text:
Wikipedia:Wikipedia Signpost/2005-08-01/Arbitration report

The reappearance of two users who had completed their arbitration bans, but returned to their old ways, kept the Arbitration Committee busy last week.

The users in question were Irate, who had been banned for three months on 17 April, and Plautus satire, who came back after a one-year ban. Plautus satire was banned in March 2004 in one of the first rulings ever made by the Arbitration Committee, and the one-year time period had been reset in July 2004 based on a brief reappearance as User:Energybone.

The name says it all
As the decision in Irate's case rested on his use of personal attacks, the ruling did not subject Irate to a personal attack parole directly, but provided that the arbitrators might impose one upon his return if the behavior repeated itself. When Irate returned to editing, complaints soon resumed after he filed requests for comment against three of his earlier opponents. This prompted the arbitrators to quickly reopen the case and the parole, allowing Irate to be blocked for up to a week for any personal attacks, was imposed on Monday.

By this time, Irate had already been blocked after a revert war over the requests for arbitration page. After the parole was official, Snowspinner reset his block for a week for engaging in personal attacks on his talk page while blocked (blocked users can edit their own talk pages). Finally, Jimbo Wales intervened after a conversation via IRC, in which he said Irate had indicated a belief that Wikipedia's rules were "rubbish" and that he would continue "following" them as he had in the past. After this, Wales blocked him indefinitely, saying, "We've got an encyclopedia to write, and we should be very very sorry to those who have had to put up with him for this long."

An unwelcome comedy
The return of Plautus satire, described by the arbitrators last year as "a highly disruptive influence on the community from nearly the same moment this user joined Wikipedia", prompted relatively quick action. His ban expired on Wednesday, and by the next day the arbitrators had reopened his case. In one of the more expeditiously handled arbitration cases, by the end of the week they had enough votes to re-impose the one-year ban.

Arbitrator Raul654, who recused himself from the case, reported that Plautus satire had actually sent emails to several people shortly before his return, pointing out that his ban would soon expire. Upon returning, he promptly sought out his former adversaries and left messages on their talk pages, then tried to blank an earlier request for comment about him. A violation of the three-revert rule here got him blocked, leading him to launch abuse at various parties, much like his previous pattern that led to the original ban.

By Sunday, the case was ready for closure as the arbitrators had already settled on renewing the one-year ban, although longer bans were considered. Fred Bauder argued, as he had last year as well, that for this case the Arbitration Committee should disregard its self-imposed limit that penalties should last no longer than one year.

One case accepted
Only one new case was accepted last week, a third request for arbitration involving Everyking. The request, made by Snowspinner, did not relate to Everyking's previous cases surrounding articles related to Ashlee Simpson, or his current mentorship. Instead, Snowspinner complained about Everyking's actions on the administrators' noticeboard, which he said amounted to "attacking admins he doesn't personally like" without regard for "consensus, policy, and civility".

Everyking characterized it as a personal dispute between the two, saying that for his part Snowspinner had failed to moderate his controversial actions as an administrator, so Everyking declined to moderate his words. He also objected to the participation of arbitrator David Gerard in the case, arguing that he should be recused.


text:
Talk:Dodson

Untitled
Tom Doson nostalgic pictures and Limited Edition prints from the north west of England Tom Dodson

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

title: Talk:Dodson


text:
Talk:Rain gauge

I added some rain gauge pictures. Changed an Americianism. to reflect a more world view. Added discriptions of standard rain gauge and tipping bucket. The two discriptions I gave apply to rain gauges in Canada and they may be different in other parts of the world.

Some questions I had weren't addressed
This Was a very poor article- What is the diameter of an official collector? - What is the diameter of the measuring tube? - What is the weight threshold for tipping gauges? - What is the relationship between volume/collector area and the official precipitation depth?

Clearly, differences in any of these would result in different measurements.

These questions are most logically addressed here - I just don't have the answers (and am having trouble finding them).
 * There appears to be no manual for the regular rain guage. I get about 11 cm diameter for the outer funnel and 3.5 cm for the diameter of the inner tube. These are for Canadian standard rain guage. As for the tipping bucket the manual does not say anything about the weight. However, it tips on ever .2 mm of rain, so whatever .2 mm weighs would be the threshold. Of course one thing to remember is that of the two types the tipping is less accurate and harder to make. Good luck. CambridgeBayWeather (Talk) 20:30, 25 February 2006 (UTC)

I agree with the criticism that the article should explain units of measure. From other sources on the web, the basic idea is that the area of the collection is given in squared units of length( e.g. square inches) and the volume of rain is measured in cubed units of length (e.g. cubic inches). The ratio of volume to area is a number with dimensions that are units of length (e.g. inches). So a reading of "1 inch" of rainfall means 1 cubic inch of rain fell per square inch of ground. However, I dont' have any textbooks at hand that deal with rainfall to cite as sources - and who has encyclopedias anymore?

Tashiro (talk) 19:07, 2 July 2008 (UTC)

I agree it's the volume that counts. A measuring cylinder with a 6 inch diameter will hold much more water at a horizontal measure of one inch that a cylinder with a diameter of 2 inches. so is there a standard diameter of the meauring device?

 * Yes, the 6 inch diameter cylinder will hold 9 times the volume of the 2 inch diameter cylinder at the same height. However the larger cylinder will also collect 9 times the volume of rain, since it has a larger area for collection (see Tashiro's comment above). The result is both cylinders left in a rain storm would fill to approximately the same height as each other. There could very well be a standard rain gauge diameter but it wouldn't make a big difference to the rainfall reading. This idea might need to be in the article? -SmokeySteve (talk) 10:11, 14 April 2009 (UTC)

Questions re measurements
- What about Pts or points or rain...1/100th of an inch (or 25.4mm) correct? - Is 1mm of rain a standard over a certain area? e.g. 1mm over 1sq metre? Or can it be over any area? Zorruno 04:05, 13 March 2006 (UTC)

Wrong image of the so-called "1st" rain gauge from Korea
The image shown in the article depicted as the "first" rain gauge is not from Korea, but from China. There is a clear description in Chinese language on the artifact surface (on the left) which indicates the year and date of Chinese Qing dynasty. Whoever posts this image, please remove it or make a correction.

Koreans used Chinese writings until the 1400s when King Sejong and his scholars made the Hangul. The writings do not say anything about Qing Dynasty. Please, whoever this user is, don't contribute wrong infos to begin or invigorate discrepancies and doubts.

(Wikimachine 02:57, 10 August 2006 (UTC))

There is no challenge in regards to the origin of rain gauge; Koreans are the pioneers in this area. However, the discrepancy is in the photo itself. The Chinese characters on the right side of the artifact indicate the year of Ching (or Qing 清) (Emperor year Name 年號: 乾隆; Dynasty period name 廟號: 高宗). 乾隆 was one of the well-known emperors in Qing period in China ruling from 1736 to 1795. Please verify these Chinese characters carefully with qualified historians and linguists, if you remain doubtful.

I'm sorry. The title "so-called" put me in aggressive manner. I thought the person who posted this controversy was an editor with some grudge or ill will against Koreans. Let me verify the source. (Wikimachine 01:01, 15 August 2006 (UTC))

 * Site 1
 * Site 2
 * Site 3
 * Site 4

 * On google search of "측우시" or Cheok Woo Gi, the 1st rain gauge, 4 of these (you could search for more) showed the exact same wordings for the character.

 * And I have some background knowledge in Chinese characters, so I am not talking expert about something I don't know.

(Wikimachine 01:08, 15 August 2006 (UTC))

format of the article
this article is awkward because introduction is about 1/3 of the article. I think that introduction needs to be short and the rest of the article should give more infos. (Wikimachine 20:01, 10 August 2006 (UTC))

Move to "Precipitation gauge"
My reasons to suggest a move from "rain gauge" to "precipitation gauge" is simple: rain is a subset of precipitation, but not the other way around. This article can be more general by a rename. A precipitation gauge (e.g., T200-B) can measure all forms of precipitation. Certainly, the majority of this article is about rain, however the suggestion of the article title neglects other forms of precipitation and their measurement. Post your comments below. +mwtoews 20:35, 13 September 2006 (UTC)
 * These are three different things, A rain gauge, a snow gauge and a precipitation gauge. Part of the problem with rain guage was the first sentence which said that they collected solid precipitation and I changed that. We never use the rain gauge to collect snow. We have a T200 type here as well. I think that the three types should each have their own article. CambridgeBayWeather (Talk) 22:15, 13 September 2006 (UTC)
 * I'm a mergist, so naturally, I'd suggest that all of the precipitation gauges can be described, and contrasted in one article. After all, there is overlap between "snow gauges" and "rain gauges", since something like a T200 measures anything that falls into it, whether it is rain, snow or frogs. The other option is to make a precipitation gauge article to give an overview of the various gauges. This article could also compare and contrast their limitations and measurement methods, and have links to the specific gauges with enough content to warrant their own article (such as tipping bucket rain gauge and snow gauge). +mwtoews 23:30, 13 September 2006 (UTC)
 * I would suggest that you have Precipitation gauge with a general overview but then in turn have Rain guage and Snow gauge as a tipping bucket is just one type of rain gauge. Both the snow and rain gauge pages could have a header to direct people to the precipitation gauge page for a general overview. We need a picture of the T200 type and I'll try and get one tomorrow. CambridgeBayWeather (Talk) 00:49, 14 September 2006 (UTC)

 * I created a disambiguation page called Precipitation gage recently. It links to various ways to measure different types of precipitation. There's no reason IMHO to move rain gauge anywhere. Guy1890 (talk) 22:51, 8 February 2013 (UTC)

World's First Rain Gauge
It may be that the Greeks or some other civilizations have used bowls, etc. to measure rain gauges, but it is undisputed that Jang Yeongsil made the world's first rain gauge as meteorologists would say. Standardized measuring device that was adopted nationwide under government program. Plus, I'm not making this up from my opinion that Korea was the 1st. See the reference sources. (Wikimachine 05:32, 17 October 2006 (UTC))

What is up with this?
I didn't like this at all. I am doing a rain report and this got me no where. It didn't have anything to do with what i need in my report. I'll have to use another site. because this one didn't help. —The preceding unsigned comment was added by 63.172.4.6 (talk) 14:10, 3 May 2007 (UTC).

