier's smart, sharp diva ways. Add in guest vocals and bass from Bootsy Collins (a pity his hilarious video cameo wasn't represented here), brass from the original Horny Horns duo of Fred Wesley and Maceo Parker, and a smooth mid-song rap from A Tribe Called Quest's Q-Tip, and the results sounded good then and now." In 2017, Stopera and Galindo from BuzzFeed declared it as a "perfect little slice of the early '90s New York club scene." NME called it a "pretty faultless collage of G-Funk, Daisy Age hip-hop, salsa and dippy disco." In 2006, Slant Magazine ranked the song third in its 100 Greatest Dance Songs list, writing: "No song delivered the group's world-conscious Word as colorfully and open-heartedly as 'Groove Is in the Heart,' which flew up the Billboard charts while goosing stuffed shirts."

Impact and legacy
In 2003, Q Magazine ranked "Groove Is in the Heart" number 323 in their list of the "1001 Best Songs Ever". VH1 ranked it number 67 in their list of "100 Greatest Songs of the 90s" in 2007. Pitchfork named it the 59th best track of the 1990s. They wrote: "With their sass-tastic frontwoman and kitsched-to-death fashion sense, Deee-Lite probably seemed like a good bet at a time when pop's future was still up for grabs. If you were a kid in the 'burbs, they almost resembled a Daisy Age hip-hop group (the day-glo/flower-power look, the Q-Tip guest rap) as much as a house act (a strange urban subculture we had little access to in junior high)."

In 2011, The Guardian featured the song on their "A history of modern music: Dance". In April 2017 the single was re-released on pink vinyl, as part of Record Store Day with remixes of "What Is Love?" on the B-Side. BuzzFeed ranked the song number three in their "The 101 Greatest Dance Songs of the '90s" list in 2017.

In 2018, Time Out ranked it number 23 in their list of "The 100 best party songs", adding, "In this tale of New York's anything-is-possible East Village of the late '80s, a trio of candy-coloured club kids – Super DJ Dmitri, Lady Miss Kier and Towa Tei – decide to form a band. The threesome (with a little help from ringers Q-Tip, Maceo Parker and Bootsy Collins) come up with 'Groove Is in the Heart', a sweetly innocent percolator of a tune that, against all odds, becomes the worldwide club smash of 1990. True story!"

In 2021, Rolling Stone ranked "Groove Is in the Heart" number 233 in its updated list of The 500 Greatest Songs of All Time, calling it "a collage across different generations of funkateers."

In 2022, The Guardian ranked it number 18 in their list of "The 70 Greatest No 2 Singles – Ranked!". Alexis Petridis wrote, "If they’d had another song remotely as good as "Groove Is in the Heart"’s stew of samples, effortless pop melodies and interjections from Bootsy Collins and Q-Tip, Deee-Lite would have been huge. They didn’t, but this joyous pop-disco classic will be played at parties for eternity." In 2023, Billboard ranked it number 68 in their "500 Best Pop Songs of All Time".

Accolades
(*) indicates the list is unordered.

Track listings

 * CD maxi – Europe
 * 1) "Groove Is in the Heart" (meeting of the minds mix) – 5:14
 * 2) "Groove Is in the Heart" (peanut butter mix) – 3:31
 * 3) "What Is Love?" (holographic goatee mix) – 4:10
 * 4) "What Is Love?" (rainbow beard mix) – 4:04

 * CD maxi – US
 * 1) "Groove Is in the Heart" (LP version) – 3:55
 * 2) "Groove Is in the Heart" (peanut butter radio mix) – 3:32
 * 3) "Groove Is in the Heart" (meeting of the minds mix) – 5:14
 * 4) "Groove Is in the Heart" (Jelly Jam beats) – 2:12
 * 5) "What Is Love?" (holographic goatee mix) – 4:13
 * 6) "What Is Love?" (frenchapella) – 0:57
 * 7) "What Is Love?" (rainbow beard mix) – 4:03

 * 2017 Record Store Day Re-Release
 * A1. "Groove Is in the Heart" (Meeting of the Minds mix)
 * A2. "Groove Is in the Heart" (Peanut Butter mix)
 * A3. "Groove Is in the Heart" (Jelly Jam Beats)
 * B1. "What Is Love?" (Holographic Goatee mix)
 * B2. "What Is Love?" (Frenchapella)
 * B3. "What Is Love?" (Rainbow Beard mix)

 * 7-inch single
 * 1) "Groove Is in the Heart" (peanut butter mix) – 3:29
 * 2) "What Is Love?" (holographic goatee mix) – 4:10

 * 12-inch maxi
 * 1) "Groove Is in the Heart" (meeting of the minds mix) – 5:10
 * 2) "Groove Is in the Heart" (peanut butter mix) – 3:29
 * 3) "What Is Love?" (holographic goatee mix) – 4:10
 * 4) "What Is Love?" (rainbow beard mix) – 4:02

 * Digital single
 * 1) "Groove Is in the Heart" – 3:54
 * 2) "Groove Is in the Heart" (Bootsified to the Nth Degree) – 5:04
 * 3) "Groove Is in the Heart" (Meeting the Minds Mix) – 5:10
 * 4) "Groove Is in the Heart" (Peanut Butter Mix) – 3:29
 * 5) "Groove Is in the Heart" (Jelly Jam Beats) – 2:12
 * 6) "Groove Is in the Heart" (Instrumental) – 3:45
 * 7) "Groove Is in the Heart" (Acapella) – 3:38
 * 8) "Groove Is in the Heart" (Extended Version) – 4:59

Performers
Credits adapted from the album liner notes for World Clique.
 * Lady Miss Kier – lead and background vocals
 * Q-Tip – rap
 * Bootsy Collins – background vocals
 * Maceo Parker – saxophone
 * Fred Wesley – trombone

Cover versions
American retail chain Target Corporation used the song, as performed by Charli XCX with Questlove and Black Thought from the Roots, in a series of 2015 television advertisements.

title: Groove Is in the Heart


text:
Paint It Black

"Paint It Black" is a song by the English rock band the Rolling Stones. A product of the songwriting partnership of Mick Jagger and Keith Richards, it is a raga rock song with Indian, Middle Eastern and Eastern European influences and lyrics about grief and loss. London Records released the song as a single on 7 May 1966 in the United States, and Decca Records released it on 13 May in the United Kingdom. Two months later, London Records included it as the opening track on the American version of the band's 1966 studio album Aftermath, though it is not on the original UK release.

Originating from a series of improvisational melodies played by Brian Jones on the sitar, the song features all five members of the band contributing to the final arrangement although only Jagger and Richards were credited as songwriters. In contrast to previous Rolling Stones singles with straightforward rock arrangements, "Paint It Black" has unconventional instrumentation, including a prominent sitar, the Hammond organ and castanets. This instrumental experimentation matches other songs on Aftermath. The song was influential to the burgeoning psychedelic genre as the first chart-topping single to feature the sitar, and widened the instrument's audience. Reviews of the song at the time were mixed, and some music critics believed its use of the sitar was an attempt to copy the Beatles, while others criticised its experimental style and doubted its commercial potential.

"Paint It Black" was a major chart success for the Rolling Stones, remaining 11 weeks (including two at number one) on the US Billboard Hot 100, and 10 weeks (including one atop the chart) on the Record Retailer chart in the UK. Upon a reissue in 2007, it reentered the UK Singles Chart for 11 weeks. It was the band's third number-one single in the US and sixth in the UK. The song also topped charts in Canada and the Netherlands. It received a platinum certification in the UK from the British Phonographic Industry (BPI) and from Italy's Federazione Industria Musicale Italiana (FIMI).

