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Jon Brant

Jonathan Edward "Jon" Brant (born February 20, 1955, in Chicago) is an American musician and business owner, best known as the bass player for the band Cheap Trick from 1982 to 1987. Brant was a founding member of the Chicago band D'Thumbs with Tommy Aldridge and Pete Comita and has also played with Chris Spedding, Robert Gordon, Lou Reed, Diana Ross, Lesley Gore, Jason & the Scorchers, Micki Free, and others. Brant has appeared on over 30 albums as composer and bassist.

With Cheap Trick
After original Cheap Trick bassist Tom Petersson left the group in 1980, he was initially replaced by Pete Comita. Comita left the group early in the recording sessions for the album One on One and was replaced by Brant, who moved to the band's hometown of Rockford, Illinois. Most of the album's bass tracks were recorded by guitarist Rick Nielsen, though Brant played on the songs "Saturday at Midnight", "If You Want My Love", and "She's Tight".

Brant played on all of the tracks of the band's next three studio albums: Next Position Please (1983), Standing on the Edge (1985), and The Doctor (1986), and co-wrote the hit single "Tonight It's You". He also played on the song "Mighty Wings", Cheap Trick's contribution to the Top Gun soundtrack. Brant left the band on good terms in 1987 when original bassist Tom Petersson rejoined; and since then Brant has occasionally filled in for Petersson when he was unable to tour, including a 2004 sojourn with Aerosmith. He also appeared with Cheap Trick during their 25th anniversary concert. Brant rejoined Cheap Trick on stage to play bass during "If You Want My Love" and "She's Tight" during the band's 25th anniversary concert.

Other activities
Brant performed with Pete Special and Lynne Jordan for several years in Chicago, then played and recorded with Micki Free and new age artist Nicholas Gunn. Brant has toured American military bases to entertain service personnel, with appearances in Baghdad, Djibouti, and United Arab Emirates. Brant competes in the equestrian sport of eventing and has a horse ranch in Illinois. He co-founded Equustock, LLC a national consumer products company focused on horse bedding, cat litter, absorbents, and fuel pellets creating one of the industries best known brands. In 2024 Brant has focused on development of new wood based businesses with an emphasis on sustainability, energy and agriculture.

title: Jon Brant


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Linux kernel interfaces

The Linux kernel provides multiple interfaces to user-space and kernel-mode code that are used for varying purposes and that have varying properties by design. There are two types of application programming interface (API) in the Linux kernel:

 * 1) the "kernel–user space" API; and
 * 2) the "kernel internal" API.

Linux API

The Linux API includes the kernel–user space API, which allows code in user space to access system resources and services of the Linux kernel. It is composed of the system call interface of the Linux kernel and the subroutines in the C standard library. The focus of the development of the Linux API has been to provide the usable features of the specifications defined in POSIX in a way which is reasonably compatible, robust and performant, and to provide additional useful features not defined in POSIX, just as the kernel–user space APIs of other systems implementing the POSIX API also provide additional features not defined in POSIX.

The Linux API, by choice, has been kept stable over the decades through a policy of not introducing breaking changes; this stability guarantees the portability of source code. At the same time, Linux kernel developers have historically been conservative and meticulous about introducing new system calls.

Much available free and open-source software is written for the POSIX API. Since so much more development flows into the Linux kernel as compared to the other POSIX-compliant combinations of kernel and C standard library, the Linux kernel and its API have been augmented with additional features. Programming for the full Linux API, rather than just the POSIX API, may provide advantages in cases where those additional features are useful. Well-known current examples are udev, systemd and Weston. People such as Lennart Poettering openly advocate to prefer the Linux API over the POSIX API, where this offers advantages.

At FOSDEM 2016, Michael Kerrisk explained some of the perceived issues with the Linux kernel's user-space API, describing that it contains multiple design errors by being non-extensible, unmaintainable, overly complex, of limited purpose, in violation of standards, and inconsistent. Most of those mistakes cannot be fixed because doing so would break the ABI that the kernel presents to the user space.

System call interface of the Linux kernel
The system call interface of a kernel is the set of all implemented and available system calls in a kernel. In the Linux kernel, various subsystems, such as the Direct Rendering Manager (DRM), define their own system calls, all of which are part of the system call interface.

Various issues with the organization of the Linux kernel system calls are being publicly discussed. Issues have been pointed out by Andy Lutomirski, Michael Kerrisk and others.

The C standard library

A C standard library for Linux includes wrappers around the system calls of the Linux kernel; the combination of the Linux kernel system call interface and a C standard library is what builds the Linux API. Some popular implementations of the C standard library are

 * glibc
 * uClibc
 * klibc
 * Newlib
 * musl
 * dietlibc
 * libbionic and libhybris

Additions to POSIX
As in other Unix-like systems, additional capabilities of the Linux kernel exist that are not part of POSIX:

 * cgroups subsystem, the system calls it introduces and libcgroup
 * The system calls of the Direct Rendering Manager, especially the driver-private ioctls for the command submission, are not part of the POSIX specifications.
 * Advanced Linux Sound Architecture could set system calls, which are not part of the POSIX specifications
 * The system calls  (fast userspace mutex), ,  ,  ,  , and   have been exclusive to the Linux kernel so far.
 * The system call  was introduced in version 3.17 of the Linux kernel mainline
 * was proposed by the kdbus developers
 * was merged into the Linux kernel mainline in kernel version 3.17
 * initiates a file "read-ahead" into page cache

DRM has been paramount for the development and implementations of well-defined and performant free and open-source graphics device drivers without which no rendering acceleration would be available at all, only the 2D drivers would be available in the X.Org Server. DRM was developed for Linux, and since has been ported to other operating systems as well.

Further libraries

 * libdrm (for Direct Rendering Manager)
 * libnl (The libnl suite is a collection of libraries providing APIs to netlink protocol based Linux kernel interfaces.)
 * libevdev (for evdev)
 * libasound (Advanced Linux Sound Architecture)

Linux ABI

The term Linux ABI refers to a kernel–user space ABI. The application binary interface refers to the compiled binaries, in machine code. Any such ABI is therefore bound to the instruction set. Defining a useful ABI and keeping it stable is less the responsibility of the Linux kernel developers or of the developers of the GNU C Library, and more the task for Linux distributions and independent software vendors (ISVs) who wish to sell and provide support for their proprietary software as binaries only for such a single Linux ABI, as opposed to supporting multiple Linux ABIs.

An ABI has to be defined for every instruction set, such as x86, x86-64, MIPS, ARMv7-A (32-Bit), ARMv8-A (64-Bit), etc. with the endianness, if both are supported.

It should be able to compile the software with different compilers against the definitions specified in the ABI and achieve full binary compatibility. Compilers that are free and open-source software are e.g. GNU Compiler Collection, LLVM/Clang.

In-kernel APIs
Many kernel-internal APIs exist, allowing kernel subsystems to interface with one another. These are being kept fairly stable, but there is no guarantee for stability. A kernel-internal API can be changed when such a need is indicated by new research or insights; all necessary modifications and testing have to be done by the author.

The Linux kernel is a monolithic kernel, hence device drivers are kernel components. To ease the burden of companies maintaining their (proprietary) device drivers outside of the main kernel tree, stable APIs for the device drivers have been repeatedly requested. The Linux kernel developers have repeatedly denied guaranteeing stable in-kernel APIs for device drivers. Guaranteeing such would have faltered the development of the Linux kernel in the past and would still in the future and, due to the nature of free and open-source software, are not necessary. Ergo, by choice, the Linux kernel has no stable in-kernel API.

In-kernel ABIs
Since there are no stable in-kernel APIs, there cannot be stable in-kernel ABIs.

Abstraction APIs
For many use cases, the Linux API is considered too low-level, so APIs of higher abstraction must be used. Higher-level APIs must be implemeted on top of lower-level APIs. Examples:

 * Implementation of the OpenGL and Vulkan specifications in proprietary Linux graphics drivers and the free and open-source implementation in Mesa.
 * Implementation of the OpenAL specification.
 * Simple DirectMedia Layer: abstraction API for input/sound/etc. available for many operating systems.
 * Simple and Fast Multimedia Library: like above.

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

title: Linux kernel interfaces


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Talk:Wong Tai Sin Temple (Hong Kong)

Untitled
There are two articles about Wong Tai Sin Temple. They are:
 * Wong Tai Sin Temple, i.e. this one.
 * Wong Tai Sin temple

It'd be better merge them into one.

HenryLi 14:06, 11 July 2005 (UTC)

I'd like to add a photo slideshow of this past lunar new year at Wong Tai Sin temple. Somehow the link was rejected from the external links. Can someone tell me if this is an appropriate posting? Phots of Wong Tai Sin on Lunar New Years Day Stylista 02:02, 20 February 2007 (UTC)

Location of the temple
I believe it is located on the Southern side of Lion Rock, not the northern side as written in the articleLevtchenkov (talk) 17:06, 5 October 2011 (UTC)
 * That's right. I have changed it. Underwaterbuffalo (talk) 11:09, 7 October 2011 (UTC)

title: Talk:Wong Tai Sin Temple (Hong Kong)


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Abbas al-Musawi

Abbas al-Musawi (عباس الموسوي; 26 October 1952 – 16 February 1992) was an influential Lebanese Shia cleric, a co-founder and secretary-general of Hezbollah. He was killed by the Israel Defense Forces in 1992.

Early life and education
Al-Musawi was born into a Shia family in the village of Al-Nabi Shayth in the Beqaa Valley in Lebanon in around 1952. He spent eight years studying theology in a religious school in Najaf, Iraq, where he was deeply influenced by the views of Iranian Ruhollah Khomeini. Al-Musawi was a student, at the hawza in Najaf, of Grand Ayatollah Sayyid Muhammad Baqir al-Sadr, an influential Shi'a cleric, philosopher, political leader, and founder of the Da'wa Party of Iraq.

Activities
Al-Musawi returned to Lebanon in 1978. Along with Subhi al-Tufayli he spearheaded the formation of Hezbollah movement in the Beqaa Valley in 1982, one of the three major areas of Shia population in Lebanon. From 1983 to 1985 he was reported to have served as operational head of the Hezbollah Special Security Apparatus. From late 1985 until April 1988 he was head of Hezbollah's military wing, the Islamic Resistance.