History of rain gauge
Can't find valid fact from 2 source. also, this source does not writed those contents. Wantsg5edge 14:37, 19 October 2007 (UTC)
 * The first known records of rainfalls were kept by the Ancient Greeks about 500 B.C. This was followed 100 years later by people in India using bowls to record the rainfall. The readings from these were correlated against expected growth, and used as a basis for land taxes.
 * In the Arthashastra, used for example in Magadha, precise standards were set as to grain production. Each of the state storehouses were equipped with a standardised rain gauge to classify land for taxation purposes.
 * I restored the "The Culture and Civilization of Ancient India in Historical Outline; Kosambi, 1982" because it should be OK as a source. The other was odd and probably linked correctly at one time. CambridgeBayWeather (Talk) 17:15, 19 October 2007 (UTC)
 * sorry, but i can not confirmation of that source. is it "fact"? i can not find that source, even google. Wantsg5edge 19:13, 19 October 2007 (UTC)
 * Wikipedia accepts physical books as sources as well as "google" sources. When you get a chance, please read over such articles as WP:V and WP:RS to bring yourself up to speed on how this works. --Cheers, Komdori 19:16, 19 October 2007 (UTC)

How to Use and Measure a Rain Gauge
Every 10 inches measured by a rain gauge equals 1 inch. All rain gauges must have a funnel atop the graduated cylinder. —Preceding unsigned comment added by 69.112.37.220 (talk) 02:07, 28 October 2009 (UTC)

Period of time
The article says: "measure the amount of liquid precipitation over a set period of time". Often in weather and news reports precipitation is reported as mm, no time period is given. I assume there is a standard time interval used. What is the standard time period used? Personally I feel meter per second makes more sense as a unit, any reason why that isn't used?85.230.137.5 (talk) 06:39, 2 January 2012 (UTC)
 * We measure it every 6 hours. The reports may be talking about 24 hour periods if the are talking about a forecast. The reason that metre per second isn't used is because you will never see that much rain. Look at Rain. The most rain in a 12 hour period is 53 in/1,346 mm. In other words 1.3 m in 12 hours, nowhere near enough to give a metre per second use. By the way, if you were wondering, and I know I was, the 1,346 mm in 12 hours works out to 112.2 mm per hour, 1.9 mm per minute and 0.03 mm per second. CambridgeBayWeather (talk) 08:30, 2 January 2012 (UTC)
 * Thanks for the answer! Maybe not meter per second but perhaps mm per hour (or day) instead of just mm would be less ambigous I think? 85.230.137.5 (talk) 11:48, 3 January 2012 (UTC)
 * Depends on the gage. In the United States, the heated tipping bucket and weighing precipitation gages used by ASOS are reported on an hourly basis in METAR reports.  Summary reports are generated in the 3-hour, 6-hour and 24-hour synoptic METAR reports.  Fischer-Porter weighing gages report in 15-minute intervals, but many of these are not transmitted in real-time.  Standard rain gages at NWS offices are generally read every 6 hours at the synoptic times.  For volunteer cooperative observers, their standard rain gages are usually read once a day.  Some agencies place collecting gages in the field which may only be read once a month or even once a year! Famartin (talk) 12:27, 3 January 2012 (UTC)

rain gauge
what rain gauge system is used in india? — Preceding unsigned comment added by 182.72.197.106 (talk) 09:34, 5 September 2012 (UTC)

External links modified (January 2018)
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"Millimetre of rain" listed at Redirects for discussion
A discussion is taking place to address the redirect Millimetre of rain. The discussion will occur at Redirects for discussion/Log/2021 April 30 until a consensus is reached, and readers of this page are welcome to contribute to the discussion.  Sandstein  09:38, 30 April 2021 (UTC)

How it works and all.
Wikipedia should gives at least 30-40 lines or more than that about the particular subject then see all will have alot of profit all will open only your website no one will go in any other websites 2409:4061:4E1B:F834:0:0:8F4A:E601 (talk) 11:50, 4 January 2022 (UTC)
 * Wikipedia is not interested in enhancing anyone's profits. We are only interested in summarizing independent reliable sources. If you have an addition to propose to this article, please propose it here. 331dot (talk) 11:52, 4 January 2022 (UTC)

Nilometer
can i add nilometer used in ancient egypt in rain gauge article. David dclork li (talk) 16:24, 24 April 2023 (UTC)

title: Talk:Rain gauge


text: Talk:Culture-bound syndrome

title: Talk:Culture-bound syndrome


text:
Bill Durodié

Professor Bill Durodié is a Professor of Politics, Languages and International Studies at the University of Bath, UK, as well as a former head of department there.

Education
Durodié was educated at the Royal College of Science, part of Imperial College London, where he studied Physics. After completing a final year undergraduate project to map different types of supernovae onto the Morphological Catalogue of Galaxies, he was invited to start a PhD in Astronomy at the University of Manchester under the supervision of Professor Franz Daniel Kahn. His first research publication was in theoretical astrophysics, based on a paper he presented at Princeton University in 1986.

Early career
He then changed course, first pursuing a career in teaching (becoming Head of Maths at two inner-city comprehensive schools) and then urban regeneration (working in both the public and private sectors). During this time he also studied for a Master's degree in European Social Policy at the London School of Economics, and subsequently embarked on another PhD, this time in Politics, at the University of Oxford.

In 2007, he completed his doctorate in Risk Communication through the Centre for Decision Analysis and Risk Management in the School of Health and Social Sciences of Middlesex University (UK).

As a Professor
His inaugural professorial lecture: The Politics of Risk and Resilience – Fear and Terror in a World without Meaning, was delivered on 29 October 2015.

In the debate around the 2016 United Kingdom European Union membership referendum, rejecting all of the official campaigns, he argued on the grounds of democratic accountability and moral autonomy for the UK to give up its membership of the European Union. Eurasia Review reported that he told them that soon after the vote that, despite the largest mandate in British history, politicians and others would seek to deliver Brexit in name alone, but not in spirit.

He was formerly Professor in the School of Humanitarian Studies at Royal Roads University in Victoria, British Columbia, where he was Program Head for the Conflict Analysis and Management programs. He maintains an on-going role as an Associate Faculty member there. Before that he held positions coordinating the Homeland Defence research programme and then the Health and Human Security research programme within the S. Rajaratnam School of International Studies of Nanyang Technological University in Singapore, as well as in the Department of Defence Management and Security Analysis at Cranfield University, part of the Defence Academy of the United Kingdom at Shrivenham, and in the War Studies Group of King's College London.

In 2014 he was appointed as a Visiting Professor to CELAP – the China Executive Leadership Academy in Pudong – one of China's top four national 'Party Schools', in Shanghai – a position officially renewed in 2018. He has also conducted short courses for officials through the Shanghai Administration Institute, and writes on the West's evolving relations with China,  as well as events surrounding the protests in Hong Kong. He was an Associate Fellow of the International Security Programme at Chatham House in London for over a decade.

His main research interest is to examine the causes and consequences of contemporary perceptions of risk, as well as how these are framed and communicated across a wide range of contemporary social issues. His work explores the limitations of risk management and of the so-called precautionary principle. He has questioned the motivations behind the growing demand to engage the public in dialogue and decision-making in relation to science. He has also sought to draw attention to the parallels between Islamist terrorism and contemporary Western nihilism, noting that many who engage in the former draw their roots from the latter and specifically stating that 'Islam, for them at least, was more a motif than a motive'.

He publicly defended the need for BP to continue its exploration work in the Gulf of Mexico at the time of the Deepwater Horizon oil spill, and he supported the initial response of the Japanese authorities to the Fukushima Daiichi nuclear power plant emergency. On the other hand, he has questioned the dynamic behind environmental campaigns against pulp and palm-oil producers in Indonesia, as well as the British government's interpretation of the implications of the 2011 England riots.

His work proposes that Securitization (international relations) theory is too limited a framework through which to understand the British government's new Prevent Duty. This latter imposes new obligations on public bodies to tackle so-called Radicalization, which he proposes is better understood as being driven by a process of disengagement. He has also addressed what he sees as the demise of strategic thinking and a concomitant crisis of diplomacy, most recently evidenced by the responses of senior British government ministers to the Sergei Skripal, former-spy poisoning episode in the UK.

His 2011 articles investigating how the World Health Organization addressed the 2009 flu pandemic,  anticipated the cultural and institutional responses to COVID-19 which, he proposed, would lead to considerably more fatalities than the virus itself. His concern since, was that the episode would lead to: "suspicion, avoidance and intolerance towards others, an unwillingness to embrace life’s uncertainties, fear of future emergencies, a dystopian, anti-human outlook and narrative, and all too willing acceptance of the curtailment of civil liberties, combined with a paralysing dependence on others".

Publications
His publication list includes articles in academic journals, and on the reading lists of various universities   – as well as a media profile from both writing press commentaries and appearing in broadcasts.

He featured in the 2004 BBC British Academy of Film and Television Arts award-winning documentary series produced by Adam Curtis; 'The Power of Nightmares: The Rise of the Politics of Fear'. The Guardian newspaper journalist Madeleine Bunting to describe him as: "one of the most perceptive commentators featured in the series".

Manifesto Club
Durodié was one of the founding members of the Manifesto Club, a network of individuals originally established to celebrate human achievement and challenge social, cultural and political pessimism, closely associated with the Spiked network of organisations emerging from the defunct Revolutionary Communist Party. He is a regular speaker at Spiked's annual Battle of Ideas festival in London, and is a regular contributor to Spiked's website.

He gave the opening key-note address to the Society for Risk Analysis Europe Conference in 2016. On 15 November 2017, following in the steps of former US Secretary for Homeland Security Michael Chertoff and the UK Minister of State for Universities and Science David Willetts, he became the 8th person and first alumnus to give the annual Vincent Briscoe Lecture to the Institute for Security Science and Technology at Imperial College London.