"Paint It Black" was inducted into the Grammy Hall of Fame in 2018, and Rolling Stone magazine ranked the song number 213 on their list of the 500 Greatest Songs of All Time. In 2011, the song was added to the Rock and Roll Hall of Fame's list of "The Songs that Shaped Rock and Roll". Many artists have covered "Paint It Black" since its initial release. It has been included on many of the band's compilation albums and several film soundtracks. It has been played on a number of Rolling Stones tours.

Background
In 1965, popularity of the Rolling Stones increased markedly with a series of international hit singles written by lead singer Mick Jagger and guitarist Keith Richards. While 1964 saw the band reach the top of both the albums and singles charts in their native United Kingdom, other bands from Britain dominated the American market, such as the Beatles. In 1965, the Stones crossed over to the American market with their first number one single, "(I Can't Get No) Satisfaction", and first number one album Out of Our Heads. That year also saw the Stones reach the top of the charts for the first time in countries such as Finland, Germany, and South Africa.

This success attracted the attention of Allen Klein, an American businessman who became their US representative in August while Andrew Loog Oldham, the group's manager, continued in the role of promoter and record producer. One of Klein's first actions on the band's behalf was to force Decca Records to grant a $1.2 million royalty advance to the group, bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars. Their October–December 1965 tour of North America was the group's fourth and largest tour there up to that point. According to the biographer Victor Bockris, through Klein's involvement, the concerts afforded the band "more publicity, more protection and higher fees than ever before."

By this time, the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles, in comparison to whom they had long been promoted by Oldham as a rougher alternative. With the success of the Jagger–Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the musical and cultural influence of the Beatles, and began to be identified as one of the major pillars of the British Invasion. The Stones' outspoken, surly attitude on songs like "Satisfaction" alienated the Establishment detractors of rock music, which music historian Colin King explains, "only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world – an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on."

Development
"Paint It Black" came at a pivotal period in the band's recording history. The Jagger–Richards songwriting collaboration had begun producing more original material for the band over the past year, with the early model of Stones albums featuring only a few Jagger–Richards compositions having been replaced by that of albums such as Out of Our Heads and December's Children (and Everybody's), each of which consisted of half original tracks and half cover songs. This trend culminated in the sessions for Aftermath (1966) where, for the first time, the duo penned every track on the album. Brian Jones, originally the band's founder and leader over the first few years of its existence, began feeling overshadowed by the prominence of Jagger and Richards' contributions to the group.

Despite having contributed to early songs by the Stones via the Nanker Phelge pseudonym, Jones had less and less influence over the group's direction as their popularity grew primarily as a result of original Jagger–Richards singles. Jones grew bored attempting to write songs with conventional guitar melodies. To alleviate his boredom, he began exploring Eastern instruments, specifically the Indian sitar, with a goal to bolstering the musical texture and complexity of the band's sound. A multi-instrumentalist, Jones could develop a tune on the sitar in a short time; he had a background with the instrument largely from his studies under Harihar Rao, a disciple of Ravi Shankar.

Over 1965, the sitar had become a more and more prominent instrument in the landscape of British rock. The Yardbirds had attempted to record "Heart Full of Soul" with the sitar as part of the arrangement in April; however, they had run into problems getting the instrument to "cut through" the mix, and the session musician responsible for playing the instrument had trouble staying within the 4/4 time signature of the song. Ultimately, the final version of "Heart Full of Soul" featured a fuzz guitar in place of the sitar, although the song's distinctively Indian timbre remained. Following similar Indian-influenced experimentation by the Kinks on "See My Friends" that nonetheless still used guitar as the primary instrument, the first British band to release a recording featuring the sitar was the Beatles, with "Norwegian Wood (This Bird Has Flown)" released that December on the album Rubber Soul. Following a discussion with the Beatles' lead guitarist George Harrison, who had recently played the sitar on the sessions for "Norwegian Wood" in October 1965, Jones began devoting more time to the sitar, and began arranging basic melodies with the instrument. One of these melodies morphed over time into the tune featured in "Paint It Black".

Writing and recording
Jagger and Richards wrote the lyrics and much of the chord progression of "Paint It Black" during the first group of sessions for the then untitled Aftermath the previous December, and while on the 1966 Australian tour. Initially, the first group of sessions were to be released as an album by themselves, then titled Could You Walk on the Water? In mid-January 1966, the British press announced that a new Rolling Stones LP carrying that title would be released on 10 March. In Rolling with the Stones, Wyman refers to the announcement as "audacity" on Oldham's part. A Decca spokesman said the company would not issue an album with such a title "at any price"; Oldham's idea upset executives at the company's American distributor, London Records, who feared the allusion to Jesus walking on water would provoke a negative response from Christians.

The title controversy embroiled the Stones in a conflict with Decca, delaying the Stones' next studio album's release from March to April 1966. The delay, however, gave the Stones more time to record new material for the upcoming album, which had now been retitled Aftermath. Upon their return from Australasia, it was one of the new songs worked on for the revised new album. "Paint It Black" was recorded as the Stones had begun to take more time recording their material. Referring to the atmosphere of the Stones' sessions at the time, Richards told Beat Instrumental magazine in February 1966: "Our previous sessions have always been rush jobs. This time we were able to relax a little, take our time." Sound engineer Dave Hassinger recorded the song on 6 and 9 March 1966 at RCA Studios in Los Angeles. Andrew Loog Oldham produced the track, as with all of the Stones' recordings until 1967. Both the single's US and UK B-sides were also recorded on these dates, as were a majority of album tracks for Aftermath.

"Paint It Black" follows a simple verse form that lacks a refrain. It starts with five consecutive 16-bar verses before relaxing into a chanted section and finishing in a frantic coda. The song was written originally as a standard pop arrangement in a minor key similar to "The House of the Rising Sun", which Jagger humorously compared to "songs for Jewish weddings". The Stones were dissatisfied with this version and considered scrapping the song altogether. During a session break, Bill Wyman twiddled with a Hammond organ in search of a heavier bass sound; Wyman's playing inspired the uptempo and Eastern melody. The sitar was brought into the mix when Harihar Rao walked into the studio with one in hand. With the sitar, Jones combined his recent melodic improvisations with the chord progression and lyrics provided by Jagger and Richards. Soon after the recording session, Richards felt that the track's conclusion was over-recorded and that it could have been improved.

This song may have the first recorded example of a fretless bass guitar. Wyman had removed the frets from a bass intending to replace them, but became enamoured with the fretless sound. This can be most easily heard near the end of each vocal line, when Wyman plays high on the bass's neck, using the upper register.

Wyman was later critical of Oldham listing Jagger and Richards as songwriters to the exclusion of the rest of the Stones. He felt that "Paint It Black" should have been credited to the band's pseudonym, Nanker Phelge, rather than Jagger–Richards, since the song's final arrangement originated from a studio improvisation by Jones, Watts and himself, and Jones was responsible for providing the melody line on the sitar. In the view of pop historian Andrew Grant Jackson, "Paint It Black" bears a strong resemblance to the Supremes' 1965 hit "My World Is Empty Without You", which used "a foreboding minor key with harpsichord and organ".

Music and lyrics
In a 1995 interview, commenting on the musical styles found on Aftermath, Jagger described "Paint It Black" as "this kind of Turkish song". According to music scholar James E. Perone, although the introductory sitar passage is played in an Indian fashion, "the rhythmic and melodic feel of the Eastern-sounding phrases actually call to mind the Middle East more than India". Jagger's droning and slightly nasal singing complement the motif Jones plays on the sitar. Wyman's heavy bass, Charlie Watts' low-pitch drumming and Richards' bolero-driven acoustic guitar outro drive "Paint It Black". Commentators and reviewers have classified "Paint It Black" as raga rock, psychedelia, and psychedelic rock. Perone named "Paint It Black" as one of the Stones' 1966 songs that acts as an explicit attempt to transcend the blues-based rock and roll conventions of the Stones' previous songs, along with other Aftermath songs such as "Stupid Girl", "Lady Jane" and "Under My Thumb".