According to some reports (while others attribute the act to Subhi al-Tufayli), al-Musawi was responsible for the abduction of Lt. Col William Higgins while commander of Hezbollah's Islamic Resistance (military wing).

In 1991, Hezbollah had entered a new era with the end of both the Iran–Iraq War and Lebanese Civil War as well as the Taif Agreement and the release of the Kuwait 17 bombers. A new leader was thought to be needed to facilitate the release of the Western hostages held by Hezbollah and, more importantly, to shift Hezbollah's focus to resistance activity against Israel.

Al-Musawi also promised to "intensify [Hezbollah] military, political and popular action in order to undermine the peace-talks." He did not support entering mainstream politics. Unlike other Hezbollah figures, he advocated the acceptance of Taif Agreement, which was the rejection of a theocratic state in Lebanon.

Assassination
On 16 February 1992, Israeli Apache helicopters fired missiles at the 3 vehicle motorcade of al-Musawi in southern Lebanon, killing al-Musawi, his wife, his five-year-old son, and four others. Israel said the attack had been planned as an assassination attempt in retaliation for the kidnapping and death of missing Israeli servicemen in 1986 and the abduction of US Marine and UN peace-keeping officer William R. Higgins in 1988.

In retaliation, the Islamic Jihad Organization attacked the Israeli Embassy in Buenos Aires. After the attack, the Islamic Jihad Organization declared that it was carried out as revenge for the martyr infant Hussein, al-Musawi's five-year-old son, who had been killed with his father. Later it was revealed by Dieter Bednarz and Ronen Bergman that the original plan of Israel had been just to abduct al Musawi to ensure the release of Israeli prisoners. However, Ehud Barak, then Israeli chief of staff, convinced then Israeli Prime Minister Shamir to order his assassination.

On 7 February 1994 four Israeli soldiers were killed and three wounded in an ambush in southern Lebanon which Hizbollah announced was to mark the anniversary of al-Musawi’s death. There were no Hizbollah casualties in the attack.

Al-Musawi was succeeded as Secretary General of Hezbollah by Hassan Nasrallah.

title: Abbas al-Musawi


text:
Atlantic Express

Atlantic Express may refer to:

 * Atlantic Express (airline), a trading name for Atlantic Air Transport, a British airline.
 * Atlantic Express (Gambia airline) a Gambian airline 2004–2005
 * Atlantic Express, the previous name for U.S.-based Eos Airlines
 * Atlantic Express (bus company), a public and school bus operating company in the United States
 * Atlantic Express, a named train operated by the Canadian Pacific Railway
 * Atlantic Express and Pacific Express, a named train operated by the Erie Railroad
 * Atlantic Coast Express, a former express passenger train between London and seaside resorts

title: Atlantic Express


text:
Talk:Commutative algebra

On binary commutating structures
Binary numbers forming a commutating field are the complex numbers, but there are also other commutating binary (or two component) numbers, which form rings, rather than fields. (The inverse does not exist for all nonzero elements)...but does exist for most.

For complex numbers

Z=x+ty where tt = -1

For ring of dual numbers

Z=x+ty where tt = 0

For perplex numbers

Z=x+ty where tt = 1

A nifty property of the ring of dual numbers is to express a function over this domain as f(z) = f(x+ty) = f(x)+ty df/dx where tt=0. This follows from Taylor. Gives a nice algebraic definition of derivative.

Generalized Cauchy Riemann relations also exists for functions over the new domains.

Questions: Is this delving into homological algebra? what can the interplay of algebra and analisis be called? How is this classified?

astarfish — Preceding unsigned comment added by 200.9.237.254 (talk) 14:08, 11 July 2005 (UTC)

Adding Macaulay2 Computations
I think the algebraic geometry, commutative algebra, and algebraic number theory pages on wikipedia should include example computations using computer algebra systems. The main programs I know of are macaulay2, sage, and singular. Does anyone have thoughts about this? — Preceding unsigned comment added by 128.138.65.151 (talk) 21:41, 28 August 2017 (UTC)

Todo

 * Cite the paper mentioned in https://mathoverflow.net/questions/21067/noetherian-rings-of-infinite-krull-dimension
 * This page should include the Nullstellensatz after the Hilbert Basis theorem and it should be mentioned how this is foundational to commutative algebra.
 * The nullstellensatz should be used to motivate the functor of points and the definition of an affine scheme as a co-representable functor on $$\textbf{CRing}$$.
 * The connections with algebraic geometry section needs to be expanded further. This should include mentioning graded rings with (weighted) projective schemes/DM-stacks. — Preceding unsigned comment added by 70.59.20.131 (talk) 02:32, 29 August 2017 (UTC)

title: Talk:Commutative algebra


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Canora station (REM)

Canora station is a future station on the Réseau express métropolitain (REM), expected to open in the fourth quarter of 2024. It is located in the Glenmount neighbourhood of Montreal, Quebec, Canada, just east of the Town of Mount Royal. The platforms are located northwest of the west portal of the Mount Royal Tunnel.

Until May 2020, Canora was a commuter rail station on Exo's Deux-Montagnes and Mascouche lines.

History
The station is located at 7300 Canora Road, immediately northwest of Jean Talon Street.

From the opening of the Deux-Montagnes Line in 1918 by the Canadian Northern Railway until the modernization of the line, which took place between 1993 and 1995, the station was called Portal Heights because of its location at the northwest end of the Mount Royal Tunnel. At the reopening, the station was renamed Canora, a portmanteau of CAnadian NOrthern RAilway, in tribute to the line's founder.

Since opening, the station has been valued by the residents of not only the town of Mont-Royal, but also by those of the Côte-des-Neiges borough, for its fast connection with downtown via the tunnel.

As part of the Réseau express métropolitain (REM) project to convert the Deux-Montagnes line to rapid-transit operation, a connecting station was to be built on the Saint-Jérôme line adjacent to Canora across Rue Jean-Talon.

Starting in May 2018, due to the 4-year-long process of being converted to light rapid transit operation, only one of the station's two platforms was being used for travel in both directions; the same was true for its neighbouring outbound station, Mont-Royal. The station was fully closed on May 11, 2020, in order to be converted into a REM station. It is slated to reopen in 2024.

title: Canora station (REM)


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Holly Brisley

Holly Brisley (born 11 January 1978) is an Australian actress and television presenter. She began her career at the age of 16 on Agro's Cartoon Connection (1994–97) and more recently portrayed Amanda Vale-Baker on Home and Away (2005–09). Her most successful film roles include Garage Days (2001) and The Crop (2004).

Early life
Brisley was born in Adelaide, South Australia. As Brisley grew up, she excelled at speech and drama and joined the Paradise Performer's Dance Academy, where she participated in various classes such as jazz, ballet and tap, and also took part in eisteddfods, winning many awards.

Career
By the age of 13 she was on the books of the Studio Search Agency on the Gold Coast, with her first roles being the Australian telemovies The Flood: Who Will Save Our Children? in 1993 and Official Denial in 1994.

It was not until Brisley began her regular television career in 1994 on the Logie Award–winning children's program Agro's Cartoon Connection that she began to receive recognition. She would later host The Looney Tunes Show in a more adult style, along with World's Craziest Videos and various shows for Foxtel. Holly was ranked 5th (2000) and 29th (2001) in FHM's Australia's 100 Sexiest Women.

Brisley maintained her acting career throughout this period with some of her notable roles being in Garage Days, The Crop and Dynasty: The Making of a Guilty Pleasure.

After various guest appearances and hosting gigs, Brisley was featured in Dancing with the Stars in 2005, and then landed the permanent role of town vixen Amanda Vale on soap opera Home and Away, where she remained for two years. In February 2008, she briefly returned to Home and Away, reprising her role again in July 2009 and leaving in mid-August 2009. Brisley has said she would love to return to Home and Away.

Over the years, she has worked (at one stage or another) for most networks, including Network Ten and Foxtel, but mostly she has worked for the Seven Network and the Nine Network.

In 2008, she voiced the title character in the ABC children's series CJ the DJ which has screened in Australia from late 2009 to early 2010. Brisley played the female lead Tara in the feature film Sinbad and the Minotaur.

In November 2019, she appeared on 7mate in the reincarnation of Fat Pizza, as Pauly's former high school crush, who works in the local pharmacy.

Personal life
Brisley's family moved from Adelaide to the Gold Coast while she was still very young.

Brisley became engaged to marketing executive Paul Ford in Venice in 2005 and they married on 11 February 2006 in Manly, Sydney. They exchanged vows in the Cardinal Cerretti Memorial Chapel, in the grounds of St Patrick's Seminary overlooking the ocean.

She gave birth to their son, Levi Harper Ford, at the Royal North Shore Private Hospital on 16 July 2009. On 20 July 2012, she gave birth to her second child, a daughter Willow Jade Ford.

Brisley has coeliac disease, and appeared on the cover of "The Australian Coeliac" September 2005 edition.

In July 2010, Brisley climbed Mount Kilimanjaro in Africa for a charity trek, whereby she raised $50,000 for the Humpty Dumpty Foundation, a worthy cause that helps sick children. She had a near-death experience having contracted pulmonary edema caused by the high altitude but is in good health now.

Awards and nominations
On 1 June 2005, she received a Film Award for 'Best Actress – Feature Film' at the New York Film & Video Festival for her portrayal of "Geraldine" in the Australian film The Crop. The film also won 'Best International Feature'.

title: Holly Brisley


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Cinema of Denmark

Denmark has been producing films since 1897 and since the 1980s has maintained a steady stream of product due largely to funding by the state-supported Danish Film Institute. Historically, Danish films have been noted for their realism, religious and moral themes, sexual frankness and technical innovation.

The Danish filmmaker Carl Theodor Dreyer (1889–1968) is considered one of the greatest directors in the history of cinema. Other Danish filmmakers of note include Benjamin Christensen, who outside his native country directed several horror classics including Häxan (1922) and Seven Footprints to Satan (1929); Erik Balling, the creator of the popular Olsen-banden films; Gabriel Axel, an Oscar-winner for Babette's Feast in 1987; and Bille August, the Oscar-, Palme d'Or- and Golden Globe-winner for Pelle the Conqueror in 1988. In the modern era, notable filmmakers in Denmark include Lars von Trier, who co-created the Dogme 95 film movement, followed by Thomas Vinterberg winner of the 2021 Academy Award for Best International Feature Film who is also Denmark's two time Cannes Film Festival contender and selectee with his internationally acclaimed films The Hunt (Jagten) and Another Round (Druk). Other notable filmmakers include multiple award-winners Susanne Bier and Nicolas Winding Refn.