Selected journal articles

 * What Does Europe Fear? Understanding the hopes and fears of Europeans, MCC Brussels briefing, September 2023
 * The Hollow Flag: the gulf between EU security rhetoric and real security, MCC Brussels briefing, February 2023
 * Scientists advise, ministers decide? The role of scientific expertise in UK policymaking during the coronavirus pandemic, Journal of Risk Research, Vol.25, No.10, 2022
 * Handling Uncertainty and Ambiguity in the COVID-19 Pandemic, Psychological Trauma: Theory, Research, Practice, and Policy, Vol.12, S1, 2020
 * Terrorism and post-traumatic stress disorder: a historical review, The Lancet Psychiatry, Vol.6, No.1, 2019
 * Theory informed by practice. Application informed by purpose. Why to understand and manage risk, cultural context is the key, Safety Science, Vol.99, No.2, 2017
 * Remaking Bandung 60 Years On, Global Change, Peace & Security, Vol.28, No.3, 2016
 * Securitising Education to Prevent Terrorism or Losing Direction?, British Journal of Educational Studies, Vol.64, No.1, 2016
 * War on Terror or a Search for Meaning?, US Joint Chiefs of Staff/Department of Defence Strategic Multi-Layer Assessment Occasional White Paper, September 2013
 * The Changing Nature of Riots in the Contemporary Metropolis: From Ideology to Identity, Journal of Risk Research, Vol.15, No.4, 2012
 * H1N1 – The Social Costs of Élite Confusion, Journal of Risk Research, Vol.14, No.5, 2011
 * Reconciling Growing Energy Demand with Climate Change Management, Global Change, Peace & Security, Vol.23, No.2, 2011
 * H1N1 – The Social Costs of Cultural Confusion, Global Health Governance, Vol.4, No.2, 2011
 * Human Security – A Retrospective, Global Change, Peace & Security, Vol.22, No.3, 2010
 * Fear and Terror in a Post-Political Age, Government & Opposition, Vol.42, No.3, 2007
 * Suicide Bombers v Sexual Abusers: A Battle of Depravity or Western Fixations?, Security Journal, Vol.20, No.3, 2007
 * Risk and the Social Construction of 'Gulf War Syndrome', Philosophical Transactions of the Royal Society B, Vol.361, No.1468, 2006
 * Public Panic and Morale: World War Two Civilian Responses Re-Examined in the Light of the Current Anti-Terrorist Campaign, (with Edgar Jones, Robin Woolven and Simon Wessely) Journal of Risk Research, Vol.9, No.1, 2006
 * The Limitations of Risk Management in Dealing with Disaster, Politik, Vol.8, No.1, 2005
 * The Concept of Risk, Nuffield Trust Global Programme on Health, Foreign Policy and Security, February 2005
 * Facing the Possibility of Bio-Terrorism, Current Opinion in Biotechnology, Vol.15, No.3, 2004
 * Civilian Morale during World War Two: Responses to Air-Raids Re-Examined, (with Edgar Jones, Robin Woolven and Simon Wessely), Social History of Medicine, Vol.17, No.3, 2004
 * Limitations of Public Dialogue in Science and the Rise of New 'Experts', Critical Review of International Social and Political Philosophy, Vol.6, No.4, 2003
 * The True Cost of Precautionary Chemicals Regulation, Risk Analysis, Vol.23, No.2, 2003
 * Resilience or Panic? The Public's Response to a Terrorist Attack, (with Simon Wessely) The Lancet, Vol.360, No.9349, 2002

title: Bill Durodié


text:
Amarna art

Amarna art, or the Amarna style, is a style adopted in the Amarna Period during and just after the reign of Akhenaten (r. 1351–1334 BC) in the late Eighteenth Dynasty, during the New Kingdom. Whereas ancient Egyptian art was famously slow to change, the Amarna style was a significant and sudden break from its predecessors both in the style of depictions, especially of people, and the subject matter. The artistic shift appears to be related to the king's religious reforms centering on the monotheistic or monolatric worship of the Aten, the disc of the Sun, as giver of life.

Like Akhenaten's religious reforms, his preferred art style was abandoned after the end of his reign. By the reign of Tutankhamun, both the pre-Amarna religion and art style had been restored.

Background and history
Shortly after taking the throne, Amenhotep IV adopted a policy of religious reform centering on the Aten. While it is not clear if he held that the Aten was the only god (monotheism), he clearly regarded it as the only deity worthy of his worship (monolatry). To pay homage to his chosen god, Amenhotep IV changed his name to Akhenaten.

Throughout his rule, Akenaten tried to change many aspects of Egyptian culture to celebrate or praise his god. He moved the royal capital to the city now known as Amarna and erected a number of palaces and temples there. He also extended his reforms to the style and usage of art.

The end of the Amarna period is unclear, as records from the time are sketchy. However, it is clear that around the beginning of the reign of Tutankhamun, about four years after Akhenaten's death, conservative forces led by the temple priests reimposed the old religion. The new capital was abandoned, and traces of his monuments elsewhere defaced. Remains of Amarna art are therefore concentrated in Amarna itself, with other remains at Karnak, where large reliefs in the style were dismantled, and the blocks turned round to face inwards when a later building was constructed using them. These were only rediscovered in recent decades.

General characteristics
Amarna art is characterized by a sense of movement and activity in images, with figures having raised heads, many figures overlapping and many scenes busy and crowded. The human body is portrayed differently; figures, always shown in profile on reliefs, are slender, swaying, with exaggerated extremities. In particular, depictions of Akhenaten give him distinctly feminine qualities such as large hips, prominent breasts, and a larger stomach and thighs. Other pieces, such as the most famous of all Amarna works, the Nefertiti Bust in Berlin, show much less pronounced features of the style.

The illustration of figures' hands and feet are apparently important. Fingers and toes are depicted as long and slender and are carefully detailed to show nails. Artists also showed subjects with elongated facial structures accompanied by folds within the skin as well as lowered eyelids. The figure was also illustrated with a more elongated body than the previous representation. In the new human form, the subject had more fat in the stomach, thigh, and breast region, while the torso, arm, and legs were thin and long like the rest of the body. The skin color of both male and female is generally dark brown (contrasted with the usual dark brown or red for males and light brown or white for females). Figures in this style are shown with both a left and a right foot, contrasting the traditional style of being shown with either two left or two right feet.

Tombs
The decoration of the tombs of non-royals is quite different from previous eras. These tombs do not feature any funerary or agricultural scenes, nor do they include the tomb occupant unless he or she is depicted with a member of the royal family. There is an absence of gods and goddesses, apart from the Aten, the sundisc. However, the Aten does not shine its rays on the tomb owner, only on members of the royal family. There is neither a mention of Osiris nor other funerary figures. There is also no mention of a journey through the underworld. Instead, excerpts from the Hymn to the Aten are generally present.

Sculpture
Sculptures from the Amarna period are set apart from other periods of Egyptian art. One reason for this is the accentuation of certain features. For instance, the portrayals feature an elongation and narrowing of the neck and head, sloping of the forehead and nose, a prominent chin, large ears and lips, spindle-like arms and calves, and large thighs, stomachs and hips.

In a relief of Akhenaten, he is portrayed in an intimate setting with his primary wife, Nefertiti, and their children, the six princesses. His children appear to be fully grown, only shrunken to appear smaller than their parents, a routine stylistic feature of traditional Egyptian art. They also have elongated necks and bodies. An unfinished head of a princess from this time, in the Tutankhamun, and the golden age of the pharaohs exhibition, displays a very prominent elongation to the back of the head.

The unusual, elongated skull shape often used in portrayal of the royal family "may be a slightly exaggerated treatment of a hereditary trait of the Amarna royal family", according to the Brooklyn Museum, given that "the mummy of Tutankhamun, presumed to be related to Akhenaten, has a similarly shaped skull, although not so elongated as [in typical Amarna-style art]". However, it is possible that the style is purely ritualistic. The hands at the end of each ray extending from Aten in the relief are delivering the ankh, which symbolized "life" in the Egyptian culture, to Akhenaten and Nefertiti, and often also reach the portrayed princesses. The importance of the Sun God Aten is central to much of the Amarna period art, largely because Akhenaten's rule was marked by the monotheistic following of Aten.

In several sculptures of Akhenaten, if not most, he has wide hips and a visible paunch. His lips are thick, and his arms and legs are thin and lack muscular tone, unlike his counterparts of other eras in Egyptian artwork. Some scholars suggest that the presentation of the human body as imperfect during the Amarna period is in deference to Aten. Others think Akhenaten suffered from a genetic disorder, most likely the product of inbreeding, that caused him to look that way. Others interpret this unprecedented stylistic break from Egyptian tradition to be a reflection of the Amarna Royals' attempts to wrest political power from the traditional priesthood and bureaucratic authorities.

Much of the finest work, including the famous Nefertiti bust in Berlin, was found in the studio of the second and last Royal Court Sculptor Thutmose, and is now in Berlin and Cairo, with some in the Metropolitan Museum of Art, New York.

The period saw the use of sunk relief, previously used for large external reliefs, extended to small carvings, and used for most monumental reliefs. Sunk relief appears best in strong sunlight. This was one innovation that had a lasting effect, as raised relief is rare in later periods.

Architecture
Not many buildings from this period have survived the ravages of later kings, partially as they were constructed out of standard size blocks, known as talatat, which were very easy to remove and reuse. In recent decades, re-building work on later buildings has revealed large number of reused blocks from the period, with the original carved faces turned inwards, greatly increasing the amount of work known from the period.

Temples in Amarna did not follow the traditional Egyptian design. They were smaller, with sanctuaries open to the sun, containing large numbers of altars. They had no closing doors. See Great Temple of the Aten, Small Temple of the Aten and the Temple of Amenhotep IV.

title: Amarna art


text:
National Emergency Number Association

The National Emergency Number Association (NENA) is an organization whose mission it is to foster the technological advancement, availability, and implementation of a universal emergency telephone number system in the United States. In carrying out its mission, NENA promotes research, planning, training and education. The protection of human life, the preservation of property and the maintenance of general community security are among NENA's objectives.