Using colour-based metaphors, the song's lyrics describe the grief suffered by someone stunned by the sudden and unexpected loss of a partner, leading to what author Tony Visconti terms "a blanket worldview of desperation and desolation, with no hint of hope." The lyrics have also given rise to alternative interpretations scholars consider less likely, ranging from a bad trip on hallucinogens to the Vietnam War. Perone noted in 2012 that the lyrical content – a character "so entrenched in his depression and rage that he has lost all hope" – establishes a rough concept for Aftermath's American edition, the following songs offering insight into "the darkness of his psyche" and possible reasons for its darkness. Perone argues the resulting connections among the songs on Aftermath lend it a conceptual unity which, although not sufficient for it to be considered a concept album, allows for the record to be understood "as a psychodrama around the theme of love, desire and obsession that never quite turns out right". As Perone explains:"The individual songs seem to ping-pong back and forth between themes of love/desire for women and the desire to control women and out-and-out misogyny. However, the band uses musical connections between songs as well as the sub-theme of travel, the use of feline metaphors for women and other lyrical connections to suggest that the characters whom lead singer Mick Jagger portrays throughout the album are really one and perhaps stem from the deep recesses of his psyche."The Village Voice music critic Robert Christgau described "Paint It Black" as an example of the Stones' development as artists. According to Christgau, the texture of the Stones' blues-derived hard rock is "permanently enriched" as Jones "daub[s] on occult instrumental [colours]". Christgau praised Mick Jagger specifically for his influence on the Stones' artistic identity on their 1966 material, describing him as a lyricist "whose power, subtlety and wit are unparalleled in contemporary popular music", and additionally suggested that Jagger and Richards rank second as composers of melody in rock, behind only John Lennon and Paul McCartney.

Release
London Records released "Paint It Black" as a single in the US on 7 May 1966; Decca Records released it on 13 May in the UK. "Paint It Black"'s UK B-side was "Long, Long While", a song that was not released on any of the band's studio albums. Richie Unterberger of AllMusic later described "Long, Long While" as an underappreciated song, with a "considerably different" tone than most of the band's work, and commented that it was better than many of the tracks the Stones selected for their studio albums. Upon its original release, the song was credited to "Jagger-Richard", as Andrew Loog Oldham advised Keith Richards to use the surname Richard professionally on the Stones' releases during the 1960s. Later releases of the song have changed the credit to "Jagger-Richards".

In the US, "Stupid Girl" was chosen as its US B-side. Both songs were included in the American release of Aftermath, with "Paint It Black" being a new addition when compared to the earlier British edition "Paint It Black" became Aftermath's opening track, replacing "Mother's Little Helper", while "Stupid Girl" remained as the second track on the album. Its delayed North American release allowed pirate radio stations to play the single up to two weeks before the album appeared. The song was originally released as "Paint It, Black", the comma being an error by Decca, which stirred controversy over its racial interpretation. The Stones performed "Paint It Black" live on The Ed Sullivan Show on 11 September.

Due to "Paint It Black" not appearing on the UK edition of Aftermath and being released as a non-album single, its first album release in the UK came on the UK edition of the compilation Big Hits (High Tide and Green Grass) (1966), though the album was not released with the song as part of its track listing in the US. The first release of the song on a compilation album in the US came on Through the Past, Darkly (Big Hits Vol. 2) (1969).

Later compilations by the Rolling Stones featuring "Paint It Black" include Hot Rocks 1964–1971 (1971), Singles Collection: The London Years (1989), Forty Licks (2002), and GRRR! (2012). Live recordings are on the concert albums Flashpoint (1991), Live Licks (2004), Shine a Light (2008), Hyde Park Live (2013), and Havana Moon (2016).

Critical reception and legacy
Initial reaction to "Paint It Black" was mixed. Some music critics found the addition of the sitar to be simply a case of the band copying the Beatles. In his book Brian Jones: The Making of the Rolling Stones, Paul Trynka comments on the influence of Harrison's sitar playing on the Beatles' song "Norwegian Wood" from the Rubber Soul album and draws parallels with Jones' droning sitar melody on "Paint It Black". Responding to claims that he was imitating the Beatles, Jones replied: "What utter rubbish", comparing the argument to saying that all groups using a guitar copy each other merely by using the instrument. Jonathan Bellman, an American musicologist, agreed with Jones, writing in a 1997 issue of The Journal of Musicology that the events are an example of concurrent musical and instrumental experimentation. Jones' sitar part on the track influenced the development of a whole subgenre of minor-key psychedelic music.

Lindy Shannon of the La Crosse Tribune felt that "Paint It Black", the Byrds' "Eight Miles High" and the Beatles' "Rain" were straying from the "commercial field" and instead "going into a sort of distorted area of unpleasant sounds". Staff at Melody Maker lauded the track, calling it "a glorious Indian raga-riot that will send the Stones back to number one". Writing for Disc and Music Echo, Penny Valentine praised Jagger's singing, writing that it was "better than ever" but was critical of the track's sitar. Guitar Player's Jesse Gress cited "Paint It Black" as originating the 1960s ragarock craze. In a review for New Musical Express (NME), Keith Altham considered "Paint It Black" the band's best single since "(I Can't Get No) Satisfaction" was released the previous year. A reviewer for Billboard predicted that Aftermath would become another hit for the band, citing "Paint It Black" as the focal point of this hard rock album and praising Oldham's production. Record World said "Guys are in depressed mood, but the rhythm is anything but depressed. Irrepressible hit." The Herald News considered the song a "top record... for teeners", and in The Sunday Press Nancy Brown described it as a "pulsating, blues-soaked romantic tear-jerker". In the San Francisco Examiner, Ralph J. Gleason lauded the song for its "hypnotizing tone" and "same qualities of ambiguity and obscurity as some of the previous Stones hits". In April 1967, while hosting the television documentary Inside Pop: The Rock Revolution, Leonard Bernstein praised the song for its "arab café" sound, and cited it as an example of contemporary pop music's ability to evoke disparate moods through instrumentation.

In a retrospective review, Richie Unterberger of AllMusic called the song an "eerily insistent" classic that features some of "the best use of sitar on a rock record", and in another AllMusic review wrote it is "perhaps the most effective use of the Indian instrument in a rock song". Writing on the song's 50th anniversary in 2016, Dave Swanson of Ultimate Classic Rock considered the song, like its parent album Aftermath, to be a major turning point in artistic evolution for the band, noting: "'Paint It, Black' wasn't just another song by just another rock group; it was an explosion of ideas presented in one neat three-minute package." In 2017, ranking Aftermath as one of the best albums of the 1960s, Judy Berman of Pitchfork described the song as "rock's most nihilistic hit to date". David Palmer, editor of the Cullman Times, wrote that the "attitude" songs on Aftermath – particularly "Paint It Black" – influenced the nihilistic outlook of punk music. Stereogum critic Tom Breihan praised the song as a strong example of the band's brand of "swirling doom-blues", and praised its heavy sound and dark lyrics as ahead of its time when compared to the landscape of popular music in 1966.

"Paint It Black" inspired almost four hundred covers. It has placed on many "best songs" lists including those by Rolling Stone, Vulture magazine, NME, and Pitchfork. The Recording Academy inducted the song into the Grammy Hall of Fame in 2018. It is ranked number 213 on Rolling Stone's list of the 500 Greatest Songs of All Time.

Commercial performance
In the UK, "Paint It Black" peaked at number one on the Record Retailer chart during a 10-week stay, becoming the Rolling Stones' sixth UK number one. Seven days after its UK release, "Paint It Black" had sold 300,000 advance copies; the British Phonographic Industry (BPI) later certified it platinum. In 2007, the song entered the UK Singles chart at number 70 for an 11-week stint. In Germany, "Paint It Black" peaked at number two on the Musikmarkt Hit-Parade; the Bundesverband Musikindustrie (BVMI) certified the 2018 re-issue gold. The single was a top five hit in other European countries, peaking at number two in Austria, Ireland and Norway; number three in Belgium; and number four in Spain. After its 1990 reissue, "Paint It Black" charted at number 61. The single's 2007 reissue charted at number 49 on the Official German Charts and its 2012 re-issue charted number at 127 in France.