Beginnings
Danish cinema pioneer Peter Elfelt, a photographer, was the first Dane to make a film. Between the years of 1896 and 1912, he produced around 200 documentary films on life in Denmark. His first film was Kørsel med Grønlandske Hunde (Traveling with Greenlandic Dogs). Furthermore, he produced the first Danish feature film: Henrettelsen (Capital Execution, 1903). The first film show in Denmark took place in the Panorama cinema on the Town Hall square in Copenhagen, in June 1896. However, the selection of films had been made and produced abroad.

The Golden Age

In 1906, cinema owner Ole Olsen founded the first Danish film-making company, Nordisk Films Kompagni. It gained most of its income from the export market of short films. Not until 1909 were other film-producing companies established. In 1910 the number had reached ten. This period is now known as the Golden Age of Danish Cinema. In the spring of 1910, Nordisk Films Kompagni changed its policy of producing only short films and began making feature films. This was largely inspired by the Århus Fotorama company's Den hvide Slavehandel (The White Slave Trade, 1910), which was the first multi-reel Danish film lasting more than 30 minutes.

With the increasing length of films, there was a growing artistic awareness, which is evident in Afgrunden (The Abyss, 1910). This film launched the career of Asta Nielsen, who soon became Europe's first great female film star. The film was an erotic melodrama, which soon became the preferred genre in early Danish cinema. In 1911, with director August Blom as the new head of production, Nordisk Film was the first of the major European companies to devote itself entirely to full-length feature films. These films were sold abroad profitably because the technical and photographic quality impressed audiences. Yet, when exporting the films, the erotic elements needed to be toned down in order not to offend the working class audiences. In 1913, Nordisk released the first full-length feature movie, Atlantis directed by Blom.

After 1913, Danish cinema began to lose its leading foothold in the film industry, with foreign companies having intensified competition in the production of feature-length films. Danish cinema had also begun to suffer from a lack of imagination and a willingness to take creative risks on the part of Danish producers. Independent producer Benjamin Christensen had great success with the spy film Det hemmelighedsfulde X (The Mysterious X or Sealed Orders, 1914) and the crime drama Hævnens Nat (Blind Justice or The Night of Revenge, 1916), both of which are major works in the history of the Danish cinema; he would later direct several films in Sweden and Hollywood.

1920s through 1940s
During World War I, the USA became the leading nation in film production and Danish exports decreased. In the years following the war, Dreyer made an appearance as director at Nordisk Film with the drama Præsidenten (The President, 1919), followed by the ambitious Blade af Satans Bog (Leaves from Satan's Book, 1921), inspired by the American director D. W. Griffith's Intolerance (1916) in both technique and theme. However, Dreyer, as well as Benjamin Christensen, were not permanently connected to the influential Danish film industries and remained loners. As a whole, Danish film in the 1920s was on the decline in spite of the filmmakers' better technical skills. Of most interest at this time were perhaps the so-called Dickens movies directed by the very able A. W. Sandberg. At one point Denmark again enjoyed some international reputation, by the many farces of the vagabond duo Fyrtaarnet og Bivognen (often known by their French names Doublepatte and Patachon), who were Scandinavian predecessors of Laurel and Hardy. They were introduced by Palladium, the rival of Nordisk Film. Despite these resurgences, at the end of the decade the Danish film industry was on its heels.

In 1929, Nordisk Film Kompagni was established as a sound film company. The Pastor of Vejlby (1931) reinforced the Nordisk's dominance in the Danish market. The 1930s were dominated by many successes with light comedies. The so-called "folkekomedie" (folk comedy) genre was born, with Barken Margrethe (1934) an important early example. The Depression and the economic conditions of the film companies prevented more serious film business, and the victory of the sound movie automatically set greater limits on the international possibilities of Danish film. Many popular stars like Marguerite Viby, Ib Schønberg and Peter Malberg had breakthroughs but in spite of many economic successes no further development of the media was seen.

Between 1940 and 1945, the German occupation of Denmark during World War II pushed the film industry toward more serious subject matter. The darker tone during these years paralleled the rise of film noir in Hollywood. Bodil Ipsen made her directorial mark with 1942's Afsporet, the first Danish film noir, and continued with the psychological thriller Melody of Murder (1944). The standard of the comedy was also lifted, especially by the witty, elegant movies of Johan Jacobsen, a Danish pupil of Ernst Lubitsch. After the war ended, there was a movement toward realism and social criticism, particularly noted in films directed by Ole Palsbo. Soon, however, Denmark's film industry returned to making the light sentimental comedies and uncomplicated regionalist movies that were popular with Danish filmgoers.

1950s to 1970s
A large stream of family comedies ("Lystspil") and class-conscious folk comedies ("folkekomedier") were produced from the 1950s to late 1970s/early 1980s. Here a lot of Danish stars were born, such as Dirch Passer, Ove Sprogøe and director Erik Balling. Important films of this period include De røde heste (1950), Far til fire (1953), Kispus (1956, first Danish film in colour ), Støv på hjernen (1961), Sommer i Tyrol (1964), Passer passer piger (1965), the Olsen-banden-series (1968-1981) and Erik Balling's classic TV-sitcom Huset på Christianshavn (1970-1977).

In the sixties, Danish cinema became gradually more erotic, with films such as Halløj i himmelsengen (Erik Balling, 1965), Sytten (Annelise Meinecke, 1965), Jeg - en kvinde (Mac Ahlberg, 1965) and Uden en trævl (Annelise Meinecke, 1968), several of which made a huge international impression. As a natural progression, in 1969 Denmark became the first country to completely legalize pornography. In the 1970s, a large percentage of all Danish films were sexually oriented, and many mainstream-features with mainstream-actors included sequences with either softcore- or hardcore-pornography, most notably Mazurka på sengekanten (John Hilbard, 1970) and I Jomfruens tegn (Finn Karlsson, 1973) along with their many respective sequels, forming the eight Bedside-films and six Zodiac-films.

In 1972, the Danish Film Institute (DFI) was founded to provide state subsidies for hand-picked films. It allocated public funding for feature films based on their artistic merit rather than commercial appeal—with an emphasis on those films which expressed Danish culture and identity. The DFI reinvigorated the financial viability of the sagging Danish film industry, but later was criticized for becoming too conservative and nationalistic in defining which films represented Danish identity. In one example, Lars von Trier's 1984 debut feature The Element of Crime struggled to receive funds because it was radically different from the typical Danish film—and, yet, received international acclaim upon release. In response, the Ministry of Culture in 1989 vastly broadened the DFI's definition of "Danish film" to include any work which contributed to Danish film culture. This allowed state funding of films with greater global appeal and helped foster the international success of a new wave of Danish filmmakers.

With La' os være (“Let us be”) (Ernst Johansen & Lasse Nielsen, 1975), independent producer Steen Herdel launched a wave of successful teenage-dramas, including Måske ku' vi (“Maybe we could”) (Morten Arnfred, 1976), Du er ikke alene ("You Are Not Alone") (Ernst Johansen & Lasse Nielsen, 1978), Mig og Charly (“Me and Charly”) (Morten Arnfred & Henning Kristiansen, 1978) and Vil du se min smukke navle? (“Do you want to see my beautiful bellybutton?”) (Søren Kragh-Jacobsen, 1978), all produced by Steen Herdel.

A notable TV-series, Matador, ran from 1978 to 1982, and has remained a national favourite. It was directed by Erik Balling.

The 1980s
Since the start of the 1980s, the Danish film industry has been completely dependent on state funding through Det Danske Filminstitut. A project usually does not get made unless the script, director and cast etc. has been approved by the appointed representatives of the Danish Film Institute. This means that Danish filmmaking is essentially controlled by the state.

In 1983, Lars von Trier graduated from Den Danske Filmskole (National Film School of Denmark) and received international attention with films such as Forbrydelsens element (1984) and Epidemic (1987). His strange, innovative ideas were fiercely resisted by Det Danske Filminstitut and drew very small local audiences, but were embraced by the Cannes Film Festival, where his films were included in the official selections and took home awards.

Released in 1987 was the gay teenage drama Venner for altid ("Friends Forever"), directed by Stefan Henszelman (1960-1991). It won the 1988 Audience Award as Best Feature at the San Francisco International Lesbian & Gay Film Festival.

The Danish film industry got a major boost in the late 1980s when the movie Babettes Gæstebud (Babette's Feast), directed by Gabriel Axel, won an Academy Award for Best Foreign Film in 1987, and next year the Best Foreign Film award went to Pelle Erobreren (Pelle the Conqueror), directed by Bille August.

In the late 1980s and early 1990s, more talented directors started graduating from the National Film School of Denmark, such as Thomas Vinterberg, Per Fly and Ole Christian Madsen.

Also in the late 1980s, Danish cinematographer Mikael Salomon ended a long career in Danish cinema to become one of Hollywood's most celebrated DPs, later establishing himself as a successful, Emmy Award-winning television director.

The 1990s
Danish film in the 1990s was dominated by Lars von Trier. His films Europa, Breaking the Waves, The Idiots, and Dancer in the Dark received great international attention and were nominated for numerous awards.

The Dogme 95 Collective caught the attention of the international film world with its strict "vows of chastity" or rules for filmmakers that force filmmakers to concentrate on purity of story and the actors' performances rather than special effects and other cinematic devices.

The first Dogme 95 film, The Celebration (Festen), directed by Thomas Vinterberg, received many awards on the international film festival circuit and was named by both the Los Angeles Film Critics Association and the New York Film Critics Circle as the best foreign-language film of the year.

The members of the Dogme 95 Collective were von Trier, Vinterberg, Kristian Levring, and Søren Kragh-Jacobsen. Although the Dogme 95 movement originated in Denmark, filmmakers around the world soon experimented with the rigid guidelines and sought certification for their films as Dogme. Furthermore, Lars von Trier's own Dogme-film Idioterne (1998) started a separate wave of arthouse mainstream films with unsimulated sex.

Lars von Trier also made history by having his company Zentropa be the world's first mainstream film company to produce hardcore pornographic films. Three of these films, Constance (1998), Pink Prison (1999) and the adult/mainstream crossover-feature All About Anna (2005), were made primarily for a female audience, and were extremely successful in Europe, with the two first being directly responsible for the March 2006 legalizing of pornography in Norway.