One of NENA's main functions is to grade the quality of the 9-1-1 (the Universal Emergency Number since 1968) services that exist throughout the United States. Through their Report Card to the Nation (RCN), the RCN Commission reviews and grades the performance of 9-1-1 centres based on their established standards of practice. NENA is tracking the deployment of Enhanced 9-1-1 and the Wireless Phase 1 and 2 initiatives. The latter are enabling 9-1-1 call takers to (in Phase 1) identify the cell tower related to the caller and (in Phase 2) to identify the actual geographic location of the caller.

In 2021, the Denver's 911 was reported as the "out of compliance".

title: National Emergency Number Association


text:
File:Cradle of Filth - Cruelty and the Beast.albumcover.jpg

Album cover for Cradle of Filth's Cruelty and the Beast.

Fair Use Rationale
 * 1) It is a low resolution copy of a CD album cover;
 * 2) It does not limit the copyright owner's rights to sell the CD album in any way;
 * 3) Copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) It is to be used only on the album's page, and adjacent to discussion of said album on main band page.


text:
Free Software Foundation of India

The Free Software Foundation of India (FSFI) is the Indian sister organisation to the US-based Free Software Foundation. It was founded in Thiruvananthapuram (Trivandrum) (the capital of Kerala) in 2001 as a non-profit Company. The FSFI advocates to promote the use and development of free software in India. This includes educating people about free software, including how it can help the economy of a developing country like India. FSF India regards non-free software as not a solution, but a problem to be solved. Free software is sometimes locally called swatantra software in India.

In 2003, after meeting with FSF founder Richard Stallman, the President of India Dr. Abdul Kalam urged Indian computer scientists and professionals to use free and open-source software in research and development.

Logo
The left side of the FSF India logo resembles the famed Ashoka Chakra, that also appears on the Indian national flag, while its right half is a depiction of a compact disc. The combination of both symbols is intended to draw attention to the similarity between political freedom and free software, the latter of which the FSF promotes.

The Ashoka Chakra, in addition to being a long-standing Buddhist symbol depicting the wheel of time, also resembles Charkha of India's Freedom Struggle and thus in the current context, may symbolize the Indian independence movement which resulted in India's freedom from British occupation.

title: Free Software Foundation of India


text:
Sean Faris

Sean Faris (born March 25, 1982 ) is an American actor and model. He is known for his roles as Jake Tyler in Never Back Down, Kyo Kusanagi in The King of Fighters, and Rick Penning in Forever Strong. He also played Tom in Ghost Machine.

Early life
Faris was born on March 25, 1982, in Houston, Texas, the son of Katherine and Warren Stephen Faris. His family was working-class and lived in a small house in Houston; he moved to Ohio at age 12, where he attended Padua Franciscan High School in Parma and Barbizon Modeling and Acting School in Cleveland. In 1999, Faris competed at the International Model and Talent Association.

Career
Faris has starred in many different projects, including two television shows, Life as We Know It, and Reunion, both canceled before the end of their first season. He also played William Beardsley in Yours, Mine & Ours. Faris also appeared in Sleepover with Alexa Vega in 2004. Faris was also nominated for the Young Actors Award at the 7th Annual Young Hollywood Awards in 2004. In 2007, Faris returned to work on three back-to-back films, Forever Strong, Never Back Down, and Brooklyn to Manhattan. Never Back Down was released on March 14, 2008, with the other two films also opening in 2008.

In 2008, he produced and starred in a short film called Manifest Destiny. In 2010, Faris appeared in three episodes of the TV show The Vampire Diaries. He also appeared on the cover of the January/February issue of U.S. Men's Health Magazine, and was the highest selling issue of the magazine in 2010. In early 2011, he co-starred in the CBS film The Lost Valentine, opposite Betty White and Jennifer Love Hewitt. On March 22, 2013, it was announced that Faris would portray Pennsylvania State Police Officer Gabriel Holbrook on Pretty Little Liars.

In 2011, Faris voiced the character Jack Rourke in the 2011 video game Need for Speed: The Run. On February 25, 2014, it was reported that Faris had landed one of the lead roles in Supernatural: Bloodlines, a spin-off of the CW series Supernatural, with the twentieth episode of the latter's ninth season airing as a backdoor pilot. However, the pilot was not picked up.

Personal life
On September 5, 2017, Faris and actress Cherie Daly announced that they had married during that year's Burning Man festivities. In November 2021, they announced on Instagram that they were expecting their first child.

title: Sean Faris


text: Category:Sports venues in Scotland

title: Category:Sports venues in Scotland


text:
Quartz Composer

Quartz Composer is a node graph system provided as part of the Xcode development environment in macOS for processing and rendering graphical data. It is capable of making sophisticated animations for keynote or presentations, and creating animated screensavers.

Quartz Composer uses OpenGL (including GLSL), OpenCL (only in Mac OS X Snow Leopard and later), OpenAL, Core Image, Core Video, JavaScript, and other technologies to create an API and a developer tool around a simple visual programming paradigm. Apple has embedded Quartz technologies deeply into the operating system. Compositions created in Quartz Composer can be played standalone in any QuickTime-aware application (although only on Mac OS X Tiger and later), as a system Screen Saver, as an iTunes Visualizer, from inside the Quartz Composer application, or can be embedded into a Cocoa or Carbon application via supplied user interface widgets. While Quartz Composer is included with the iPhone SDK, there is no way of running Quartz Compositions on iOS devices. Starting in macOS Catalina, the Quartz Composer framework has been deprecated, although it is still present for compatibility.

Patches
Quartz programming through Quartz Composer works by implementing and connecting patches. Similar to routines in traditional programming languages, patches are base processing units. They execute and produce a result. For better performance, patch execution follows a lazy evaluation approach, meaning that patches are only executed when their output is needed. There are three types of patches: Consumers, Processors, and External Input patches that can receive and output mouse clicks, scrolls, and movements; MIDI and audio; keyboard; or other movements. A collection of patches can be melded into one, called a macro. Macros can be nested and their subroutines also edited.

To control the order of rendering, each renderer is assigned a layer, indicated in its upper-right corner. Layers are rendered sequentially, lowest to highest. Renderers can be enabled or disabled, essentially turning on or off that particular layer. Turning off unused layers often results in better performance, since fewer upstream patches need to be evaluated.

Some patches can have subpatches, which allows for global parameter changes to just the included subpatches. This is useful for lighting, 3D transformation, and GLSL shaders, among other things. Subpatch support is indicated by square corners on a patch, rather than the typical rounded corners.

With Version 3.0, it became possible to turn compositions into Virtual Patches. These allow the user to reuse functionality without having to store duplicate copies in each composition. The Quartz Composer Editor allows the user to save a "flattened" copy (with the virtual patches fully expanded inside), for easy distribution. Version 4.0 extended this functionality even more, and automatically includes "flattened" copies of virtual patches for use as a fallback if the desired virtual patch isn't installed on the host system. This greatly simplifies composition distribution.

Network functionality was greatly improved with the release of Leopard. It became possible to transmit data and synchronize over a network interface, and it also added support for Open Sound Control transmission and reception.

Plugins
Also new in Version 3.0 was the possibility to write custom patch plugins, using an Xcode template, and the notion of a "safe mode", where plugins and other unsafe patches fail to load. This prevents malicious compositions from performing dangerous or insecure operations. Custom patches using Apple's Xcode template are always considered unsafe.

It was possible to develop custom patch plugins for Version 2.0, but the API was undocumented and private, and was never supported by Apple. Eventually, templates were released to simplify this procedure.

Hidden options
In the Quartz Composer editor, holding the option key while selecting "Preferences..." from the menu adds 3 additional tabs of options for the user to configure. These options include System settings, Editor settings, and QuickTime integration settings. Notable options include expanded tooltips, software rendering, and uncapped framerate rendering. Multisample antialiasing (MSAA) was added as a hidden option in version 4.0, allowing for antialiasing inside the QC Editor, though it only works on GPU's that support MSAA.

Native datatypes
Data inside QC can be one of the following types:
 * Boolean - a boolean value, 0 or 1
 * Index - a positive integer between 0 and 2147483647
 * Number - a double precision floating point number
 * String - a unicode string
 * Color - an RGBA or CMYK quartet, or a Grayscale value
 * Image - a 2D image of arbitrary (possibly infinite) dimensions
 * Structure - a named or ordered collection of objects, including nested structures
 * Virtual - any of the above

Two additional types were introduced in version 4.0:
 * Mesh - a collection of vertices, and per-vertex normals, texture coordinates, and colors in 3-space
 * Interaction - a valueless type used to associate user input with user-interactive elements of the composition

Type conversion
Data can usually be converted to other types transparently. In Quartz Composer 3.0, the connections between patches change color to indicate conversions that are taking place. Yellow connections mean no conversion is taking place, Orange indicates a possible loss of data from conversion (Number to Index), and Red indicates a severe conversion; Image to Boolean, for example.

Compositions
Quartz Composer documents are called Compositions. Compositions are Binary Property Lists (though XML versions are also supported) with a filename extension .qtz, and a com.apple.quartz-composer-composition UTI. Patches, their connections, and their input port states are saved in the composition file. Images can be stored inside a composition as well, making for self-contained compositions with embedded graphics. By dragging a movie file into the Quartz Composer editor, a reference to the movie file is created, providing a changing image that can be connected to a renderer.

Compositions also store metadata such as composition author, copyright, and description. The user can also add arbitrary metadata items, if desired.

Many image formats are supported, including JPEG, JPEG2000, GIF, PNG, TIFF, TGA, OpenEXR, BMP, ICO, PDF, PICT, ICNS, and some raw digital camera types. Images are maintained in their native form for as long as possible before rasterizing for display. This means that Quartz Composer will keep vector images as vectors when cropping, scaling, rotating, or translating which allows it to work with very large logical image dimensions without consuming large amounts of memory or processing time. Such functionality is most apparent when working with text-based images, or PDFs.

Version 3.0 added the ability to add annotations to areas of the composition, called notes. These notes parallel comments in other programming languages. Notes can be yellow, red, green, blue, or gray, and can overlap other notes.