"Paint It Black" debuted at number 48 on the US Billboard Hot 100 chart for the week of 14 May 1966. The song took three weeks to rise to number one, where it stayed for two consecutive weeks, being replaced by Frank Sinatra's "Strangers in the Night." Its stint at number one made it the band's third in the US and the first song to feature a sitar to peak at number one in the country. By June, it had sold more than a million copies. It rose to number one in a "violent shakeup" of the list where 10 of its 20 songs appeared for the first time. "Paint It Black" remained on the chart for 11 weeks. Further reissues of the single have not peaked on the Billboard Hot 100, but 2008 sales saw "Paint It Black" reach number 73 on the Billboard Hot Canadian Digital Song Sales. According to the pop historian Richard Havers, Aftermath's 1966 chart run in the US, where it reached number 2 on the Billboard chart and number 1 on those published by Cash Box and Record World, was assisted by the success of "Paint It Black". "Paint It Black" also topped singles charts in Canada and the Netherlands, and was ranked within the Top 10 highest performing singles of the year in Austria, despite not reaching number 1 on the weekly charts.

In a KEYS national survey taken in June 1966, "Paint It Black" was number one in the United States. Surveys conducted by the Associated Press and United Press International identified the song as ranking No. 1 in the US the week of 12–19 June 1966. On the 1966 year-end charts, "Paint It Black" ranked number 34 on the US Billboard Hot 100 and number 30 on the Record Retailer chart. The 1990 reissue of "Paint It Black" topped the Netherlands Single Top 100 and peaked at number 11 in Belgium.

Live performances
The Rolling Stones performed "Paint It Black" during their tours of America and England in 1966, following its release, along with other songs from Aftermath such as "Under My Thumb" and "Lady Jane", One notable live performance of the song was as the opening song of the Stones' performance at the Royal Albert Hall, a performance remembered for ending prematurely due to a riot, which led to rock bands being banned from performing at the venue. Footage of the riot would later be used in the promotional video for the Stones' next single, "Have You Seen Your Mother, Baby, Standing in the Shadow?". Despite its status as a hit single and as a staple of these shows, "Paint It Black" was not included on the Stones' live album documenting their tour of England, Got Live If You Want It!.

"Paint It Black" has become a regular fixture of the Stones' concert setlists following its release, and has been performed during the Steel Wheels/Urban Jungle Tour (1991), Licks Tour (2002–2003), A Bigger Bang Tour (2005–2007), 50 & Counting (2012–2013), 14 On Fire (2014), América Latina Olé Tour 2016, No Filter Tour (2017–2021) and Sixty tour (2022).

Personnel
According to authors Andy Babiuk and Greg Prevost, except where noted:

The Rolling Stones
 * Mick Jagger – lead and harmony vocals; writer
 * Keith Richards – harmony vocal; lead and acoustic guitars; writer
 * Brian Jones – sitar, acoustic guitar
 * Bill Wyman – bass, Hammond organ, maracas, cowbell
 * Charlie Watts – drums, tambourine, castanets

Additional musicians and production

 * Jack Nitzsche – piano
 * Dave Hassinger – sound engineer
 * Andrew Loog Oldham – producer

In Philippe Margotin and Jean-Michel Guesdon's book The Rolling Stones All the Songs, they add a question mark after Jones' guitar contribution and credit "tambourine, bongos, castanets" to "unidentified musicians". In the book Rolling Stones Gear by Babiuk and Prevost, they credit an acoustic guitar contribution to Jones, maracas and cowbell to Wyman and tambourine and castanets to Watts.

Studio locations

 * Recorded at RCA Studios (Los Angeles)

Notable cover versions

 * Eric Burdon and War released a cover of the song in 1970, which reached number 31 on the Dutch Top 40 singles chart.
 * Bahamian musician Exuma included a cover of the song on his 1973 album Life.
 * English all-female post-punk band the Mo-dettes released their version in 1980 which just missed the UK top 40, peaking at No. 42.
 * American Hard Rock/Heavy Metal band W.A.S.P. recorded a cover of "Paint It Black" as the B-side to their 1984 7" single "School Daze". It was also included on the 1998 CD reissue of the bands first self titled album W.A.S.P.
 * Canadian speed metal band Anvil recorded a cover for their 1981 debut album Hard 'n' Heavy.
 * Irish rock band U2 included a cover of "Paint It Black" as the B-side to their 1992 single "Who's Gonna Ride Your Wild Horses", and did so again with the 20th anniversary rerelease of their album Achtung Baby in 2011.
 * The London Symphony Orchestra performed a cover of the song in their 1994 "Symphonic Music of the Rolling Stones" performance.
 * American singer Tracy Lawrence covered "Paint It Black" for the compilation album Stone Country: Country Artists Perform the Songs of the Rolling Stones in 1997.
 * American singer-songwriter Vanessa Carlton included a cover of the song on her 2002 debut album Be Not Nobody, which was certified platinum by the Recording Industry Association of America.
 * Canadian rock band Rush played one minute and ten seconds of the song during their 2003 performance at Molson Canadian Rocks for Toronto.
 * American singer-songwriter Ciara recorded a cover version for the 2015 film, The Last Witch Hunter.
 * In 1967 Marie Laforêt recorded a French version titled Marie Douceur - Marie Colère, which was later used in the 2023 film John Wick: Chapter 4.
 * English band Duran Duran recorded a cover for their 2023 album Danse Macabre.
 * Irish rockers U2 have incorporated it into their performance of Until The End Of The World at their Las Vegas residency at The Sphere.

Notable usage in media
"Paint It Black" has seen commercial use in film, video games and other entertainment media.
 * In the end credits of the film Full Metal Jacket (1987)
 * In the end credits of the film The Devil's Advocate (1997),
 * It was used as a plot device in the supernatural horror film Stir of Echoes (1999)
 * It was featured in Black Adam (2022), during a slow motion fight sequence.
 * In 1987 it was used as opening theme for the broadcast version of the CBS television show, Tour of Duty.
 * In a trailer for the video game Call of Duty: Black Ops III (2015)
 * In a trailer for the film The Mummy (2017).

 * Multiple episodes of the TV series Westworld use an orchestral arrangement of the song by Ramin Djawadi.
 * A cello arrangement of the song is featured prominently in the Netflix original series Wednesday (2022).
 * The song features on the soundtracks to multiple video games, including:
 * Twisted Metal: Black (2001),
 * Guitar Hero III: Legends of Rock (2007)
 * Guitar Hero Live (2015)

title: Paint It Black


text:
Australian Homemade

Australian Homemade is a franchise formula for confectionery stores owned by Australian Homemade, based in Veenendaal, Netherlands. Originally a Belgian ice-cream store named Australian opened in Knokke, set up by the Flemish businessman Frederik Van Isacker, which expanded to many locations within the country. In 2001, a Dutch businessman bought the foreign ("rest of the world") rights and opened stores in neighbouring countries. The Belgian franchise ice-cream and waffles brand "Australian" remains under separate and unrelated ownership from Australian Homemade up to the present day.

Australian Homemade stores are now prominently known for providing chocolate bonbons as much as ice creams and candies. Their products often incorporate Indigenous Australian art designs.

There are currently over 50 stores found in the Netherlands, Germany, Spain, and the United States.

Aboriginal Reaction
Some Indigenous Australians reacted with anger at Australian Homemade, accusing them of using Aboriginal designs without permission and of being disrespectful.