The 21st century
A trilogy directed by Per Fly, The Bench (Bænken) (2000), Inheritance (Arven) (2003), and Manslaughter (Drabet) (2005) portrayed Denmark's three distinct social classes and received international acclaim.

The work of Susanne Bier, particularly Brothers (2004) and After the Wedding (2006), introduced the world to Danish actors such as Mads Mikkelsen, Ulrich Thomsen, and Nikolaj Lie Kaas. After the Wedding was nominated for the Academy Award for Best Foreign Language Film. Bier's In a Better World (Hævnen, meaning "The Revenge") is a 2010 drama starring Mikael Persbrandt, Trine Dyrholm and Ulrich Thomsen in a story which takes place in small-town Denmark and a refugee camp in Sudan. The film won the 2011 Golden Globe Award for Best Foreign Language Film and the Best Foreign Language Film at the 83rd Academy Awards.

Anders Thomas Jensen first received acclaim as Oscar-winning writer-director of three short films, Ernst & lyset (1996), Wolfgang (1997) and Valgaften (1998), then as screenwriter of such feature films as Mifune's Last Song (1999), Open Hearts (2002), Wilbur Wants to Kill Himself (2002), Stealing Rembrandt (2003) and Brothers (2004); and finally as a director of dark and profound feature comedies like The Green Butchers (2003) and Adam's Apples (2005).

Other notable Danish directors of the 21st century include Nikolaj Arcel, Christoffer Boe, Lone Scherfig, Niels Arden Oplev, Nicolas Winding Refn, Ole Christian Madsen, Annette K. Olesen and Christian E. Christiansen for executive producer by Patriots Day was shot in Paris, France, only in the film.

The 21st century's first decade proved difficult for a number of Denmark's most established directors, including Lars von Trier, although things started well with his Nicole Kidman-starring Dogville (2003), a provocative stylistic experiment filmed on a black sound stage with little beyond white floor markings to indicate the sets. Its sequel Manderlay (2005), exploring the issue of slavery, continued this stylistic device but was largely ignored by audiences.

Thomas Vinterberg, who had gained worldwide recognition with The Celebration (1998), made two high budget English-language films that underperformed at the box office, It's All About Love (2003) and Dear Wendy (2005), then retraced his roots with a smaller Danish-language production, En mand kommer hjem (2007), which also underperformed, selling only 28.472 tickets.

However, Vinterberg proved his filmmaking abilities with his 2012 feature film The Hunt (Jagten), which was a major box office success, receiving international critical acclaim, winning the Best Actor award at the 2012 Cannes Film Festival for Mads Mikkelsen's performance as Lucas. With a budget of $3.8 million dollars, the film made over $16 million dollars. The film was also nominated for an Academy Award for Best International Feature Film.

In 2021, his latest film Another Round (Druk) won the Academy Award for Best International Feature Film at the Oscars. The film was another global success for Thomas Vinterberg, having been nominated for 4 BAFTA awards, winning the BAFTA Award for Best Film Not in the English Language as well as winning the Best Film award at BFI London Film Festival in 2020. Despite COVID restrictions by the opening weekend, the film had sold 102,366 tickets, including 13,400 tickets in previews, in Denmark, thereby achieving the biggest opening weekend for a Danish drama in seven years.

The film was also selected for the 2020 Cannes Film Festival, but due to the cancellation of the festival, it then made its premiere at the Toronto International Film Festival

Around the same time as Vinterberg's initial box office failures prior to his international hits, Bille August, Lone Scherfig, and Lars von Trier also made Danish-language films that underperformed both financially and with the critics, leading the Danish financial times Børsen to observe on September 19, 2007 that "1990'ernes filmfest er forbi" (the film party of the 1990s has ended).

A change of leadership at the Danish Film Institute in late 2007 was seen by many as an opportunity for reflection and renewal, while others pointed to the generally healthy local box office numbers and denied any crisis. Daily paper Jyllands-posten concluded the situation to be a "krise i en opgangstid" (crisis in a time of growth).

In 2008, Danish films sold over 4 million tickets at the Danish boxoffice, the biggest number since 1981, but the relief was brief, as Danish films in the first five months of 2009 turned out to have the lowest ticket-sales since 2005. Film critic Henrik Queitsch agreed that there was some reason for concern, noting in the Danish Film Institute's monthly program that "the different, the surprising, the odd and the daring" was hardly what characterised Danish films of 2008.

Danish cinema nonetheless remains highly respected internationally, and Danish films (today almost exclusively consisting of social realist dramas, comedies, family films and documentaries) receive many awards at major international film festivals.

Danish Film Institute
Danish filmmaking remains influenced by the state through the Danish Film Institute (DFI), which was founded in 1972. DFI is Denmark's national agency for film and cinema culture, operating under the Ministry of Culture. DFI supports the development, production and distribution of films and run the national archives.

Support programmes also extend to international co-productions film education and international promotion at film festivals. The DFI includes a library, a stills and posters archive and a film archive. The DFI Film House is open to the public and houses the national Cinematheque.

The DFI supports the production of 20-25 feature films and 25-30 documentary and short films every year. There are three kinds of support: the film commissioner scheme, the market scheme and the talent development scheme at New Danish Screen.

The DFI encourages international partnerships and allows for 5-9 minor co-productions in feature film and 4-6 minor co-productions in documentary film per year.

A cornerstone of Danish film policy is to fund children and youth films to which 25 percent of all subsidies are allocated.

DFI has received criticism for lack of innovation (notably, Dogme 95 happened in spite of funding from the Film Institute) and is sometimes accused of nepotism and cronyism, for example when film commissioner Mikael Olsen from 1998 to 1999 greenlighted 28 million kroner of subsidy money to his childhood-friend Peter Aalbæk Jensen, then went on to work for him in a high-ranking position.

The Danish Film Institute however has also achieved a high level of professionalism even if more or less reserved for a few selected genres and production companies (mainly Nordisk Film, Zentropa and Nimbus Film). In February 2008, Nordisk Film bought half of Zentropa, which frequently coproduces with Nimbus Film, but such tax-funded, state-sanctioned monopolies are rarely frowned upon in Denmark.

Danish directors nominated for Academy Award for Best Director

 * 2020 - Thomas Vinterberg, Another Round

Danish films nominated for César Award for Best Foreign Film

 * 1997 - Breaking the Waves (Lars von Trier) (won)
 * 1999 - The Celebration (Thomas Vinterberg)
 * 2001 - Dancer in the Dark (Lars von Trier)

Danish films nominated for César Award for Best European Union Film

 * 2004 - Dogville (Lars von Trier)

Danish films nominated for Academy Award for Best International Feature film

 * 1956 - Qivitoq (Erik Balling)
 * 1959 - Paw (Astrid Henning-Jensen)
 * 1961 - Harry and the Butler (Bent Christensen)
 * 1987 - Babette's Feast (Gabriel Axel) (won)
 * 1988 - Pelle the Conqueror (Bille August) (won)
 * 1989 - Waltzing Regitze (Kaspar Rostrup)
 * 1996 - All Things Fair (Bo Widerberg) (Swedish/Danish coproduction)
 * 2007 - After the Wedding (Susanne Bier)
 * 2011 - In a Better World (Susanne Bier) (won)
 * 2013 - A Royal Affair (Nikolaj Arcel)
 * 2014 - The Hunt (Thomas Vinterberg)
 * 2016 - A War (Tobias Lindholm)
 * 2017 - Land of Mine (Martin Zandvliet)
 * 2021 - Another Round (Thomas Vinterberg) (won)
 * 2022 - Flee (Jonas Poher Rasmussen)

Danish films nominated for Best European film

 * 1988 - Pelle the Conqueror (Bille August)
 * 1996 - Breaking the Waves (Lars von Trier) (won)
 * 1998 - The Celebration (Thomas Vinterberg)
 * 1999 - Mifune's Last Song (Søren Kragh-Jacobsen)
 * 2000 - Dancer in the Dark (Lars von Trier) (won)
 * 2001 - Italian for Beginners (Lone Scherfig)
 * 2002 - Lilja 4-ever (Lukas Moodysson) (Swedish/Danish/Estonian coproduction)
 * 2003 - Dogville (Lars von Trier)
 * 2004 - A Hole in My Heart (Lukas Moodysson) (Swedish/Danish coproduction)
 * 2005 - Brothers (Susanne Bier)
 * 2011 - In a Better World (Susanne Bier)
 * 2011 - Melancholia (Lars von Trier) (won)
 * 2012 - The Hunt (Thomas Vinterberg)
 * 2014 - Nymphomaniac (Lars von Trier)
 * 2014 - Force Majeure (Ruben Östlund) (Swedish/Danish/Norwegian/French coproduction)
 * 2015 - Rams (Grímur Hákonarson) (Icelandish/Danish coproduction)
 * 2017 - The Square (Ruben Östlund) (Swedish/French/German/Danish coproduction)
 * 2018 - Border (Ali Abbasi) (Swedish/Danish coproduction)
 * 2020 - Another Round (Thomas Vinterberg) (won)

Danish directors nominated for Best European Director

 * 2003 - Lars von Trier, Dogville (won)
 * 2005 - Susanne Bier, Brothers
 * 2006 - Susanne Bier, After the Wedding
 * 2009 - Lars von Trier, Antichrist
 * 2011 - Susanne Bier, In a Better World (won)
 * 2011 - Lars von Trier, Melancholia
 * 2012 - Thomas Vinterberg, The Hunt
 * 2018 - Ali Abbasi, Border
 * 2020 - Thomas Vinterberg, Another Round (won)

Sundance Film Festival awards
On 30 January 2010 in Los Angeles, Mads Brügger's "The Red Chapel," (Danish: Det Røde Kapel) won the grand jury prize for the best world documentary at the Sundance Film Festival. Presenting a comic approach to a group's visit to North Korea, the film explores the development of an enigmatic and totalitarian country.

In 2018, "The Guilty" (Danish: Den Skyldige), a Danish production directed by Swedish debutant Gustav Möller, won the World Cinema dramatic Audience Award.

title: Cinema of Denmark


text:
Kwinana bus station

Kwinana bus station is a Transperth bus station located next to the Kwinana Marketplace Shopping Centre in Kwinana Town Centre. It has 10 stands and is served by five Transperth routes operated by Transdev WA.