Composition protocols
In Version 3.0, the concept of Composition Protocols was introduced. Protocols provide a template of required and optional inputs and outputs to qualify conforming compositions for various purposes. The following protocols are available by default:
 * Graphic Animation - These don't have required inputs or outputs, but are required to render to the screen. Graphic Animations are useful for animated backgrounds in applications such as Keynote.
 * Image Filter - Modifies an image using filters. No renderers are allowed in Image Filters, unless they are inside of a Render In Image environment.
 * Graphic Transition - Generates a transition from a source image to a destination image over a fixed time interval.
 * RSS Visualizer - Parses and Displays an RSS Feed.
 * Screen Saver - Integrates with Finder for animated screen savers.
 * Music Visualizer - Integrates with iTunes for audio visualization.

There is an additional protocol that Apple uses in their private API:
 * Photo Visualizer - Receives an image list, provides information about total image count and currently displayed image.

One new protocol was added in version 4.0:
 * Mesh Filter - deforms an input mesh.

There is no officially supported way to add additional protocols to Quartz Composer. However, there are some undocumented methods that may make this possible in the future.

Composition runtimes
In addition to protocols, compositions can also conform to different runtimes where Quartz Composer is available. In Leopard, there are runtimes for Tiger (32-bit), as well as 32-bit and 64-bit versions of the Leopard Quartz Composer runtime. The editor can also indicate used patches that are unsafe, or unavailable in Tiger to aid in making compatible compositions.

Composition repository
A System-wide Composition Repository is available as of Version 3.0. This allows applications to share and make use of common compositions for effects and processing. It is also possible for applications to query the repository for compositions that match certain criteria, such as protocol conformance.

The Repository is spread across 3 file system locations:
 * /System/Library/Compositions - core system compositions (the user typically doesn't modify these)
 * /Library/Compositions - compositions available for all users
 * /Users/username/Library/Compositions - compositions available for only this user

Adding compositions to the repository is as simple as adding the composition file to one of these locations.

Comparing compositions
It became possible to compare compositions in Quartz Composer 3.0. This feature allows the user to compare inputs, rendered output, and graph appearance of any two compositions.

Quartz Composer Visualizer
A developer tool called Quartz Composer Visualizer was released with Quartz Composer 3.0 that allows compositions to be rendered across multiple screens on a single machine, or even spanned across several machines and displays.

Automator support
Support for some Automator actions was added with the release of Leopard.
 * Apply Quartz Composition Filter to Image Files
 * Convert Quartz Compositions to QuickTime Movies
 * Render Quartz Compositions to Image Files

History
Pierre-Olivier Latour originally developed the predecessor to Quartz Composer under the name PixelShox Studio.

Books

 * Quartz Composer Book in Japanese
 * Learning Quartz Composer Book & DVD in English

Tutorials and documentation

 * Quartz Composer Programming Guide from Apple
 * Quartz Composer tutorials
 * Quartz Composer wiki
 * kineme.net QC Wiki
 * quartzcomposer.com (unofficial website)
 * George Toledo's Programming and Design Blog
 * Rob Duarte's 2015 series of Quartz Composer tutorial videos
 * cybero's Quartz Composer JavaScript guide, blog & other Quartz Composer tutorials
 * Quartz Composer interaction design tutorials

Mailing list

 * Mailing List
 * Mailing List Archives
 * Kineme Quartz Composer, Patches & Plugins forum

Compositions

 * QuartzCompositions.com Forum and Composition Repository
 * kineme.net Composition Repository
 * ZUGAKOUSAKU
 * Quartz Composer Composition Directory
 * GLSL, CoreImage & OpenCL Quartz Composer files from toneburst on machinesdontcare
 * George Toledo's Programming and Design Blog

Custom patches / plugins

 * vade’s v002 plugins & effects
 * Kineme QC Patches
 * Google Quartz Composer Patches
 * Qtzlcodex Quartz Composer Custom Patches
 * _1024 plugins by Francois Wunschel
 * Minuek's Quartz Composer Patches
 * Paolo Manna QC LuaPlugin
 * Open Emu for QC
 * Open Frameworks for QC
 * Tom Butterworth plugins
 * CoGe plugins by Tamas Nagy
 * George Toledo's Programming and Design Blog ( a variety of official and non-official api plugins and Xcode projects )
 * I Love QC New Site dedicated to learning Quartz Composer, making files and supporting the Pearson Education book Learning Quartz Composer
 * jQC by QCDesigners, an interaction design framework for Quartz Composer
 * Facebook Origami, a free design prototyping toolkit for Quartz Composer

Images and videos

 * Quartz Composer on Flickr
 * Quartz Composer on Vimeo

title: Quartz Composer


text:
Flora Shaw, Lady Lugard

Dame Flora Louise Shaw, Lady Lugard (born 19 December 1852 – 25 January 1929), was a British journalist and writer. She is credited with having coined the name Nigeria.

Early life
She was born at 2 Dundas Terrace, Woolwich, South London, the fourth of fourteen children, the daughter of an English father, Captain (later Major General) George Shaw, and a French mother, Marie Adrienne Josephine (née Desfontaines; 1826–1871), a local of Mauritius. She had nine sisters, the first and the last dying in infancy, and four brothers.

Her paternal grandfather was Sir Frederick Shaw, third baronet (1799–1876), of Bushy Park, Dublin, and a member of parliament from 1830 to 1848, regarded as the leader of the Irish Conservatives. Her paternal grandmother, Thomasine Emily, was the sixth daughter of the Hon. George Jocelyn, and granddaughter of Robert Jocelyn, first Earl of Roden.

Writing for children
From 1878 to 1886, Shaw wrote five novels, four for children and one for young adults. In her books, young girls are encouraged to be resourceful and brave but in a traditional framework, acting in support of "gentlemanly" fathers and prospective husbands, rather than on their own behalf. Shaw's writing has been interpreted by one academic as sexually conservative and imperialist. She also wrote a history of Australia for children.

Her first novel, Castle Blair, was translated into several languages and continued to be extremely popular in the UK and the U.S. well into the 20th century. It was based on her own Anglo-Irish childhood experiences. Charlotte Mary Yonge recommended it along with works of "some of the most respected and loved authors available in late Victorian England" as "wild... attractive and exciting". The critic John Ruskin called Castle Blair "good, and lovely, and true".

Journalism
Shaw first took advantage of a journalistic opportunity while she was staying with family friends in Gibraltar in 1886. Over four months, she visited Zebehr Pasha, a slaver and former governor of Sudan, who had been removed from office and was incarcerated there. Her reports purportedly led to his release.

Upon her return to England, she wrote for The Pall Mall Gazette and the Manchester Guardian. She was sent by the latter to cover the Brussels Anti-Slavery Conference 1889–90, where she was the only woman reporter. She became Colonial Editor for The Times, which made her the highest paid woman journalist of the time. At The Times, she was sent as a special correspondent to Southern Africa in 1892; Australia in 1901; and New Zealand in 1892, partly to study the question of Kanaka labour in the sugar plantations of Queensland. Penneshaw, South Australia is partly named after her. She also made two journeys to Canada, in 1893 and 1898, the second including a journey to the gold diggings of Klondike.

Her belief in the positive benefits of the British Empire infused her writing. As a correspondent for The Times, Shaw sent back "Letters" in 1892 and 1893 from her travels in South Africa and Australia, later published in book form as Letters from South Africa (1893). Writing for the educated governing circles, she focused on the prospects of economic growth and the political consolidation of self-governing colonies within an increasingly-united empire, with a vision largely blinkered to the force of colonial nationalisms and local self-identities.

The lengthy articles in a leading daily newspaper reveal a late-Victorian metropolitan imagery of colonial space and time. Shaw projected vast empty spaces awaiting energetic English settlers and economic enterprise. When she first started writing for The Times, she wrote under the name of "F. Shaw" to try to disguise that she was a woman. Later, she was so highly regarded that she wrote openly as Flora Shaw. Her pseudonym is now little-known, and she was regarded as one of the greatest journalists of her time, specialising in politics and economics.

Shaw was required to testify before the House of Commons Select Committee on British South Africa during the controversy on the Jameson Raid into the Transvaal on 29 December 1895. The prominent journalist had corresponded frequently with those involved or suspected of involvement, including Cecil Rhodes, Leander Starr Jameson, Colonel Francis Rhodes, and Colonial Secretary Joseph Chamberlain. She was exonerated from all charges.

Naming Nigeria
In an essay that first appeared in The Times on 8 January 1897, by "Miss Shaw", she suggested the name "Nigeria" for the British Protectorate on the Niger River. In her essay, Shaw made the case for a shorter term that would be used for the "agglomeration of pagan and Mahomedan States" to replace the official title, "Royal Niger Company Territories". She thought that the term "Royal Niger Company Territories" was too long to be used as a name of a real estate property, under the trading company in that part of Africa. She was in search of a new name, and she coined "Nigeria", in preference to terms such as "Central Sudan", which were associated with the area by some geographers and travellers.

She thought that the term "Sudan" was associated with a territory in the Nile basin. In The Times on 8 January 1897, she wrote: "The name Nigeria applying to no other part of Africa may without offence to any neighbours be accepted as co-extensive with the territories over which the Royal Niger Company has extended British influence, and may serve to differentiate them equally from the colonies of Lagos and the Niger Protectorate on the coast and from the French territories of the Upper Niger." (Upper Senegal and Niger and the Colony of Niger).

Lady Lugard
Shaw was close to the three men who most epitomised the British Empire in Africa: Cecil Rhodes, George Taubman Goldie and Sir Frederick Lugard. On 10 June 1902, she married Lugard. She accompanied him when he served as Governor of Hong Kong (1907–1912) and Governor-General of Nigeria (1914–1919). In 1928, he was named baron, and she became Lady Lugard. They had no children.

While they lived in Hong Kong, she helped her husband establish the University of Hong Kong. During the First World War, she was prominent in the founding of the War Refugees Committee, which dealt with the problem of the refugees from Belgium, and she founded the Lady Lugard Hospitality Committee. In the 1918 New Year Honours, she was appointed as a Dame Commander of the Order of the British Empire. She died of pneumonia on 25 January 1929, aged 76, in Surrey.

Legacy
In her obituary, The Times foreign editor described her as “the finest flower of modern womanhood, a womanly woman, who at the same time possessed the reasoning capacity of a man”. Her biography was written in 1947 by Enid Moberly Bell, daughter of and assistant to Charles Frederic Moberly Bell, managing director of The Times.