In defence, the company says the designs were by a Dutch artist inspired by indigenous art and had no intention of causing offence to Indigenous Australians. They were reportedly working with the Aboriginal and Torres Strait Islander Commission (ATSIC) to help promote Aboriginal issues.

title: Australian Homemade


text: Template:Universities in Hungary

title: Template:Universities in Hungary


text:
Up (Peter Gabriel album)

Up is the seventh studio and thirteenth album overall by the English rock musician Peter Gabriel, released on 23 September 2002 through Geffen and Real World Records. The album rose to number 9 in the US, number 11 in the UK, and captured the number 1 position in Italy. Most critics reviewed it positively, though Rolling Stone said Gabriel was "out of touch". This would be Gabriel's last studio album of new original material for 21 years until the release of I/O (2023), although he did release several studio projects in the interim (including a covers album, Scratch My Back, in 2010, followed a year later by an album of orchestral re-recordings, New Blood).

Gabriel supported the album with a world tour in 2003 called Growing Up, his first in ten years since the Secret World Tour. Gabriel's Growing Up tour included backing vocals by his daughter Melanie, age 26–27. Select dates were filmed and released as Growing Up Live.

Background
Gabriel started work on the album in the spring of 1995. He and engineer Richard Chappell travelled between different locations during the initial writing stages of the album using a portable setup (recording at Real World Studios in between): the first two months were spent in a rented chalet in Méribel, then three months in Senegal starting in October 1995, followed by another trip to Méribel in Spring 1996 and a brief recording stint on a friend's recording-studio-equipped boat along the Amazon in Summer 1997. From then on, the rest of the album work was based at Real World Studios, where further writing, recording, overdubbing, editing and mixing took place over the next four to five years. At one point, work was being done simultaneously on both Up and the OVO soundtrack for a few months, separately by engineers Chappell and Richard Evans (respectively). However, in November 1998, both engineers decided to focus on completing the OVO soundtrack, so work on Up was temporarily put on hold.

By late 2000, work on the album was finally gathering renewed pace, with a string section recorded at AIR Lyndhurst Hall Studios in London amongst other things. Renowned mixer Tchad Blake was invited to Real World Studios in early 2001 to begin the final mixing stage. He would work on the mixes in the Big Room in Real World Studios, while Gabriel and Chappell continued recording in the Writing Room. Between them they'd figure out which of the newly recorded parts would be used in the mix or not.

Its name was Up from the start, though at one point the name I/O was considered (which Gabriel started work on during the making of Up and OVO as well, though it would not be released until 2023): "I think 'I/o' is a good title because I noticed a lot of the songs were about birth and death and a little bit of in and out activity in between." In 1998, Gabriel learned that R.E.M. also intended to release an album bearing the same title, but decided to keep it after consulting with the band and much consideration: "I have been living in an 'Up' world for four years now and have no wish to come down." In the months preceding the album's release, video clips of Gabriel talking about the songs as well as short demos of each song were released at the coming of every full moon on Gabriel's official website.

Songs
The album's lyrics deal mostly with birth and especially death. The opening track, "Darkness", is a song about overcoming fears. "Growing Up" is a summation of life put to a pulsating beat. "Sky Blue", according to Gabriel, was the oldest song from the album, dating back to the Us recording sessions. The track "No Way Out" is the first track to deal with death solely, though death is a common theme across the entire album. "I Grieve" was conceived after Gabriel looked over his catalogue of music as if it were a catalogue of emotional tools. He found one major missing tool to be one to cope with death and therefore "I Grieve" was born. Gabriel performed the song live on the television show Larry King Weekend on the first anniversary of September 11 attacks in the US, during which Gabriel said that his two daughters were living in New York City and he could not contact them for some time, and that this song was for people who did not hear anything from their relatives then. It was not, however, written specifically for 9/11, having appeared in an earlier version on the City of Angels soundtrack in 1998.

The first single from Up, "The Barry Williams Show" is a down-beat song dealing with reality talk shows such as Jerry Springer (in fact, The Brady Bunch star Barry Williams appeared as an audience member in the Sean Penn-directed music video for the song with Requiem for a Dream actor Christopher McDonald playing the titular talk show host). "My Head Sounds Like That" was built around the sounds of a malfunctioning DeltaLab Echo Unit. The song's lyrics reference a heightened awareness of sound and smell when in different emotional states.

"More Than This" was one of the album's final additions. Gabriel achieved some of the melodic motifs through a Fender Telecaster, which he sampled with a keyboard. The song "Signal to Noise" features guest vocalist Nusrat Fateh Ali Khan, whose vocal performance was salvaged from the VH1 performance on 28 April 1996 following his death in 1997. Originally he performed the song in a "much starker" form, before Gabriel transformed it into a strings-oriented piece as the cornerstone of the album. Finally, "The Drop" consists of only Gabriel and a Bösendorfer grand piano.

Formats and packaging
The album cover features five water drops in a diagonal line, over a blurred background of Gabriel's face. Each drop contains a refracted image of Gabriel. Similar to Us, the album cover does not include any text.

In a similar fashion to the earlier Us, Up used specially commissioned artwork representing each song, which was reproduced in the CD, vinyl, DVD-A, and SACD packaging. In this case the medium chosen was photography. Pictures are by Arno Rafael Minkkinen for "Darkness", M. Richard Kirstel for "Growing Up", Shomei Tomatsu for "Sky Blue" and "I Grieve", Mari Mahr for "No Way Out", Paul Thorel for "The Barry Williams Show", Granular-Synthesis (Kurt Hentschläger and Ulf Langheinrich) for "My Head Sounds Like That", Susan Derges for "More Than This", Michal Rovner for "Signal to Noise", Adam Fuss for "The Drop."

Protected CD copies, released in US only, include "Burn You Up, Burn You Down" (this song was later released on the compilation album Hit in 2003 and on Big Blue Ball in 2008). On these copies, "No Way Out" has a different name, "Don't Leave".

The album was made available in stereo on CD & vinyl while Surround Sound versions are encoded in Super Audio CD, and DTS DVD-A.

Critical reception
Stephen Thomas Erlewine of AllMusic admitted that while Up was not immediately accessible, "this album grows stronger, revealing more with each listen." Pitchfork praised the first half of the album, but was more critical of the last five songs on the album, singling out "My Head Sounds Like That" for being "shapeless" and dismissing both "More Than This" and "Signal to Noise" as uncreative compositions that "will entertain only the least critical in Gabriel's audience."

While Entertainment Weekly criticized "The Barry Williams Show" for being a "muddled stab at social criticism", they were more complimentary of some of Gabriel's more introspective compositions such as "Darkness" and "No Way Out". They further stated that "those who value the emotional nakedness of his best work will find much to treasure on Up." Entertainment.ie described the production as both "claustrophobic and womblike - which is entirely appropriate for an album that's heavily preoccupied with solemn ruminations on childhood and, less frequently, death." They found some of the compositions to be "lengthy, disparate collages bordering on the unbearably pretentious", but were more complimentary of Gabriel's vocals.