The original Kwinana bus station opened in 1975–76. Located on Rockingham Road in Kwinana Beach near the Thomas Road intersection, the original bus station closed on the commissioning of the Kwinana bus Station and demolished. The new station was initially named the Kwinana bus station. It was renamed to Kwinana Hub bus station when the adjacent shopping centre was named the Kwinana Hub and when the Mandurah Line opens in end-2007. It was renamed back to Kwinana bus station when the adjacent shopping centre was renamed.

title: Kwinana bus station


text:
Sogno

Sogno (Dream) is the fifth studio album by Italian tenor Andrea Bocelli.

The album sold 2.5 million copies in the United States, and over 10 million copies worldwide. Bocelli was subsequently nominated for Best New Artist at the Grammys, the first and so far only time a classical artist had been nominated in the category since 1961.

Release
Sogno was released internationally on April 6, 1999.

The album was released in Spanish under the name Sueño (Dream).

In Japan it was released as Yume no Kaori (夢の香り).

Accolades
In 1999, Bocelli was nominated for Best New Artist at the Grammys, which marked the first time a classical artist had been nominated in the category in 38 years.

His duet with Celine Dion, "The Prayer," originally appeared as a solo version (for Celine Dion) in the 1998 animated film Quest for Camelot, and won the Golden Globe for Best Original Song as well as being nominated for an Academy Award for Best Original Song.

Commercial performance
Sogno entered the upper reaches of the pop album charts around the world, giving birth to the phenomenon of "Bocellimania".

The album sold 2.5 million copies in America, and over 10 million copies worldwide.

Track listing

 * 1) "Canto della Terra" (Francesco Sartori, Lucio Quarantotto) – 4:02
 * 2) "The Prayer" (with Celine Dion) (David Foster, Carole Bayer Sager) – 4:30
 * 3) "Sogno" (Giuseppe Francesco Servillo, Giuseppe Vessicchio) – 4:03
 * 4) "'O Mare E Tu" (with Dulce Pontes) (Enzo Gragnaniello) – 4:36
 * 5) "A Volte Il Cuore" (Piero Marras) – 4:44
 * 6) "Cantico" (Mauro Malavasi, Pierpaolo Guerrini, Andrea Bocelli) – 4:01
 * 7) "Mai Più Così Lontano" (Mauro Malavasi) – 4:20
 * 8) "Immenso" (Francesco Sartori, Lucio Quarantotto) – 4:51
 * 9) "Nel Cuore Lei" (with Eros Ramazzotti) (Bruno Zambrini, Dedo Cogliati) – 3:48
 * 10) "Tremo E T'Amo" (Tullio Ferro, Giuseppe Francesco Servillo) – 4:51
 * 11) "I Love Rossini" (Patrick Abrial, Giuseppe Francesco Servillo) – 3:56
 * 12) "Un Canto" (Ennio Morricone, Sergio Bardotti) – 4:35
 * 13) "Come Un Fiume Tu" (Ennio Morricone, Lucio Quarantotto) – 4:47
 * 14) "A Mio Padre (6 Maggio 1992)" (Mauro Malavasi, Andrea Bocelli) – 4:00

title: Sogno


text:
Brian's Song

Brian's Song is a 1971 ABC Movie of the Week that recounts the life of Brian Piccolo (James Caan), a Chicago Bears football player stricken with terminal cancer, focusing on his friendship with teammate Gale Sayers (Billy Dee Williams). Piccolo's and Sayers's sharply differing temperaments and racial backgrounds made them unlikely to become friends but they did, becoming the first interracial roommates in the history of the National Football League. The film chronicles the evolution of their friendship, ending with Piccolo's death in 1970. The production was such a success on ABC that it was later shown in theaters by Columbia Pictures with a major premiere in Chicago; however, it was soon withdrawn for lack of business. Critics have called the movie one of the finest television movies ever made. A 2005 readers' poll taken by Entertainment Weekly ranked Brian's Song seventh in its list of the top "guy-cry" films.

The movie is based on Sayers's account of his friendship with Piccolo and coping with Piccolo's illness in Sayers's 1970 autobiography, I Am Third. The film was written by William Blinn, whose script one Dallas television critic called "highly restrained, steering clear of any overt sentimentality [yet conveying] the genuine affection the two men felt so deeply for each other."

Plot
The movie begins as Chicago Bears rookie running back Gale Sayers arrives at team practice as an errant punt lands near him. Fellow rookie running back Brian Piccolo goes to retrieve the ball, and Sayers flips it to him. Before Sayers meets with coach George Halas in his office, Piccolo tells him – as a prank – that Halas has a hearing problem, and Sayers acts strangely at the meeting. Sayers pranks him back by placing mashed potatoes on his seat while Piccolo is singing his alma mater's fight song.

During practice, Piccolo struggles while Sayers shines. Sayers and Piccolo are placed as roommates, a rarity during the racial strife at the time. Piccolo is afraid that he did not make the team, but Sayers makes the point that "if you didn't make the team, we wouldn't be placed together as roommates." Their friendship flourishes, in football and in life, quickly extending to their wives, Joy Piccolo and Linda Sayers. Sayers quickly becomes a standout player, but he injures his knee in a game against the San Francisco 49ers. To aid in Sayers's recovery, Piccolo brings a weight machine to his house. In Sayers' place, Piccolo rushes for 160 yards in a 17–16 win over the Los Angeles Rams and is given the game ball. Piccolo challenges Sayers to a race across the park, where Sayers stumbles but wins. Piccolo wins the starting fullback position, meaning both he and Sayers will now be on the field together, and both excel in their roles.

Piccolo starts to lose weight and his performance declines, so he is sent to a hospital for a diagnosis. Soon after, Halas tells Sayers that Piccolo has cancer and will have part of a lung removed. In an emotional speech to his teammates, Sayers states that they will win the game for Piccolo and give him the game ball. When the players later visit the hospital, Piccolo teases them about losing the game, laughing that the line in the old movie wasn't "let’s blow one for the Gipper."

After a game against the St. Louis Cardinals, Sayers visits Joy, who reveals that Piccolo has to have another surgery for his tumor. After he is awarded the "George S. Halas Most Courageous Player Award", Sayers dedicates his award to Piccolo, telling the crowd that they had selected the wrong person for the prize and saying, "I love Brian Piccolo, and I'd like all of you to love him, too. And tonight, when you hit your knees, please ask God to love him." In a call, Sayers mentions that he gave Piccolo a pint of blood while he was in critical condition. Piccolo dies with his wife by his side. The movie ends with a flashback of Piccolo and Sayers running through the park, while Halas narrates that Piccolo died at age 26 and is remembered not for how he died but for how he lived.

Music
The musical theme to Brian's Song, "The Hands of Time", was a popular tune during the early 1970s and has become a standard. The music for the film was by Michel Legrand, with lyrics to the song by Alan and Marilyn Bergman.

Legrand's instrumental version of the theme song charted for eight weeks in 1972, peaking at No. 56 on the Billboard Hot 100. It also won the Grammy Award for Best Instrumental Composition.

Reception
The film received acclaim and is often cited as one of the greatest television films ever made, as well as one of the greatest sports films.

The film was the most watched movie on U.S. television during 1971 and the most watched made-for-TV movie ever with a Nielsen rating of 32.9 and an audience share of 48% until it was surpassed by The Night Stalker in January 1972.

Beginning in Fall 1972, the film was made available to schools all over the United States by the Learning Corporation of America.

Review aggregator Rotten Tomatoes reports that 92% of 12 critics have given the film a positive review, with an average rating of 7.70/10. The site's consensus is that "Buoyed by standout performances from James Caan and Billy Dee Williams, Brian's Song is a touching tale of friendship whose central relationship transcends its standard sports movie moments."

In his 2016 book co-written with Alan Sepinwall titled TV (The Book), television critic Matt Zoller Seitz named Brian's Song as the fifth greatest American TV-movie of all time, stating that the film was "The dramatic and emotional template for a good number of sports films and male weepies (categories which tend to overlap a bit)", as well as "an influential early example of the interracial buddy movie." Filmink magazine said the film "has a deserved reputation for the definitive guy cry movie – cancer, race, football, stoicism."

Remake
Thirty years after its original airing, a remake was aired in 2001 on ABC's The Wonderful World of Disney starring Mekhi Phifer as Sayers and Sean Maher as Piccolo.

title: Brian's Song


text: Category:Hezbollah

title: Category:Hezbollah


text:
Talk:Power steering

Abbreviations
These abbreviations are commonly used for power steering systems: —Preceding unsigned comment added by 212.199.157.54 (talk • contribs) as of 10:13, July 11, 2005 (UTC)
 * PAS - Power Assisted Steering
 * EPS - Electric Power-assisted Steering
 * VAPS - Variable Assist Power Steering

 * PAS has been split into HPAS and EPAS. EPS is not common. VAPS doesn't mean anything. Do you mean SS PAS? Greglocock (talk) 22:46, 19 April 2020 (UTC)

Hydraulic systems
The article currently states "As the speed of the engine increases, the pressure in the hydraulic fluid also increases, hence a relief valve is incorporated into the system to allow excess pressure to be bled away". This is misleading. It is the flow rate which is automatically increased with rising engine speed. However, because the flow has to pass through the same orifice (known as the "restricting orifice"), the pressure at the pump's outlet increases with engine speed. At a certain engine speed, this pressure causes a flow control valve to open, directing some of the flow back to the pump's inlet. This prevents the steering from operating too quickly. But the key here is flow rate, not pressure. Christidy (talk) 23:00, 26 April 2008 (UTC)

I have now edited the article to reflect this. Christidy (talk) 00:09, 27 April 2008 (UTC)

Electric steering in light vehicles?
I was recently looking up vehicles with the electric steering. So far the heaviest I have found to use it is the Saturn Aura Hybrid. This car weighs 3529 lbs, can it really be considered a "light" vehicle that the article claims electric steering is limited to? I have only seen it installed on I4 engines so far, but if it works on a 3500 pound vehicle, it should be safe to use on cars with V6 engines that generally weigh ~3500 pounds. This covers some light/medium SUV's/Mid size cars, these are definitely not covered under the "light" vehicle category. If anyone else knows of a heavier vehicle using a power steering system, let me know. I believe that the implementation of these devices is not limited to compacts, but will soon cover all mid size cars as well... Another interesting point I believe this section of the article should cover is the fact that Electrical steering systems are almost required in a Hybrid vehicle that operates on its own with the ICE shut off. signed:other person
 * The 2011 Ford F150 pickup uses EPS, as does the Mustang.--Asher196 (talk) 03:45, 7 September 2011 (UTC)

Just cause there are no heavy vehicles with it doesn't mean it doesn't work. There are other considerations as well and when you have those huge overpowered SUV's with their v6 - v8 engines there really is no point saving a KW here and there. 124.177.184.228 (talk) 13:05, 14 August 2008 (UTC)

The 1 KW comment relates to internal combustion engine vehicles with conventional 12 volt electrical systems. This should probably be stated more explicitly in the article. I am quite sure that the electrical system of a hybrid vehicle is very different from a conventional 12 volt system. Peak output of a 12 volt relies more on the battery than the alternator. 80 amps is a lot of juice. Therefore, it has little to do with the total horsepower of the engine. --Entropy7 (talk) 18:55, 24 August 2008 (UTC)

power steering

Power steering is a system which helps to steer the wheels with some source of power other than the drivers’ manual force with which he turns the steering. This feature adds to the comfort while driving as less effort is needed to turn the steering by the driver. Power Steering is especially important for the cars which have engine in front and there is a lot of weight on the front wheels.