In 2019, in the wake of the Rhodes Must Fall campaign, The Times published an essay "How The Times helped Cecil Rhodes in his conquest of Africa" by columnist Ben Macintyre, reckoning with Shaw's role in Britain's colonial history. The essay concluded: "...Flora must not fall. Instead, she should stay right where she is, but with a new plaque attached: 'Flora Shaw, 1852-1929; pioneer journalist, fanatical imperialist, passionate, principled and wrong.'"

Works
In 1905, Shaw wrote what remains the definitive history of western Sudan and the modern settlement of Northern Nigeria, A Tropical Dependency: An Outline of the Ancient History of the Western Soudan, With an Account of the Modern Settlement of Northern Nigeria.

 * Castle Blair: A story of youthful days (First published London, 1877)
 * Hector, a story (First serialized in Aunt Judy's Magazine, 1880–1881)
 * Phyllis Browne (First serialized in Aunt Judy's Magazine, 1881–1882)
 * A Sea Change (First published London, 1885)
 * Colonel Cheswick's Campaign (Boston, 1886).
 * The story of Australia (London: Horace Marshall, 1897), as part of the Story of the Empire series.

title: Flora Shaw, Lady Lugard


text:
Trick riding

Trick riding refers to the act of performing stunts while horseback riding, such as the rider standing upright on the back of a galloping horse, using a specially designed saddle with a reinforced steel horn, and specialized kossak loops for hands and feet. The horse is likewise galloping free. Trick riding is not to be confused with equestrian vaulting, which is an internationally recognized competitive sport governed by the Federation Equestre Internationale (FEI).

Horse riding stunts have been performed in many films, such as Roman racing in the 1925 Hollywood silent movie "The Calgary Stampede" where cowboy actor Hoot Gibson rides to the championship in the Roman race, and the iconic film "Ben Hur," as well as in equestrian events such as Equitana and the official opening of the Australian Equine and Livestock Events Centre, rodeos, and much more.

Trick riding as a popular entertainment was practiced in Europe in the 18th century. The 18th century trick rider and memoirist Thomas Hammond describes performances in several European countries, including by himself and by James Wolton, the master who taught him. Some of their stunts, and those of their only competitor, the more famous Mr. Price, are illustrated in the old engraving shown here. The captions of the depicted stunts, clockwise from top left, read:
 * On full speed between 2 Horses, riding only on his Arms.
 * Leaping a Bar standing upon 2 Horses with one foot on each Saddle on full speed.
 * Jumping as He rides 2 Horses on full speed.
 * Riding upon His Head and fireing a Pistol on full speed.
 * Riding backwards standing on the Saddle on full speed.
 * Laying across 3 Horses on full speed.
 * Standing with one Leg on the Saddle on full speed.
 * Takes his Whip from the Ground on full speed.

Hammond's memoir included 14 hand-colored plates of Mr. Price's stunts, purchased by Wolton and Hammond from Mr. Price. These are reproduced in the 2017 edition, with the original French captions.

Trick riding has been called the most daredevil of horsemanship, where gymnastic skills of strength and balance are needed. Using a special stunt saddle, the rider performs physically demanding stunts such as the classic standing hippodrome, the shoulder stand, the tail drag, and the suicide drag, and other stunts all while hanging to the side of the saddle, or standing on the saddle, or twirling on the saddle horn or swinging under the belly of the galloping horse from one side to another.

Up to the mid 1930s, trick riding was a popular rodeo contest, with prize money and world champions declared. World titles were declared at the biggest rodeos in Winnipeg, Chicago, New York and London, England. Champions had to have the best balance, poise and style, plus the most difficult stunts.

"Suicide" Ted Elder, who was called "Suicide" because of his daring stunts such as the "suicide drag," was one of the best of these early day performers winning seven world championships during his career.

Vera Mcginnis, Florence LaDue, and Tad Lucas are some famous female trick riders.

Dick Griffith, Earl Bascom and Weldon Bascom were famous rodeo bull riders, as well as accomplished trick riders.

Trick riders such as Shirley Lucas and Sharon Lucas became famous horse stunt women doubling for many movie stars such as Marilyn Monroe, Lauren Bacall, Betty Grable, Lana Turner, and many more. In films, stunt riders have included Hank Durnew and Ken Maynard (1895–1973).

Trick riding is still prevalent today, both in the film world and in rodeo. Tad Griffith, who is a 3rd generation trick rider and at his prime was considered the greatest trick rider in the world, has taught actors how to trick ride for films like Keanu Reeves in John Wick 3, Alden Ehrenreich in Hail Caesar, and has performed trick riding in movies like The Mask of Zorro. His sons, Gattlin Griffith, Callder Griffith, Arrden Griffith, and Garrison Griffith, have all continued trick riding, on-screen and in the arena.

One type of trick riding is known as "Roman riding", and is usually performed as entertainment in rodeos, circuses and horse shows. In Roman riding, the rider stands atop a pair of horses, tethered together, with one foot on each horse.

"Roman standing racing" has been popular since the early days of rodeo, as a contest with prize money, where riders and horsemen race around a dirt track for the championship.

"Roman running jump" is a specialty act, an exciting event where the rider and horses jump, at full gallop, over a convertible automobile or other barrier. Ted Elder used this act only adding to the excitement by adding flames which the horse and rider jumped through.

The Canadian Trick Riding Hall of Fame was established to honor and preserve the history of Canadian trick riding.

title: Trick riding


text:
John Holmes (Nova Scotia politician)

John Holmes (1 March 1789 – 3 June 1876) was a Canadian politician.

He was born in Ross-shire, Scotland in 1789 and came to Pictou County, Nova Scotia with his family in 1803. Prior to Canadian Confederation in 1867, he represented Pictou County in the Nova Scotia House of Assembly from 1836 to 1847 and from 1851 to 1855. Holmes then served in the Legislative Council of Nova Scotia from 1858 to 1867. Following Confederation, he was appointed by royal proclamation to the newly formed Senate of Canada on 23 October 1867. A Conservative, he represented the Senate district of Nova Scotia until his death. He was the father of Nova Scotia premier Simon Hugh Holmes.

title: John Holmes (Nova Scotia politician)


text:
Saint-Denis-le-Thiboult

Saint-Denis-le-Thiboult is a commune in the Seine-Maritime department in the Normandy region in northern France.

Geography
A farming village situated in the Pays de Bray between Ry and Vascœuil, some 12 mi east of Rouen near the junction of the D12 and the N31 roads. The small river Crevon, a tributary of the Andelle, flows through the commune.

Places of interest

 * The church of St. Denis, dating from the thirteenth century.
 * A sixteenth-century manorhouse with a dovecote.
 * The chateau of Ventes.
 * A feudal motte and walls.

title: Saint-Denis-le-Thiboult


text: User talk:80.45.183.28

title: User talk:80.45.183.28


text:
User:Rcappuccio

Pages that I maintain:

 * Kat a desktop search environment for Linux/KDE.
 * Roberto Cappuccio, the author and project manager of Kat.

title: User:Rcappuccio


text: Category:Sports venues in Sri Lanka

title: Category:Sports venues in Sri Lanka


text:
Branko Bošković

Branko Bošković (Бранко Бошковић, ; born 21 June 1980) is a Montenegrin retired footballer, who is best known for playing for his performances with DC United, Red Star Belgrade, Paris Saint-Germain and Rapid Wien.

Club
Bošković started his pro career in 1996 with the Budva outfit FK Mogren, which was competing in lower Yugoslav division at the time. After playing there for two-and-a-half seasons, Branko earned a dream move to Red Star Belgrade in December 1998.

In his four-and-a-half seasons in Belgrade, he twice helped his team win the Serbo-Montenegrin Football League, in both 1999–2000 and 2000–01, as well as the Yugoslav Cup three times in 1999, 2000 & 2002. Additionally, he marked himself out as a talented and creative midfielder with a nose for goal, all of which earned him a series of national team call-ups. Still, his single most famous moment while at Red Star came during the 2002–03 UEFA Cup second round versus Lazio when he scored a goal in the return leg.

Bošković's stellar performances at Red Star got him plenty of attention from abroad, and he moved to French giants Paris Saint-Germain during summer of 2003 but failed to get a first team place upon arrival. Following the two-year stay at PSG – spent mostly out of the first team picture – he accepted a season-long loan to play with Troyes where he spent the entire 2005–06 season. After his loan spell ended, Bošković and PSG parted ways, and he spent a six-month period training with FK Rad.

In January 2007, he signed a contract with Rapid Wien until the end of the 2006–07 season. After impressing during the second half of the 2006–07 season Bošković re-signed with the club. During the 2007–08 season, Bošković was a key player helping the club capture the Austrian league title. As a result of his play, he signed a two-year extension in March 2008. During his time with Rapid, Bošković appeared in 122 official matches and scored 24 goals.

Bošković signed as a Designated Player with D.C. United of Major League Soccer in the United States on 14 June 2010. Bošković made 43 appearances, 21 starts and finished with one goal and seven assists over three seasons. Following the end of the 2012 season, Bošković and D.C. United mutually agreed to part ways, with Bošković citing a desire to return to Montenegro for family reasons.

He returned to his former club Rapid Wien in January 2013. In summer 2014, he left Rapid after his contract had expired.

International
He made his debut for FR Yugoslavia against Brazil, in a friendly played 27 March 2002. He played his last match against South Korea in a friendly on 16 November 2005. In total he played 12 games – eight friendlies and four Euro 2004 qualifying matches – for FR Yugoslavia/Serbia and Montenegro. He scored one goal for the national side, coming in a 1–2 loss against Azerbaijan on 11 June 2003 during Euro 2004 qualifying.

With the formation of Montenegro, he was selected to the Montenegro national team, debuting for the nation in its first-ever match in March 2007 against Hungary. He was captain in the European Championship qualifier against England at Wembley in 2010, which ended in a goalless draw, his last international match to the end of 2011. He played again against Belarus in a 1–1 draw in 2013. He played for the first time in World Cup 2014 qualifier against Poland and provided an assist for Dejan Damjanović. He scored an extraordinary own goal 'for' England in a 2014 World Cup qualifier at Wembley which ended 4–1 against Montenegro.