Musicians

 * Peter Gabriel – vocals (all tracks), piano (1, 3–4, 7–8, 10), keyboards (1, 3, 5), JamMan (1–2), MPC groove (1–4, 6, 8–9), electronics (1, 3, 6, 8–9), organ (2, 6, 8), bass keys (2, 5–6, 9), sampled keyboards (2, 4), bass guitar (4), harmonium (4), Telecaster (4, 6), crotales (4), tom–tom (4), samples (5, 9), harmonica (6), reversed strings (6), string samples (6), Mellotron (6–7, 9), sampled guitar (8)
 * Tony Levin – bass (1, 3–8)
 * David Rhodes – guitars (1–4, 7, 9), guitar (6, 8), electric guitar (5), backing vocals (2–3, 6, 8–9)
 * Manu Katché – drums (1–3, 5–7)
 * Dave Power – drums (1)
 * Ged Lynch – percussion (1–9), drums (2, 6, 8)
 * Dominque Mahut – percussion (1, 7)
 * Richard Chappell – programming (1–2), percussion (1) treated loop (6), loop manipulation (7)
 * Alex Swift – additional programming (1–3)
 * London Session Orchestra – strings (1, 9)
 * Will Gregory – string arrangements (1, 9)
 * Isobel Griffiths – string contractor (1, 9)
 * Nick Ingman – orchestrations (1, 9)
 * Tchad Blake – tape scratches (2), groove treatment effects (6)
 * Adrian Chivers – backing vocals (2)
 * Pete Davis – additional programming (2)
 * Blind Boys of Alabama – additional vocals (3), backing vocals (8)
 * Melanie Gabriel – backing vocals (3, 8)
 * Peter Green – guitar (3)
 * Daniel Lanois – guitar (3), percussion (3)
 * David Sancious – Hammond organ (3)
 * Richard Evans – recorder (4), acoustic guitar (5)
 * Mitchell Froom – backwards piano (4)
 * Steve Gadd – drums (4, 9), percussion (9)
 * Dominic Greensmith – drums (4, 8)
 * Chris Hughes – drum programming (4)
 * Hossam Ramzy – tabla (4), percussion (7)
 * Danny Thompson – double bass (4)
 * Stephen Hague – percussion (5)
 * Chuck Norman – Spectre programming (5), bridge strings (5)
 * L. Shankar – improvised double violin (5)
 * Will White – percussion (5)
 * Tony Berg – backwards guitar (6)
 * Sally Larkin – backing vocals (6)
 * Christian Le Chevretel – trumpet (6)
 * Black Dyke Band – brass (7)
 * Bob Ezrin – co–brass arrangement (7)
 * Ed Shearmur – co–brass arrangement (7)
 * Assane Thiam – percussion (7)
 * Jon Brion – mandolin (8), Chamberlin (8)
 * Nusrat Fateh Ali Khan – vocals (9)
 * Dhol Foundation – dhol drums (9)

Technical personnel

 * Peter Gabriel – production, design concept
 * Steve Osbourne – additional production (2)
 * Stephen Hague – co–production (5)
 * Richard Chappell – recording, engineering
 * Richard Evans – additional engineering
 * Alan Coleman – assistant engineering
 * Edel Griffith – assistant engineering
 * Meabh Flynn – assistant engineering
 * Dan Roe – assistant engineering
 * Chris Treble – assistant engineering
 * Ben Findlay – on–band recording session engineering
 * Steve Orchard – orchestra engineering (1, 9)
 * Derek Zuzarte – additional engineering (Blind Boys of Alabama vocals)
 * Kevin Quah – additional engineering (Blind Boys of Alabama vocals)
 * Yang – additional engineering (Blind Boys of Alabama vocals)
 * Steve McLaughlin – additional engineering (Black Dyke Band)
 * Tchad Blake – mixing (1–4, 6–9)
 * Claire Lewis – mix assistant
 * Marco Miglari – additional mix assistant
 * Paul Grady – additional mix assistant
 * Richard Evans – mixing (5)
 * Stephen Hague – mixing (5)
 * Kurt Hentschläger – granular synthesis
 * Ulf Langheinrich – granular synthesis
 * Marc Bessant – design concept
 * Susie Millns – design coordinator
 * Adam Fuss – photography
 * Arno Rafael Minkkien – photography
 * M. Richard Kirstel – photography
 * Mari Mahr – photography
 * Michal Rovner – photography
 * Paul Thorel – photography
 * Shomei Tomatsu – photography
 * Susan Derges – photography
 * Susan Derges – sleeve photography
 * Dilly Gent – photo coordination

title: Up (Peter Gabriel album)


text:
William Morgan (South Australian politician)

Sir William Morgan (12 September 1828 – 2 November 1883) was the Premier of South Australia between 1878 and 1881.

Early life
William Morgan was born in Wilshamstead, Bedfordshire, England, the son of George Morgan, a farmer, and his wife Sarah Morgan (née Horne). Educated at Bedford Modern School, Morgan emigrated to South Australia, arriving in Port Adelaide on 13 February 1849 in the Glenelg. Initially he worked on land near the Murray River, his life was saved by an Indigenous Australian named Ranembe, whose name Morgan gave later to one of his sons. Then Morgan worked for Boord Brothers grocers; and at the beginning of 1852 he went to the Victorian gold rush. He had modest success, returned to Adelaide, and with a brother he purchased the Boord's business, establishing William Morgan & Co. and made it a successful enterprise. In 1865 he became a founder of the Bank of Adelaide. He founded, with Charles Hawkes Todd Connor and William Dening Glyde the firm of Morgan, Connor & Glyde, wheat and flour merchants of 43 King William Street. Glyde's brother Samuel Dening Glyde joined the company and soon became a partner. In 1882 they joined a consortium, the Adelaide Milling and Mercantile Company, with John Hart & Co., W. Duffield & Co., James Cowan & Co. and Harrold Brothers; Morgan was their foundation chairman.

Political career
Morgan was elected to the South Australian Legislative Council in August 1867, and was chief secretary in the second James Boucaut government from June 1875 to March 1876. He was chief secretary again in the fourth Boucaut ministry from October 1877 to September 1878, and when Boucaut became a judge, Morgan reconstructed the ministry and on 27 September 1878 became premier and chief secretary. This ministry was in office for nearly three years but it did not have an easy passage. One important measure passed was that providing deep drainage for Adelaide, the first city in Australia to have a proper sewerage system. A public trustee act was passed, and there was some railway extension, but other bills were rejected by the council.

Late life
Pressure of private business, including bad investments in New Caledonia, resulted in Morgan's resignation on 24 June 1881, and the John Bray ministry came in. He was created K.C.M.G. in 1883. In May that year Morgan left Australia on a visit to England and he died suddenly on 2 November at Brighton, Sussex, aged 55.

Morgan was a self-made man who had liberal opinions. He was an avid free-trader who held that protective duties taxed the people least able to bear the burden. He was an excellent speaker, able administrator and might have had a more important place in South Australian politics if he had lived longer.

Family
On 8 July 1854 Morgan married Harriett, daughter of Thomas Matthews of Hurd's Hill, Coromandel Valley; together they had nine children. Harriet survived him with two sons and two daughters, including:
 * Dr. Alexander Matheson Morgan MB (11 February 1867 – 18 October 1934) was a noted ornithologist. He married Myrtle Dutton Green, daughter of George Dutton Green, on 11 October 1905.
 * William Matheson Morgan (9 November 1906 – 2 February 1972) mining engineer


text:
Category talk:Educational websites

Hello, I'm a bit new here, so please do excuse me if I've done anything wrong. I was wondering about having a "Tutorials" catogory. This would be great for a large list of independent tutorials, each with it's own description, history, etc. What do you think? --- Snareklutz 11:18, 22 July 2005 (UTC)
 * Created the tutorials category. --- Snareklutz 13:54, 22 July 2005 (UTC)

I am a bit intrigued as to why this category includes the Heretical (website), it was there from the beginning, so shows us the history page. -- Jahsonic Jul 24, 2005
 * Maybe you can delete it? Snareklutz 11:03, 4 August 2005 (UTC)

 * Deleted--Jahsonic 11:36, 1 September 2005 (UTC)

Why the geographic distinctions of SaaS services?
Why categorize SaaS-based edtech services into arbitrary geographical sub-categories if they're meant to serve customers in multiple geographies? Categorizing web-based vendors like EdX or BrainPOP into when they're intended to be available in countries worldwide seems an inaccurate and limiting distinction. Is there a better way to categorize services that are intended to be global? EcoFuror (talk) 22:32, 7 October 2019 (UTC)

title: Category talk:Educational websites


text:
User talk:Chimanu2000

chimanu2000 is basically NWAEZEAPU Chibuzor louise.born 22nd august 1981 in lagos nigeria, first in a family of four.mathematics graduate of the obafemi awololowo university ile-ife.interests include reading,learening web browsing,music,soccer, it and business applications. loves inteligent people and witty people too.loves clean fun.hes also a christain whose goals are to become a succesful it-based enterpreneur and run a socially responsible organisation in about 10 years.