For rear engine cars like Tata Nano or light weight cars like Maruti 800, its ok to have no power steering and still drive comfortably because of low weight on the front wheels. But for heavy cars and also as a luxury feature power steering provides lots of ease. Electrically powered steering uses an electric motor to drive either the power steering hydraulic pump or the steering linkage directly. The power steering function is therefore independent of engine speed, resulting in significant energy savings.

Conventional power steering systems use an engine accessory belt to drive the pump, providing pressurized fluid that operates a piston in the power steering gear or actuator to assist the driver. As vehicles have become heavier and switched to front wheel drive, the effort to turn the steering wheel manually has increased - often to the point where major physical exertion is required. To alleviate this, auto makers have developed power steering systems.

Power steering aims to make steering less strenuous for the driver. There are two types of power steering systems:— There is also a hydraulic-electric hybrid system possible.
 * 1) Hydraulic and
 * 2) 	Electric/electronic.

HYDRAULIC POWER STEERING Hydraulic power steering uses high pressure fluids for assisting the steering movement. It uses a plunger type arrangement for its working. When the driver turns the steering wheel, it opens up the flow or pressurized fluid in such a way that helps to turns the wheels in the required direction.

ELECTRIC POWER STEERING Electric power steering works with the help of an Electric Motor and a control unit which has some sensors. The motor runs on battery and will use electric power to assist the movement of steering when the driver turns the wheel. HYDRAULIC STEERING (such as used in heavy vehicles such as centre-pivot machines) Hydraulic power steering uses high pressure fluids for all of the steering movement. It uses a plunger type arrangement for its working. When the driver turns the steering wheel, it opens up the flow or pressurized fluid in such a way that turns the wheels in the required direction. It may have a control system that stops steer movement when a nominal steer movement is reached. 203.51.92.229 (talk) 01:01, 17 December 2009 (UTC)

A "steering sensor" is located on the input shaft where it enters the gearbox housing. The steering sensor is actually two sensors in one: a "torque sensor" that converts steering torque input and its direction into voltage signals, and a "rotation sensor" that converts the rotation speed and direction into voltage signals. An "interface" circuit that shares the same housing converts the signals from the torque sensor and rotation sensor into signals the control electronics can process.

Inputs from the steering sensor are digested by a microprocessor control unit that also monitors input from the vehicle's speed sensor. The sensor inputs are then compared to determine how much power assist is required according to a preprogrammed "force map" in the control unit's memory. The control unit then sends out the appropriate command to the "power unit" which then supplies the electric motor with current. The motor pushes the rack to the right or left depending on which way the voltage flows (reversing the current reverses the direction the motor spins). Increasing the current to the motor increases the amount of power assist.

The system has three operating modes: a "normal" control mode in which left or right power assist is provided in response to input from the steering torque and rotation sensor's inputs; a "return" control mode which is used to assist steering return after completing a turn; and a "damper" control mode that changes with vehicle speed to improve road feel and dampen kickback.

If the steering wheel is turned and held in the full-lock position and steering assist reaches a maximum, the control unit reduces current to the electric motor to prevent an overload situation that might damage the motor. The control unit is also designed to protect the motor against voltage surges from a faulty alternator or charging problem.

The electronic steering control unit is capable of self-diagnosing faults by monitoring the system's inputs and outputs, and the driving current of the electric motor. If a problem occurs, the control unit turns the system off by actuating a fail-safe relay in the power unit. This eliminates all power assist, causing the system to revert back to manual steering. A dash EPS warning light is also illuminated to alert the driver. To diagnose the problem, a technician jumps the terminals on the service check connector and reads out the trouble codes.

Electric power steering (EPS or EPAS) is designed to use an electric motor to reduce effort by providing steering assist to the driver of a vehicle. Sensors detect the motion and torque of the steering column, and a computer module applies assistive torque via an electric motor coupled directly to either the steering gear or steering column. This allows varying amounts of assistance to be applied depending on driving conditions. On Fiat group cars the amount of assistance can be regulated using a button named "CITY" that switches between two different assist curves, while most other EPS systems have variable assist, which allows for more assistance as the speed of a vehicle decreases and less assistance from the system during high-speed situations. In the event of component failure, a mechanical linkage such as a rack and pinion serves as a back-up in a manner similar to that of hydraulic systems. Electric systems have a slight advantage in fuel efficiency because there is no belt-driven hydraulic pump constantly running, whether assistance is required or not, and this is a major reason for their introduction. Another major advantage is the elimination of a belt-driven engine accessory, and several high-pressure hydraulic hoses between the hydraulic pump, mounted on the engine, and the steering gear, mounted on the chassis. This greatly simplifies manufacturing and maintenance. By incorporating electronic stability control electric power steering systems can instantly vary torque assist levels to aid the driver in evasive manoeuvres, Toyota has been doing so since 2002. The peak power output of the electrical system of a vehicle limits the capability of electric steering assist. A 12 volt electrical system, for example, is limited to about 80 amps of current which, in turn, limits the size of the motor to less than 1 kilowatt (12.5 volts times 80 amps equals 1000 watts). This amount of power would be adequate for smaller vehicles. It would probably be considered insufficient for larger vehicles such as trucks and SUVs. There are other types of electrical systems such as the 24-volt electrical system and other variants used for hybrid and electric vehicles. These have greater capacity that enable use of multi kilowatt motors needed for large and mid-size vehicles. Toyota's latest LS 460(4775 lbs) premium luxury car, Highlander and RX 350 midsize SUV's use electric power steering. The first electric power steering system appeared on the Honda NSX in 1990 and then the Honda S2000 in 1999. Today a number of manufactures use electric power steering, Toyota has been working to replace hydraulic systems with electric types on their redesigned cars and car-based platforms.

Reviews in the automotive press often comment that certain steering systems with electric assist do not have a satisfactory amount of "road feel". Road feel refers to the relationship between the force needed to steer the vehicle and the force that the driver exerts on the steering wheel. Road feel gives the driver the subjective perception that they are engaged in steering the vehicle. The amount of road feel is controlled by the computer module that operates the electric power steering system. In theory, the software should be able to adjust the amount of road feel to satisfy drivers. In practice, it has been difficult to reconcile various design constraints while producing a more pronounced road feel. It should be noted that the same argument has been applied to hydraulic power steering as well.

ELECTRO-HYDRAULIC STEERING

In electro-hydraulic steering, one electrically powered steering concept uses a high efficiency pump driven by an electric motor. Pump speed is regulated by an electric controller to vary pump pressure and flow, providing steering efforts tailored for different driving situations. The pump can be run at low speed or shut off to provide energy savings during straight ahead driving (which is most of the time in most world markets).

Electro-hydraulic power steering systems, sometimes abbreviated EHPS, and also sometimes called "hybrid" systems, use the same hydraulic assist technology as standard systems, but the hydraulic pressure is provided by a pump driven by an electric motor instead of being belt-driven by the engine. These systems can be found in some cars by Ford, Volkswagen,Audi, Peugeot, Citroen, SEAT, Skoda, Suzuki, Opel, MINI, Toyota, Honda, and Mazda. Servotronic offers true speed-dependent power steering, in which the amount of servo assist depends on road speed, and thus provides even more comfort for the driver. The amount of power assist is greatest at low speeds, for example when parking the car. The greater assist makes it easier to maneuver the car. At higher speeds, an electronic sensing system gradually reduces the level of power assist. In this way, the driver can control the car even more precisely than with conventional power steering. Servotronic is used by a number ofautomakers,including Audi, BMW, Volkswagen, Volvo and Porsche. Servotronic is a trademark of AM General Corp.

HYDRAULIC POWER STEERING V/S ELECTRIC POWER STEERING Hydraulic power steering is a primitive technology used for decades and has improved a lot with time. Earlier, it did not have any difference in steering response with speed of the car, but the new age of hydraulic power steering are speed sensitive and work better than the older hydraulic power steering. Electric power steering are comparatively new technology with less complicated build and mechanism, takes less space and are more durable. Electric power steering use sensors to sense the car speed and will take care of the different steering response required for different speeds. Some of the main differences are as below: 1. Hydraulic Power Steering System is complicated compared with Electric Power Steering 2. Hydraulic Power Steering System usually weighs more than Electric Power Steering 3. Hydraulic Power Steering uses hydraulic fluids for operation whereas there is no such fluid needed for Electric Power Steering, thus Electric Power Steering needs less maintenance compared to hydraulic power steering. 4. Electric Power Steering gives better response at different speeds as compared to Hydraulic Power Steering 5. Eclectic Power Steering is less prone to problems and faults and are more durable as compared to Hydraulic power steering. 6. Hydraulic power steering extracts power from engine, so it reduces the fuel mileage of the engine. Electric power steering consumes power from battery which is also charged by engine, but it consumes less power compared to Hydraulic power steering. So a car having Electric power steering will give more mileage than one with Hydraulic power steering. Electric Power Steering is better than Hydraulic Power steering. This helps us decide when we look into the features of the car we are going to buy. For instance, comparing Hyundai Santro and Hyundai i10, Hyundai Santro has Hydraulic Power Steering whereas Hyundai i10 has electric power steering.