Honours
Red Star Belgrade Paris Saint-Germain SK Rapid Wien
 * Yugoslav First League: 1999–2000, 2000–01
 * Yugoslav Cup: 2002
 * Coupe de France: 2004
 * Austrian Football Bundesliga: 2007–08

Statistics
Appearances and goals counted correct as of 6 October 2012

title: Branko Bošković


text: Category:Buildings and structures in Sri Lanka


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Talk:Dear Friends -Music from Final Fantasy-

How this page. doesn't give credit to the person who presented all. of the Dear friends concerts. It should be known that Jason Michael Paul of Jason Michael Paul Productions was the creator of this whole concert series as well as the more friends concert that took place on may 16, 2005.

 * My father (who is a non-gamer, but a fan of Final Fantasy music; I did not have a driver's license at the time) and I attended the Dear Friends: Music from Final Fantasy concert in Atlanta, Georgia, on June 24, 2005. We had to go through traffic jams to get there, but thankfully, we arrived on time.  Before that, we went to an IMAX theater and viewed the motion picture Batman Begins. Decimus Tedius Regio Zanarukando 07:04, 30 July 2005 (UTC)


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Cezve

A cezve (cezve, ; džezva; جِذوَة), also '/' (μπρίκι),  (սրճեփ) is a small long-handled pot with a pouring lip designed specifically to make Turkish coffee. It is traditionally made of brass or copper, occasionally also silver or gold. In more recent times cezveler are also made from stainless steel, aluminium, or ceramics.

Name
The name cezve is of Turkish origin, where it is a borrowing from جِذوَة (jadhwa or jidhwa, meaning 'ember').

The cezve is also known as an ibrik, a Turkish word from Arabic إبريق (ʿibrīq), from Aramaic ܐܖܪܝܩܐ (ʾaḇrēqā), from early Modern Persian *ābrēž (cf. Modern Persian ), from Middle Persian *āb-rēǰ, ultimately from Old Persian *āp- 'water' + *raiča- 'pour' (cf. Modern Persian and Middle Persian ریختن [rêxtan]).

Variations
In Bulgaria, Albania, Bosnia and Herzegovina, Croatia, Czechia, Montenegro, North Macedonia, Serbia, Slovakia and Slovenia, the cezve is a long-necked coffee pot. In Turkish an ibrik is not a coffee pot, but simply a pitcher or ewer.

title: Cezve


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Talk:API (disambiguation)

The following items were removed with reasons noted: Courtland 13:26, July 25, 2005 (UTC)
 * Animal Protection Institute
 * DAB pages should be used as navigational aids within Wikipedia; please re-add the item if an article is created
 * Alpha Processor Incorporated
 * a red-link, no article .. please re-add if an article is created

API redirect to API (disambiguation)
Most of the links to here are for Application programming interface so I'm making the API page redirect to that page and putting an other uses banner upon the top. Harryboyles 06:27, 25 May 2006 (UTC)

Other information about APIs (non-technical)
This article focuses on what an API is. But I would also like to see additional information - look at this article - http://venturebeat.com/2013/07/31/enterprise-api-programs/ Does anyone have information on what APIs are used for in the industry, how they are used in different companies and institutions, and general statistics about them? — Preceding unsigned comment added by 192.55.55.37 (talk) 16:16, 31 July 2013 (UTC)
 * This article is a disambiguation page. It's only purpose is to point readers to the various articles they might be looking for when searching for "API" on Wikipedia, nothing more. The pay-for-placement link you listed here is not useful. - Sum mer PhD  (talk) 16:58, 31 July 2013 (UTC)

Help
I don't understand Twanna davis (talk) 03:12, 23 March 2019 (UTC)

title: Talk:API (disambiguation)


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Sharuhen

Sharuhen (שָׁרוּחֶן) was an ancient town in the Negev Desert or perhaps in Gaza. Following the expulsion of the Hyksos from Egypt in the second half of the 16th century BCE, they fled to Sharuhen and fortified it. The armies of Pharaoh Ahmose I seized and razed the town after a three-year siege.

History
The destruction of Sharuhen was merely the first stage of a new policy of pre-emptive warfare waged by the Egyptians. Because the Egyptians of the 17th Dynasty felt deeply humiliated by the 15th and 16th Dynasty rule of the Hyksos (ca. 1650 BCE – ca. 1540 BCE), the Theban dynasty launched an ambitious war, led by Seqenenre Tao, against the foreign king, Apepi, to reclaim lost territory. Though his own campaign to expel the Hyksos from Egypt failed, and he himself was killed in battle, his son, Kamose, launched an attack on the Hyksos capital of Avaris.

It was his much younger brother, Ahmose I, however, who finally succeeded in capturing Avaris, razing it, and expelling the Hyksos rulers from Egypt altogether.

The profound insult of the foreign rule to the honour and integrity of Egypt could be corrected, and its recurrence prevented, only by extending Egypt's hegemony over the Asiatics to the north and east of Egypt. Ahmose I engaged in a retaliative three-year siege of Sharuhen, thereby launching an aggressive policy of pre-emptive warfare. The town fell soon after the siege, ending the power of the Hyksos. His victories were maintained by his son, Amenhotep I, then continued by Amenhotep's successor Thutmose I, who extended Egyptian influence as far as the Mitanni kingdom in the north and Mesopotamia in the east, pushing the borders of the Egyptian empire farther than ever before.

Sharuhen is mentioned in the bible in in the description of the allotment of the Tribe of Simeon.

Identification
The following sites, all within the same small area along the Nahal Besor and Nahal Gerar rivers, have been identified as possibly being ancient Sharuhen;
 * Many scholars today believe that Tell el-Farah (south) (31.28194°N, 34.4825°W), situated on Nahal Besor near the border with Gaza, was Sharuhen. Farah south was first excavated by Flinders Petrie in the late 1920s. He first identified the site as Beth-Pelet and published the excavation reports under the names Beth-Pelet I - II. It was William F. Albright that laid the basis for identification of Tell Farah south as Sharuhen.
 * Flinders Petrie also excavated Tell el-Ajjul (31.46767°N, 34.4043°W), in the Gaza area, in the 1930s. He thought that Ajjul was the ancient town of Gaza, a theory that has since been partially misproven. The archaeologist Aharon Kempinski proposed identifying Ajjul with Sharuhen in the 1970s. Excavations at Ajjul were resumed in 1999 by a Swedish-Palestinian team under the directors Peter M. Fischer and Moain Sadeq.
 * Anson Rainey proposed Tel Heror, along the Nahal Gerar near the border with Gaza, and about 15 km northeast of Farah south, (31.38212°N, 34.60652°W) as the site of Sharuhen, as well. This identification is also supported by Donald Redford, because of the site's immense size and important geographical position.

title: Sharuhen


text: User talk:80.6.229.113

title: User talk:80.6.229.113


text: Category:Sports venues in the United States


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Robert Allen (lexicographer)

Robert E. Allen (born 1944) is a British lexicographer who has written, edited, and published a wide range of books about the English language. He was formerly a senior editor for the Oxford English Dictionary who became a freelance writer and consultant in 1996.

His works include a new edition of the Concise Oxford Dictionary, and a revision of Modern English Usage.

title: Robert Allen (lexicographer)


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You Must Love Me

"You Must Love Me" is a song recorded by American singer and songwriter Madonna. It was written by Andrew Lloyd Webber and Tim Rice, for the 1996 film adaptation of the musical, Evita, based on the life of Argentinian leader Eva Perón. The song was released on October 21, 1996, by Warner Bros. as the lead single from the film's soundtrack. After years of not working together due to their individual projects, Lloyd Webber and Rice collaborated on creating a new track for the film, with the hopes of obtaining an Academy Award nomination for Best Original Song. According to Lloyd Webber, the song's purpose was to showcase Perón's emotional state at the time as well as her relationship with her husband Juan Perón.

Madonna, who starred in the title role of the film, had tried to change the lyrics of the track to create a sympathetic portrayal of Perón, but was unsuccessful. She also undertook vocal lessons to record the songs for the film. "You Must Love Me" features instrumentation from cello and piano which accompanies Madonna's vocals. The song garnered positive response from music critics, many of them highlighting Madonna's enhanced singing ability. It went on to win the Golden Globe and the Academy Award for Best Original Song in 1997.

Commercially, "You Must Love Me" became a top-10 hit in some countries including Finland, Italy, Taiwan, and the United Kingdom, while reaching the top 20 in the United States. It was certified gold by the Recording Industry Association of America (RIAA) for shipments of 500,000 physical units. A music video, directed by Alan Parker, was released as promotion for the single. Madonna has performed the song at the 69th Academy Awards and on her 2008–09 Sticky & Sweet Tour.

Background and development
In 1996, Madonna starred in the film Evita, playing the role of Eva Perón, the Spiritual Leader of the Nation of Argentina. For a long time, Madonna had desired to play Perón and even wrote a letter to director Alan Parker, explaining how she would be perfect for the part. After securing the role, she underwent vocal training with coach Joan Lader since Evita required the actors to sing their own parts. Lader noted that the singer "had to use her voice in a way she's never used it before. Evita is real musical theater — its operatic, in a sense. Madonna developed an upper register that she didn't know she had."

"You Must Love Me" was written by Andrew Lloyd Webber and Tim Rice, who had reunited for Evita after a ten-year creative separation due to their individual projects. It was written specifically for the film, so that it would contain new material and be eligible for an Academy Award nomination for Best Original Song. Madonna noted it as her favorite song from the film, recalling that the idea for "You Must Love Me" grew when Parker re-arranged the ending of the film from the original play, with the hopes of reuniting Rice and Lloyd Webber to create new music. According to Lloyd Webber, the purpose of the song was to showcase Perón's emotional state at the time as well as her relationship with her husband Juan Perón; "[Eva] is dying and she knows she's dying. One reason she is saying, 'You must love me', is out of desperation. She's also saying, 'You must love me because you must have always loved me', so it's a little word play, I guess, which Tim Rice has written", he explained. It was released as the soundtrack's first official single on October 21, 1996. Since its release, the song has been included in several productions of the play, including the 2006 London production and the 2012 Broadway revival.