AMEBO
"AMEBO"- Nigerian slang or word, Yoruba in origin used to depict a gossip.Popularised in the Nigerian Television Authority(NTA) drama series, "Village Headmaster" character in the 1980's by Biola Allison(sisi amebo)

IBUSA
Ibusa is a town located in oshimili north local government in delta state nigeria.Itis a federation of two autonomous settlements that have different origins - the Igbuzo or Ibuzor  or Ibuzo  settlement and the Ogboli  settlement.it is igbo speaking and is of close proximity to Asaba the state capital

Igbuzo settlement( historical development)

Prince Umejei the son of King Eze Isu,near Awka,killed his opponent during a wrestling match.This was an abomination and Prince Umejei was forced to go into exile instead of hanging. His sister Omoha accompanied him. Prince Umejei left, carrying on his head a pot of charms given to him by his father with the instruction to settle wherever the pot drops. After crossing the Niger the pot dropped at Ani Ohe.

IBUSA
busa is a town located in oshimili north local government in delta state nigeria.Itis a federation of two autonomous settlements that have different origins - the Igbuzo or Ibuzor  or Ibuzo  settlement and the Ogboli  settlement.it is igbo speaking and is of close proximity to Asaba the state capital

Igbuzo settlement( historical development)

Prince Umejei the son of King Eze Isu,near Awka,killed his opponent during a wrestling match.This was an abomination and Prince Umejei was forced to go into exile instead of hanging. His sister Omoha accompanied him. Prince Umejei left, carrying on his head a pot of charms given to him by his father with the instruction to settle wherever the pot drops. After crossing the Niger the pot dropped at Ani Ohe.

title: User talk:Chimanu2000


text:
Talk:Australian Homemade

Untitled
Do some of these categories even make sense? Like... "companies based in Adelaide"? Not even the most optimistic Veenendaal resident would dare comparing his town with Adelaide.

A lot of people here in Germany think the stores are actually Australian, when really it is just the name and they are owned by the Dutch. I think the company just wanted to have an exotic name. They're prices are pretty high too.

Retrieved from "http://en.wikipedia.org/wiki/Talk:Austrailan_icecream"

Article
Sometimes the link to the new article doesn't work. Here it is in full:

Artful Dutch seek to sweet-talk furious Aborigines By Amy Lawson September 7, 2003 The Sun-Herald

The Aboriginal and Torres Straight Islander Commission has slammed a Dutch confectionery company for depicting indigenous designs on its products without permission.

The company, Australian Homemade, which produces ice-cream and chocolates, says its products are "inspired by the Australian indigenous communities".

But ATSIC's culture, rights and justice committee commissioner Rodney Dillon has described their use of indigenous-inspired artwork as an "outrageous exploitation of our culture and beliefs".

"Once again we are seeing insult added to injury by this company's appropriation of indigenous images," Mr Dillon said.

But Australian Homemade chief executive Christoph Schmitz defended the company's position, saying the designs were not Aboriginal art but designs by a Dutch artist inspired by indigenous art.

The criticism comes in the wake of controversy surrounding Prince Harry's use of Aboriginal symbols and painting styles in his artwork.

Mr Dillon said the Prince's work constituted cultural theft.

"When people [do] this without any understanding of the spirit of these things, it means they are being very disrespectful," Mr Dillon said last month after hearing of the Prince's work.

Mr Dillon was equally outraged by Australian Homemade's use of indigenous images.

"I have seen the company's promotional material which says in part 'think Australian Homemade, think Aboriginals'," he said.

"It's a pity that the owners didn't follow their own advice and think about asking Aboriginals before they started making money, both here and overseas, using our images."

Mr Schmitz said he appreciated it was a sensitive issue and the company, which has 61 stores globally and opened its first Australian store last month, had no intention of causing offence to Aboriginal people.

He also said the company had been approached by ATSIC and were now working with them to help promote Aboriginal issues.

"A lot of people are inspired by the art because it is fantastic art, and it's certainly not the case that anybody wants to take advantage of the Aboriginals," Mr Schmitz said.

"That's what I find so sad about it because it's really nice, it's a big advertisement for them, because usually when you hear Aboriginal in Australia it always has this negative connotation and I think we are supporting them."

title: Talk:Australian Homemade


text:
Blazing the Crop

Blazing the Crop is a DJ mix album, mixed by Rae & Christian. It was released by Mixmag Live in association with their publishing company DMC Publishing in 1999 in the UK. An unmixed vinyl version was also released.

In the United States, the CD was released by Mixmag's American sister company Mixer via Moonshine Music label in 2000. It was re-released in 2002 by the Razor & Tie label for, under the alternative title Mixer Presents: Rewind by Rae & Christian, with a different sleeve.

On their second studio album, Sleepwalking (2001), the opening track was entitled "Blazing the Crop". This track was also included on the 2002 Ministry of Sound compilation album, "Ultimate Chillout".

CD

 * 1) "Play On" (Watch Out for This! Mix) - Rae & Christian (featuring Jungle Brothers)
 * 2) "Funky for You" (Spacehopper Mix) - Deadbeats
 * 3) "Planetary Deadlock" - Beanfield
 * 4) "S and M on the Rocks" - Swollen Members
 * 5) "Can't Stop" - Constant Deviants / "Crazy Rhymin" (A Capella) - Only Child (featuring Kriminul)
 * 6) "Me and Him" - Porn Theatre Ushers / "Ain't Got Time to Waste" (A Capella) - Aim (featuringYZ)
 * 7) "All My People" (Body Rock Party Break) - Mos Def / "Ain't Got Time to Waste" (A Capella) - Aim (featuringYZ)
 * 8) "Just Passin' Through" - Aim
 * 9) "For Claudia" - Face & Feline
 * 10) "Spandex Man" - Mr Scruff
 * 11) "Time to Shine" - Rae & Christian
 * 12) "People" - Riton
 * 13) "Rock" - DJ Spinna
 * 14) "My Part of Town" - Tuff Crew
 * 15) "Get a Move On" - Mr Scruff
 * 16) "Bacalau" - Rae & Christian
 * 17) "Young and Holtful" - Young-Holt Unlimited

Unmixed vinyl version

 * 1) "Bacalau" - Rae & Christian
 * 2) "My Part Of Town" - Tuff Crew
 * 3) "Spandex Man" - Mr Scruff
 * 4) "Time To Shine" - Rae & Christian
 * 5) "S & M On The Rocks" - Swollen Members
 * 6) "Funky For You" (Spacehopper Remix) - Deadbeats
 * 7) "People" - Riton
 * 8) "All My People" (Body Rock Party Break) - Rawkus (remixed by Dr Luke)
 * 9) "For Claudia" - Face & Feline
 * 10) "Planetary Deadlock" - Beanfield
 * 11) "Get A Move On" - Mr Scruff
 * 12) "Young & Holtful" - Young Holt Unlimited

title: Blazing the Crop


text:
Wikipedia:Articles for deletion/Garlic dude

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

The result of the debate was delete. Joyous (talk) 17:51, July 30, 2005 (UTC)

Garlic dude
Advertising. Article basically amounts to "here's how cute the doll is, come buy it!". Delete. — J I P | Talk 11:21, 22 July 2005 (UTC)
 * delete. Just an advert Robinh 11:23, 22 July 2005 (UTC)
 * Delete. I agree. Sjakkalle (Check!)  12:48, 22 July 2005 (UTC)
 * Delete advertisement. Also NN. --KFP 12:56, 22 July 2005 (UTC)
 * Delete ad, spam. And for what it's worth, it's not even cute:  Eek. Andrew Lenahan - St ar bli nd  13:55, July 22, 2005 (UTC)
 * Delete, advertising as above. --Several Times 14:15, 22 July 2005 (UTC)
 * Delete spam. -- Etacar11   00:44, 23 July 2005 (UTC)
 * Delete advertising. JamesBurns 04:23, 23 July 2005 (UTC)
 * Delete, but could have been speedied, I bet. Obvious spam. Binadot 22:49, 23 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Polish Securities and Exchange Commission

The Polish Securities and Exchange Commission, (Komisja Papierów Wartościowych i Giełd), (KPWiG) was the financial government agency responsible for supervising compliance with regulations governing honest trade and competition until 2006 when it was absorbed into the Polish Financial Supervision Authority.