HISTORY OF POWER STEERING

The earliest known patent related to power steering was that by Frederick W. Lanchester in the UK,in February 1902. His invention was to "cause the steering mechanism to be actuated by hydraulic power". The next design was filed as recorded by the US Patent Office on August 30, 1932, by Klara Gailis, from Belmont, Massachusetts. There is another inventor credited with the invention of power steering by the name of Charles F. Hammond an American, born in Detroit, who filed similar patents, the first of which was filed as recorded by the Canadian Intellectual Property Office. Chrysler Corporation introduced the first commercially available power steering system on the 1951 Chrysler Imperial under the name Hydraguide. Most new vehicles now have power steering, owing to the trends toward front wheel drive, greater vehicle mass, and wider tires, which all increase the required steering effort. Modern vehicles would be extremely difficult to maneuver at low speeds. —Preceding unsigned comment added by 115.240.177.209 (talk) 17:48, 29 November 2009 (UTC)

DISADVANTAGES OF EPS(Electronic Power Steering) This article section is not fair and balanced to represent the many disadvantages of EPS. The EPS will fail when unrelated systems fail especially electrical ofcourse. This was not the case with older more reliable systems. As an example GM(general motors) has put out a TSB(technical service bulletin)#08-02-32-005, stating that some models have an ignition coil that lacks a ground strap, which in turn causes the alternator to spike and dip in voltage. This ultimately causes the steering to fail, at the worst possible moment when passing or accelerating onto the highway. A failing voltage regulator would also cause the exact same problem. Here is a video for showing the full work up of the problem that I myself diagnosed and fixed. http://www.youtube.com/watch?v=TfKhR2IEYcs&feature=youtube_gdata_player
 * Actually, it will not cause the steering to fail. It will cause the assist to fail.  Steering is still possible.--Asher196 (talk) 03:04, 7 September 2011(UTC)
 * So you would think. Actually it will also cause the steering to pull the opposite way sometimes, basically because the feedback signal is wrong!  Since the feedback is stronger than the average human, it indeed is more than failing, if you want exactly particular about it.  Any accident due to this is considered a failure and the mechanical backup doesn't always help in the split second it takes a human to observe it.  As I said the opposite steering is the real failure where the steering is completely non responsive!72.71.225.88 (talk)
 * The scenario you cite should cause the EPS controller to set a fault condition and shut itself down.--Asher196 (talk) 03:41, 7 September 2011 (UTC)
 * Well it does not always shut itself down. More like 10% of the time it would go opposite.  Had I recorded that for you too, would you then believe it?  I'm not making the stuff up.  Go ahead and look into it yourself since you seem to be misunderstanding the possibility of oppositional steering.  You would have people come here and believe that EPS cannot fail and completely ignore user input.  Someone could die seriously, or you could get hit yourself as unlikely as it seems.  Do the right thing, since it is unlikely a suitable source will admit or fully understand the design failure.  Proof can only be obtained by observation and perhaps video of an actual GM tech saying yeah this is an issue.71.168.97.56 (talk) 04:03, 7 September 2011 (UTC)
 * Notice in the video the check engine light is functional but does not trip after the condition. This car is clear of any diagnostic trouble codes, and never set C0900 or B1325.
 * I suppose that proves it. The controller was affected or damaged in such a way by the coil/alt interaction(TSB 08-02-32-005) that it allows for a total failure condition in some vehicles, and sometimes will oppose user input to the steering wheel.72.71.225.39 (talk) 20:28, 7 September 2011 (UTC)
 * This trouble condition causes 18 volts or more, which would make the EPS wattage much higher.
 * 80amps @12.5v = 1000 watts, so then 80amps @18v = 1440 watts. Good luck trying to steer against that rogue assist.71.181.31.142 (talk) 18:20, 11 September 2011 (UTC)

The GM dealer also sited that a worn tierod, wheel bearing, or faulty steering module, torque sensor can also cause the steering to fail. Maintaining this is quite difficult, since there are so many interdependant parts that all need to work flawlessly. The advantage of a non-electric system is that it relies on only the mechanical parts within the system. So we are stating that electonic systems have a distinct disadvantage. Not to mention the pricing of the electronic components and labor. Please present the truth properly so readers of wikipedia are well informed of the truth, even if that truth is unsited by automotive companies that have millions to loose.72.71.225.88 (talk) 23:27, 6 September 2011 (UTC)

 * Currently the sourced material(17) does not support that EPS is easier to maintain. The article clearly shows the complexity and difficulty of EPS from a design standpoint.  The article was written in 2005, at which time failure was not as wide spread.  Now we can see in 2011 that it is indeed not easier to maintain or diagnose.71.168.97.56 (talk) 05:35, 7 September 2011 (UTC)

As of 2016 EPAS was fitted to the Ford Ranger (T6), which has a kerb weight of 1900 kg, a GVW of 2900 kg (or more) and 3500 kg towing capacity. It's not just for light vehicles. Greglocock (talk) 21:32, 9 March 2017 (UTC)

See Also links - manufacturers
I find it hard to believe we need a list of manufacturers in the see also section, is this normal? Greglocock (talk) 11:04, 8 August 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Power steering. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20091016182333/http://www.canadiandriver.com:80/2003/06/02/first-drive-2004-bmw-5-series.htm to http://www.canadiandriver.com/2003/06/02/first-drive-2004-bmw-5-series.htm

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title: Talk:Power steering


text:
K-Swiss

K-Swiss, Inc. is an American athletic shoe brand based in Downtown Los Angeles. It was founded in 1966 and is currently owned by Chinese sports equipment manufacturing company Xtep.

History
K-Swiss was founded in 1966 in Los Angeles by Swiss brothers Art and Ernie Brunner. They became interested in tennis after emigrating to the United States. They imported leather tennis shoes from the Swiss shoe manufacturer Kuenzli. K-Swiss is the pairing of "K" in Kuenzli and "Swiss".

K-Swiss purchased the majority stake of Australian brand Royal Elastics in 2001. It sold Royal Elastics to a management-led investment group in 2009, recording a gain of $1.4 million in the second quarter.

In January 2013, the company — which posted $195 million in losses between 2009 and 2012 — was sold to Korean firm E-Land World Limited for $170 million. The following May, E-Land named a new executive team to oversee the newly formed K-Swiss Inc., including Truman Kim as chairman and Larry Remington as president and CEO.

On June 1, 2015, K-Swiss acquired Supra Footwear. It moved its headquarters from Westlake Village to Downtown Los Angeles in 2016.

In August 2019, E-Land Footwear USA Holdings Inc. and consequently K-Swiss was acquired by Xtep International Holdings Limited, a Chinese sports equipment manufacturer.

Marketing
In the 1990s, Steven Nichols boosted K-Swiss's marketing budget, and hired a number of key individuals from large companies, such as Procter and Gamble. Award-winning Creative Director Mindy Gale led her NY based agency team in developing and producing K-Swiss advertising and publicity campaigns from 1997 until 2008. The "I Wear My K-Swiss" multi-media campaign ran for five consecutive years, targeting young urban consumers in print and on TV.

A re-branding campaign featuring Anna Kournikova rolled out in 2007. A 2011 advertisement, featuring Danny McBride as fictional character Kenny Powers, drew attention for its use of profanity.

In September 2014, the company unveiled a new marque. The new identity was created by a recently appointed internal creative team and plays up the company's heritage as an American tennis brand. All aspects of the new brand's design, including its 1966 typeface and tennis court color palette, hark back to this identity. The company has been sponsoring events that appeal to their market as well as events which are likely to shape buying attitudes and help generate a positive reaction. One example is the sponsorship of Ireland's first sneaker convention run by Dub City Sneakz in Dún Laoghaire which K-Swiss sponsored.

In 2016, K-Swiss president Barney Waters made it the brand's mission to "make sneakers for entrepreneurs." The brand furthered this marketing angle by launching a collaboration with entrepreneur Gary Vaynerchuk in 2017. The company has since launched campaigns with other entrepreneurs, including Karen Civil, Ben Baller, and Natalie Ellis.

In 2019, K-Swiss debuted a shoe collaboration with TV series Breaking Bad.

title: K-Swiss


text:
Talk:Alex Ferguson/to do

 * Cite sources - very important!
 * Rock of Gibraltar incident, McManus, Magnier
 * McM+M's 99 issues - accusations of nepotism etc.
 * St Mirren
 * Contract disputes with Martin Edwards
 * Childhood
 * Socialism - union leader
 * Banning BBC from doing post-match interviews
 * Falling out with Brian Kidd
 * Glazer takeover - support for SU before takeover, staying on after
 * Corruption allegations - storing illegal payment in safe etc

title: Talk:Alex Ferguson/to do


text:
Jodel

Société Avions Jodel is a French aircraft company started in 1946 by Édouard Joly and his son-in-law Jean Délémontez.

History
Jodel designed a range of light aeroplanes shortly after the Second World War. Popular myth has it that the two industrialists, with no formal aerodynamics training, set about designing a single-seat aircraft with some spare plywood and a small engine, a Poinsard 25hp 2-cyl. The result was the 1948 D9 Bébé (Baby) model. In fact, the two had much experience of building and designing aircraft, Délémontez being a trained aeronautical engineer, and Joly having built an aircraft before the war.

The French government bought many of the aircraft, with more than 500 D9s being built during the next twenty years. Subsequently, the government expressed interest in a larger aircraft as a trainer and the two-seat D11 model followed in 1950.

Jodel aircraft are all-wood, usually made from Sitka spruce and plywood made out of okoume (also known as gaboon), a kind of West African hardwood. Most of the designs are recognisable by their distinctive wings, which have ‘cranked’ dihedral only on the outer third. The wings also incorporate washout, retaining aileron effectiveness at or just prior to the stall. From above or below, the wings are also distinctive as this cranked section of the wing tapers sharply towards the wingtip.

The designs are popular in France and in Southern Europe, UK, but are little known in the USA. In Australia, the design has been brought up to date somewhat by Frank Rogers who produced new drawings to standards suited to Australian amateur builders.

Production under licence
Apart from prototypes, Jodels were made by a variety of French aviation manufacturers, but all construction ceased during the 1960s. Since then, the Jodel company has sold licences and detailed plans of its models to amateur builders of homebuilt aircraft.