Recording and composition
Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London; Madonna was accompanied by her co-stars Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not completely comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on forty-six songs with everyone involved and not have a big say was a big adjustment", she recalled. An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.

"You Must Love Me" starts with the sound of orchestra and piano, as Madonna sings the opening verses. She continues singing the lyrics, which talk about Perón's discovery that her husband Juan had actually loved her all along and not merely seen her as a political prop. Madonna disliked the lyrics since she wanted to portray Perón as a sympathetic figure, rather than the "shrewd manipulator" that Parker had in mind. She was also concerned about her own image, and was successful in getting many portions of the script altered. However, Rice declined to change the song's lyrics, but rewrote its instrumentation five or six times. He recalled, "I remember taking the lyrics to Madonna and she was trying to change them... The scene can be interpreted in different ways, but my lyrics were kept, thank God!"

Other instrumentation for the song includes cello, which was played by a live orchestra. As the song moves towards the chorus, the piano sounds stop and the cello plays with Madonna belting out the lyrics: "Deep in my heart, I'm concealing, Things that I'm longing to say, Scared to confess what I'm feeling, Frightened you'll slip away", when the piano and the orchestra sounds come back again. It proceeds in the same way and gradually fades out. "You Must Love Me" is set in common time, with a moderate tempo of 92 beats per minute. It is composed in the key of B♭ major, with Madonna's vocals spanning from G3 to B♭4. The song has a basic sequence of B♭–E♭/B♭–F♭/B♭–B♭ in the beginning and changes to B♭–F♭ when Madonna sings the opening verse "Where do we go from here?".

Critical response
"You Must Love Me" received generally positive reviews from critics. Stephen Thomas Erlewine from AllMusic felt that "Even with the faults, Evita has its merits, including the written-for-film ballad 'You Must Love Me'". Lucy O'Brien, author of Madonna: Like an Icon, appreciated the song's addition to the soundtrack and found "pathos" in Madonna's vocals. Peter Keough, from the Boston Phoenix, wrote that, "['You Must Love Me'] is an aching farewell that dispels the illusion of a romance-of-convenience to reveal the inescapable love and tragedy beneath". Teresa Huang from The Tech, said it was "a beautiful addition to an already powerful score".

Larry Flick, from Billboard, called it "a momentous musical event [...] a bittersweet and quietly theatrical ballad [written] specifically for Madonna". Kathleen Guerdo, also from Billboard, said that, "[Madonna] delivers what is by far one of the strongest vocal performances of her career, comfortably scaling to the song's demanding soprano heights while infusing it with delicate, heart-rending emotion. This bodes well for the creative potency of the rest of the soundtrack". Matthew Jacobs from HuffPost, placed it at number 61 of his list "The Definitive Ranking Of Madonna Singles". He explained that "[t]he vocal training Madonna endured for the movie pays off in this soprano serenade", but also noted that it "doesn't do much outside of the film". Similar thoughts were shared by Medium's Richard LaBeau. Spin's Annie Zaleski noted that "[Madonna's] performances on the Evita soundtrack demonstrated her astronomical growth as a vocalist", citing "her fragile-sounding pleas on the Oscar-winning 'You Must Love Me'" as an example. J. D. Considine, from The Baltimore Sun, said it was one of the "big songs" from the soundtrack.

On her review of Evita, Janet Maslin from The New York Times commented that, "Mr. Lloyd Webber and Mr. Rice have contributed a lilting new song, 'You Must Love Me', that's as suitable for weddings as it is for running South American countries". Entertainment Weekly's David Browne gave the song a rating of B and opined that, "['You Must Love Me'] is no 'Live to Tell' or 'Take a Bow'. But this simple, elegantly arranged showpiece from Evita is clearly intended to promote both the film and her new adult, matriarchal image". Greg Kot from the Chicago Tribune, called it "among the composers' finest works--a rare example of understatement with its sparse instrumentation, brevity and nuanced lyricism". Peter Travers from Rolling Stone called it "sympathy-begging". The song won the Golden Globe Award for Best Original Song at the 54th ceremony, which took place on January 19, 1997. Two months later, it was awarded the Academy Award for Best Original Song at the 69th Academy Awards. While ranking Madonna's singles, in honor of her 60th birthday, The Guardian's Jude Rogers placed "You Must Love Me" at number 50, calling it the singer's best performance from the film and pointing out the "emotional quaking desperation" in her voice.

Negative criticism came from the San Francisco Chronicle's Barbara Shulgasser, who wrote that, "['You Must Love Me'] didn't help a bit. Rice writes lazy, dumb lyrics that make no effort to correspond to the rhythms of the music". Also negative was Slant Magazine's Eric Henderson, who wrote that it "just barely misses taking the dishonor of being ranked the worst of the singles released from the soundtrack, it certainly chides that its entire mad existence was to push Andrew Lloyd Webber to an EGOT". In 2023, Billboard named "You Must Love Me" one of the worst Oscar-winning songs of all time. Aly Semigran wrote that "That Thing You Do!" should've won the award in 1997, and that, "[Madonna] has had infinitely better and more deserving songs from movies, including [...] 'Sooner of Later' from Dick Tracy".

Chart performance
In the United States, "You Must Love Me" was serviced to radio on October 9, 1996. It was met with a positive response, garnering 118 plays the first week, and debuting at number 55 on the Hot 100 Airplay chart. The CD single was released on October 29, following public demands about the song; "Rainbow High" from the film was added as its B-side. It debuted on the Billboard Hot 100 at number 22 the week of November 14, 1996, ultimately peaking at number 18 after two weeks. In its opening week, "You Must Love Me" sold 29,000 units. It also ranked at number 99 on the year end chart for 1997. According to Billboard, "You Must Love Me" was Madonna's fourth highest debuting single of her career, following "You'll See" (number 8 in 1995), "Erotica" (number 13 in 1992) and "Rescue Me" (number 15 in 1991). It was also the highest charting Lloyd Webber-Rice collaboration since Helen Reddy's rendition of "I Don't Know How to Love Him", which reached number 13 in 1971. It eventually received a gold certification by the Recording Industry Association of America (RIAA) on October 22, 1998, for shipments of 500,000 copies. In Canada, the song debuted at number 36 on the RPM Top Singles chart, and reached a peak of number 11 on the week of December 16, 1996. It was present for a total of 14 weeks on the chart.

In the United Kingdom, the song reached a peak of number 10 on the UK Singles Chart the week of November 2, 1996, and was present on the top 100 for a total of 9 weeks. According to the Official Charts Company, the song had sold 90,428 copies by August 2008 in there. In Australia, "You Must Love Me" peaked at number 11 on the ARIA Singles Chart the week of November 10, 1996, staying on this position for one week and a total of 9 weeks on the chart. In Italy, it reached the fifth position on the Musica e dischi chart. "You Must Love Me" reached a peak of number 4 in Finland, and also reached a peak of number 21 on the Irish Singles Chart, where it remained for 2 weeks. In Germany, it became one of Madonna's lowest charting singles, peaking at number 78.

Music video, live performances and covers
The music video for "You Must Love Me" was directed by Parker and features the singer performing the song inside a small room; interspersed with footage and scenes from Evita. As Madonna was eight months pregnant with her daughter Lourdes Maria, her stomach remained hidden behind a piano. The music video was included as a bonus feature on the 15th Anniversary Edition blu-ray of the film, released on June 19, 2012. On March 24, 1997, Madonna performed the song at the 69th Academy Awards dressed in a full-length, strapless Christian Dior gown. According to choreographer Otis Sallid, they wanted to portray the singer in a restrained manner, hence the accompaniment in the stage was just a spotlight on her and a piano to her left. Writing for The Philadelphia Inquirer, movie critic Carrie Rickey felt Madonna "gave a restrained performance of the number".

Madonna did not perform the song again until her Sticky & Sweet Tour (2008–2009). She appeared on stage wearing a black Givenchy dress, with pink colored ribbons around her neck and black stockings on her legs and performed an acoustic, guitar-driven version of the song sitting on a stool. She was backed by 4 musicians who were dressed in gypsy clothes. As she performed the song, scenes from Evita played on the backdrop screens. The performance received positive feedback from critics with Ricardo Baca, from The Denver Post, writing that "her courageous, late-set take on 'You Must Love Me' — from the filmed version of the Broadway musical Evita — was spot-on and gorgeous with its string accompaniment". On the Buenos Aires stop of the tour, after performing "You Must Love Me", Madonna also sang "Don't Cry for Me Argentina" from the film. The performances of both songs in the city were recorded in the live CD-DVD titled, Sticky & Sweet Tour (2010).

In 2007, singer Brooke White covered the song on the seventh season of American Idol. She initially forgot the lyrics to the song, so had to stop after the first verse to start over from the beginning. Lana Del Rey recorded a cover of "You Must Love Me" in 2018 for Lloyd Webber's greatest hits album Unmasked: The Platinum Collection. Del Rey commented: "Andrew Lloyd Webber has been one of my primary inspirations in music, so to do a cover of one of his songs is a dream. I especially love...'You Must Love Me', because of how unique the melody is. I've been incredibly inspired by all of Andrew’s work from Phantom of the Opera to Evita."

Track listing and formats

 * US CD / cassette / 7" single
 * 1) "You Must Love Me" (single version) – 3:09
 * 2) "Rainbow High" – 2:27

 * EU & UK CD single
 * 1) "You Must Love Me" (single version) – 3:09
 * 2) "Rainbow High" – 2:27
 * 3) "You Must Love Me/I'd Be Surprisingly Good for You" (orchestral version) – 4:27

Credits and personnel

 * Madonna – vocals, mixing
 * Tim Rice – writer
 * Andrew Lloyd Webber – writer, producer
 * Alan Parker – producer
 * Nigel Wright – producer
 * David Reitzas – Robin Sellars mixing
 * John Mauceri – conductor
 * David Caddick and Mike Dixon – additional conductors

Credits adapted from the album's liner notes.

title: You Must Love Me


text: Category:Golf in Australia

title: Category:Golf in Australia