The KPWiG was also responsible for ensuring universal access to reliable information about security papers and other exchange commodities on the market. The KPWiG also co-operates with government administrative organs, the NBP and institutions and participants in public trading on the stock market in the area of shaping the state's economic policy. The KPWiG also continuously monitors the functioning of all investment funds. From the start of its existence it has been head by Jacek Socha. On 19 September 2006 the institution was included in the newly established Polish Financial Supervision Authority (Komisja Nadzoru Finansowego)

Activities
According to Art. 13 sec. 1 of the Act on Public Trading in Securities, the tasks of the Commission included:

-supervision over compliance with the rules of fair trading and competition in the field of public trading and ensuring universal access to reliable information on the securities market; -supervision of brokerage activities in the territory of the Republic of Poland; -inspiring, organizing and taking actions to ensure the efficient functioning of the securities market and protection of investors; -cooperation with other government administration bodies, the National Bank of Poland and institutions and participants of public trading in the field of shaping the economic policy of the state ensuring the development of the securities market; -disseminating knowledge about the principles of operation of the securities market; -preparation of draft legal acts related to the functioning of the securities market; -undertaking other activities provided for in the provisions of the Act.


text:
World Poker Tour season 3 results

Below are the results of season three of the World Poker Tour television series (2004–2005).

Grand Prix de Paris

 * Casino: Aviation Club de France, Paris
 * Buy-in: €10,000
 * 5-Day Event: July 17, 2004 to July 21, 2004
 * Number of Entries: 205
 * Total Prize Pool: €1,957,750
 * Number of Payouts: 27

Mirage Poker Showdown

 * Casino: The Mirage, Paradise, Nevada
 * Buy-in: $10,000
 * 4-Day Event: July 29, 2004 to August 1, 2004
 * Number of Entries: 281
 * Total Prize Pool: $2,725,200
 * Number of Payouts: 27

Legends of Poker

 * Casino: Bicycle Casino, Los Angeles
 * Buy-in: $5,000
 * 4-Day Event: August 28, 2004 to August 31, 2004
 * Number of Entries: 667
 * Total Prize Pool: $3,335,000
 * Number of Payouts: 63
 * Winning Hand:

Borgata Poker Open

 * Casino: Borgata, Atlantic City
 * Buy-in: $10,000
 * 4-Day Event: September 19, 2004 to September 22, 2004
 * Number of Entries: 302
 * Total Prize Pool: $3,020,000
 * Number of Payouts: 27
 * Winning Hand:

Ultimate Poker Classic

 * Casino: Radisson Aruba Resort & Casino, Palm Beach, Aruba
 * Buy-in: $6,000
 * 6-Day Event: September 26, 2004 to October 1, 2004
 * Number of Entries: 647
 * Total Prize Pool: $3,879,000
 * Number of Payouts: 200

Festa Al Lago (Doyle Brunson North American Poker Championship)

 * Casino: Bellagio, Las Vegas
 * Buy-in: $10,000
 * 4-Day Event: October 19, 2004 to October 22, 2004
 * Number of Entries: 312
 * Total Prize Pool: $3,026,400
 * Number of Payouts: 50
 * Winning Hand:

World Poker Finals

 * Casino: Foxwoods, Mashantucket, Connecticut
 * Buy-in: $10,000
 * 5-Day Event: November 13, 2004 to November 17, 2004
 * Number of Entries: 674
 * Total Prize Pool: $6,765,000
 * Number of Payouts: 60
 * Winning Hand: 6-7

Five Diamond World Poker Classic

 * Casino: Bellagio, Las Vegas
 * Buy-in: $15,000
 * 5-Day Event: December 14, 2004 to December 18, 2004
 * Number of Entries: 376
 * Total Prize Pool: $5,470,800
 * Number of Payouts: 50
 * Winning Hand: K-7

PokerStars Caribbean Poker Adventure

 * Casino: Atlantis, Paradise Island, Bahamas
 * Buy-in: $7,800
 * 4-Day Event: January 8, 2005 to January 11, 2005
 * Number of Entries: 461
 * Total Prize Pool: $3,595,600
 * Number of Payouts: 75

World Poker Open

 * Casino: Gold Strike Tunica
 * Buy-in: $10,000
 * 4-Day Event: January 24, 2005 to January 27, 2005
 * Number of Entries: 512
 * Total Prize Pool: $4,832,773
 * Number of Payouts: 44
 * Winning Hand: A-10

L.A. Poker Classic

 * Casino: Commerce Casino, Los Angeles
 * Buy-in: $10,000
 * 5-Day Event: February 18, 2005 to February 22, 2005
 * Number of Entries: 538
 * Total Prize Pool: $5,166,414
 * Number of Payouts: 45
 * Winning Hand: A-9

L.A. Poker Classic

 * Casino: Commerce Casino, Los Angeles
 * Buy-in:
 * 2-Day Event: February 25, 2005
 * Number of Entries: 238
 * Total Prize Pool:
 * Number of Payouts:
 * Winning Hand:

Bay 101 Shooting Star

 * Casino: Bay 101, San Jose, California
 * Buy-in: $10,000
 * 5-Day Event: March 7, 2005 to March 11, 2005
 * Number of Entries: 438
 * Total Prize Pool: $4,070,000
 * Number of Payouts: 45
 * Winning Hand: 4-3

Party Poker Million

 * Buy-in: $10,000
 * 5-Day Event: March 19, 2005 to March 23, 2005
 * Number of Entries: 735
 * Total Prize Pool: $7,430,000
 * Number of Payouts: 180
 * Winning Hand: J-2

 * This event, which was limit hold 'em, had the largest prize pool in history for a tournament that was not played at no-limit hold 'em.

World Poker Challenge

 * Casino: Reno Hilton, Reno
 * Buy-in: $5,000
 * 4-Day Event: March 29, 2005 to April 1, 2005
 * Number of Entries: 345
 * Total Prize Pool: $1,725,350
 * Number of Payouts: 27
 * Winning Hand:

WPT Championship

 * Casino: Bellagio, Las Vegas
 * Buy-in: $25,000
 * 7-Day Event: April 18, 2005 to April 24, 2005
 * Number of Entries: 453
 * Total Prize Pool: $10,961,000
 * Number of Payouts: 100
 * Winning Hand: K-J

Other Events
During season 3 of the WPT there was one special event that did not apply to the Player of the Year standings:
 * The WPT Invitational - February 23–24, 2005 - Commerce Casino - postscript to Event #11: L.A. Poker Classic

title: World Poker Tour season 3 results


text:
Dragonwort

Dragonwort is a common name for a plant which may refer to:

 * Artemisia dracunculus, also known as tarragon, an edible aromatic herb in the daisy family, Asteraceae
 * Dracunculus vulgaris, also known as dragon arum, a flowering plant in the arum family, Araceae
 * Persicaria bistorta, also known as bistort, a plant in the knotweed family, Polygonaceae, once classified as Polygonum bistorta.
 * Arisaema dracontium, also known as green dragon, a herbaceous perennial native to North America. Dracontium meant "dragonwort" in classical Latin.

title: Dragonwort