The Jodel designs were later licensed to the following companies which produced derivative designs that retained the Jodel wing:
 * Avions Robin, France
 * Aero Difusión, Spain
 * Falconar Avia, Canada

Aircraft
The first model was built in 1948. All Jodel planes have been low-wing monoplanes.
 * Jodel D9 1948
 * Jodel D91 1948
 * Jodel D93 1951
 * Jodel D11 1950
 * Jodel D111 	1951
 * Jodel D112 	1952
 * Jodel D113 	1960
 * Jodel D114 1952
 * SAN Jodel D.150 Mascaret 1962
 * Jodel D18 1984
 * Jodel D19 1986
 * Jodel D-20 1990
 * Jodel DR1050 Excellence

title: Jodel


text:
HMS Penelope (97)

HMS Penelope was an Arethusa-class cruiser light cruiser of the Royal Navy. She was built by Harland & Wolff (Belfast, Northern Ireland); her keel was laid down on 30 May 1934. She was launched on 15 October 1935, and commissioned 13 November 1936. She was torpedoed and sunk by the German U-boat GS U-410 near Naples with great loss of life on 18 February 1944. On wartime service with Force K, she was holed so many times by bomb fragments that she acquired the nickname "HMS Pepperpot".

Home Fleet
At the outbreak of World War II Penelope was with the 3rd Cruiser Squadron in the Mediterranean, having arrived at Malta on 2 September 1939. Penelope and her sister ship HMS Arethusa (26) were reallocated to the 2nd Cruiser Squadron in the Home Fleet and arrived at Portsmouth on 11 January 1940. On 3 February she left for the River Clyde en route to Rosyth, arrived on 7 February and operated with the 2nd Cruiser Squadron on convoy escort duties. In April and May 1940, she took part in the Norwegian Campaign.

On 11 April Penelope ran aground off Fleinvær while hunting German merchant ships entering the Vestfjord. Her boiler room was flooded and she was holed forward. The destroyer HMS Eskimo (F75) towed her to Skjelfjord where an advanced base had been improvised. Despite air attacks, temporary repairs were made and she was towed home a month later. She arrived at Greenock in Scotland on 16 May 1940 where additional temporary repairs were carried out, before proceeding on 19 August to the Tyne for permanent repairs.

After repairs and trials were completed in August 1941, Penelope reappeared as 'a new ship from the water line down'. She returned to the 2nd Cruiser Squadron at Scapa Flow on 17 August 1941. On 9 September she left Greenock escorting the battleship HMS Duke of York (17) to Rosyth. Later that month she was employed in patrolling the Iceland–Faroes passage to intercept enemy surface ships.

On 6 October 1941 Penelope left Hvalfjord, Iceland, with another battleship, HMS King George V (41), escorting the aircraft carrier HMS Victorious (R38) for the successful Operation E. J., an air attack on German shipping between Glom Fjord and the head of West Fjord, Norway. The force returned to Scapa Flow on 10 October 1941.

Force K
Penelope and her sister HMS Aurora (12) were then assigned to form the core of Force K based at Malta and departed Scapa on 12 October 1941, arriving in Malta on 21 October. On 8 November, both cruisers and their escorting destroyers sailed from Malta to intercept an Italian convoy of six destroyers and seven merchant ships sailing for Libya, which had been sighted by aircraft at 37°53'N – 16°36'E. During the ensuing Battle of the Duisburg Convoy on 9 November off Cape Spartivento, the British sank one enemy destroyer (ITALIAN DESTROYER Fulmine) and all of the merchant ships.

On 23 November, Force K sailed again to intercept another enemy convoy; next day they sank two more merchant ships, Maritza and Procida, west of Crete. Force K received the Prime Minister's congratulations on their fine work. On 1 December 1941, Force K sank the Italian merchant vessel Adriatico, at 32°52'N – 2°30'E, the destroyer Alvise da Mosto, and the tanker Iridio Mantovani at 33°45'N – 12°30'E. The First Sea Lord congratulated them on 3 December.

On 19 December, while operating off Tripoli, Penelope struck a mine but was not seriously damaged, although the cruiser HMS Neptune (20) and the destroyer HMS Kandahar (F28) were sunk by mines in the same action. Penelope was sent into the dockyard for repairs and returned to service at the beginning of January 1942. On 5 January, she left Malta with Force K, escorting the Special Service Vessel HMS Glengyle to Alexandria (Operation ME9), returning on 27 January, escorting the supply ship HMS Breconshire.

She left Malta, again with Breconshire on 13 February 1942 and an eastbound convoy aided by six destroyers, Operation MG5, returning to Malta on 15 February, with the destroyers HMS Lance (G87) and HMS Legion (G74). On 23 March, she left Malta with Legion for Operation MG1, a further convoy to Malta. Breconshire was hit and taken in tow by Penelope and was later safely secured to a buoy in Marsaxlokk harbour, the whole operation was under the charge of Penelope's commanding officer, Captain A. D. Nicholl, of whose work the Naval Officer In Command (NOIC), Malta expressed appreciation.

Penelope was holed both forward and aft by near-misses during air attacks on Malta on 26 March. While in the island, she was docked and repaired at the Malta Dry Docks. Day after day she was attacked by German aircraft and the crew worked to fix a myriad of shrapnel holes, so many that she was nicknamed HMS Pepperpot; when these had been plugged with long pieces of wood, HMS Porcupine. Penelope gun-loader, Albert Hewitt, was blown off his feet but regained consciousness still safely holding a four inch shell. Penelope sailed for Gibraltar on 8 April and on the next day was repeatedly attacked from the air. She arrived in Gibraltar on 10 April, with further damage from near-misses. Later that day she received a signal from Vice Admiral, Malta, "True to your usual form. Congratulations".

Repairs and awards
The damage was extensive and required several months at home after temporary repairs in Gibraltar. The ship was visited by the Duke of Gloucester on 11 April, who had originally laid down her keel plate. The duke also visited Captain Nicholl in hospital. The First Sea Lord congratulated the ship on her successful arrival in Gibraltar. The question of Penelope's repairs had been reconsidered, and it was decided to send her to the United States. She accordingly left Gibraltar on 10 May 1942, for the Navy Yard at New York via Bermuda, arriving on 19 May. She was under repair until September and arrived in Norfolk, Virginia on 15 September, proceeding, again via Bermuda, to Portsmouth, England, which she reached on 1 October 1942. The King, at an investiture at Buckingham Palace, decorated 21 officers and men from Penelope as "Heroes of Malta". Among their awards were two Distinguished Service Orders, a Distinguished Service Cross and two Distinguished Service Medals.

Western Mediterranean
Penelope arrived at Scapa Flow on 2 December and remained in home waters until the middle of January 1943. She left the Clyde on 17 January for Gibraltar, where she arrived on 22 January. She had been allocated to the 12th Cruiser Squadron, in which she operated with the Western Mediterranean Fleet under the flag of Admiral Sir Andrew Cunningham during the follow-up of Operation Operation Torch, the landings in North Africa.

On 1 June 1943, Penelope and the destroyers HMS Paladin (G69) and HMS Petard (G56) shelled the Italian island of Pantelleria. The force received enemy gunfire in return and Penelope was hit once but suffered little damage. On 8 June 1943, with the cruiser HMS Newfoundland (C59) and other ships, she took part in a further heavy bombardment of the island. A demand for its surrender was refused. The same force left Malta on 10 June, to cover the assault (Operation Corkscrew), which resulted in the surrender of the island on 11 June 1943. On 11 and 12 June Penelope also took part in the attack on Lampedusa, which fell to the British forces on 12 June 1943.

On 10 July 1943, with Aurora and two destroyers, Penelope carried out a diversionary bombardment of Catania as part of the conquest of Sicily, (Operation Husky, the Allied invasion of Sicily). The flotilla then moved to Taormina where the railway station was shelled. On 11 July, Penelope left Malta with the 12th Cruiser Squadron as part of Force H to provide cover for the northern flank of the assault on Sicily. During the remainder of July and August, she took part in various other naval gunfire support and sweeps during the campaign for Sicily.

Force Q
On 9 September 1943, Penelope was part of Force Q for Operation Avalanche, the allied landings at Salerno, Italy, during which she augmented the bombardment force. Penelope left the Salerno area on 26 September with Aurora and at the beginning of October was transferred to the Levant in view of a possible attack on the island of Kos in the Dodecanese. On 7 October, with the cruiser HMS Sirius (82) and other ships, she sank six enemy landing craft, one ammunition ship and an armed trawler off Stampalia. While the ships were retiring through the Scarpanto Straits south of Rhodes, they were attacked by 18 Ju 87 "Stuka" dive-bombers of I Gruppe Sturzkampfgeschwader 3 MEGARA. Although damaged by a bomb, Penelope was able to return to Alexandria at 22 kn. On 19 November 1943 the ship moved to Haifa in connection with possible developments in the Lebanon situation. Towards the end of 1943, she was ordered to Gibraltar for Operation Stonewall, (anti-blockade-runner duties), in the Atlantic. On 27 December, the forces in this operation destroyed the German blockade-runner Alsterufer which was sunk by aircraft co-operating with Royal Navy ships. Penelope returned to Gibraltar on 30 December and took part in Operation Shingle, the amphibious assault on Anzio, Italy, providing gunfire support as part of Force X with USS Brooklyn (CL-40) on 22 January 1944. She also assisted in the bombardments in the Formia area during the later operations. She made eight shoots on 8 February.

Sinking
On 18 February 1944, Penelope, under the command of George Devereux Belben, was leaving Naples to return to the Anzio area when she was torpedoed at 40.55°N, 13.25°W by the GS U-410 under the command of Horst-Arno Fenski. A torpedo struck her in the aft engine room and was followed sixteen minutes later by another torpedo that hit in the aft boiler room, causing her to immediately begin sinking; 417 of the crew, including the captain, went down with the ship, with only 206 survivors. A memorial plaque commemorating those lost is in St Ann's Church, HM Dockyard, Portsmouth.

Cultural references
C. S. Forester, author of the Horatio Hornblower series of sea stories set at the time of the Napoleonic Wars, published his novel The Ship in May 1943. It is set in the war in the Mediterranean and follows a Royal Navy light cruiser in an action where it defeats a superior Italian force. The author dedicated the book "with the deepest respect to the officers and crew of HMS Penelope". The story of the fictional HMS Artemis is based on but does not follow in detail, the Second Battle of Sirte. The book was published before Penelope was sunk. Former British politician Penny Mordaunt is named after Penelope.

title: HMS Penelope (97)