text:
Talk:Phosphodiesterase

Redirect to Phosphodiester bonds ?
Iiuc, phosphodiesterase normally refers specifically to enzymes that degrade cyclic AMP, and has nothing to do with the bonds between adjacent nucleotides that are the main focus of the redirect article. If it's going to redirect somewhere, it should be to cyclic AMP. But I'm not going to start a redirect war. -- dsws 03:49, 12 July 2005 (UTC)

 * Yes, I totally agree with dsws. Phosphodiesterase (PDE) represents a large group of enzymes that degrade the cyclic nucleotides, cyclic AMP and cyclic GMP. PDE can be further grouped into 11 families and I think PDE deserves a page by itself and the re-direction is inappropriate. --Wkong 01:08, 10 December 2005 (UTC)

 * I concur. IMO, the redirect to Phosphodiester bonds was inappropriate. I've rewritten the article to a small stub. -- PFHLai 07:22, 10 December 2005 (UTC)

If you say that there are 11 families of PDEs it would be good to mention that this is only true for mammalian cells.

more generally...
Technically a phosphodiesterase is any enzyme that breaks a phosphodiester bond. This includes DNAses (including restriction enzymes)and RNAses, clycic nucleotide phosphidesterases, and phospholipases C & D. Cyclic nucleotide PDEs may be the family that comes to most peoples' minds when they think of phosphodiesterases but I think the current description is too narrow. I'm happy to expand the page a bit if there's support for this idea... Roadnottaken 16:15, 21 March 2007 (UTC)
 * I agree, and MeSH agrees. Your expansion of the article would be quite welcome. --Arcadian 17:09, 21 March 2007 (UTC)
 * I'm a little confused about how to proceed. This article is quite good, only, it refers to cyclic nucleotide phosphodiesterases, rather than phosphodiesterases in general.  I'd like to just change the title of this page (and fix pages that link to it) and make a new page that points to all the different types of phosphodiesterases... advice?  Roadnottaken 19:44, 30 March 2007 (UTC)

Insulin sensitive PDE?
I think it would be good to add a section regarding its role in endocrine controlled metabolism, namely insulin-sensitive PDE which decreases levels of cAMP. — Preceding unsigned comment added by Thetokster (talk • contribs) 09:54, 25 May 2011 (UTC)

Clinical and molecular genetics
10.1210/er.2013-1053 Endocr Rev JFW | T@lk  19:47, 31 March 2014 (UTC)

title: Talk:Phosphodiesterase


text:
Salli Richardson

Salli Richardson-Whitfield (Born Salli Elise Richardson, November 23, 1967 ) is an American actress and television director. Richardson is known for her role as Angela in the film A Low Down Dirty Shame (1994) and for her role as Dr. Allison Blake on the Syfy comedy-drama series Eureka (2006–2012).

She is also known for her voice acting as Elisa Maza on the Disney animated series Gargoyles (1994–1996), and as Viveca Foster on the CBS series Family Law (1999–2002). Richardson also has appeared in a number of other films such as The Great White Hype (1996), Antwone Fisher (2002), Anacondas: The Hunt for the Blood Orchid (2004) and I Am Legend (2007). She had leading roles in the independent films Pastor Brown (2009), Black Dynamite (2009) and I Will Follow (2010). In the 2010s, Richardson started working as a television director.

Early life
Richardson was born in Chicago, Illinois. Her mother is of African American ancestry (with distant Cherokee roots), and her father was of English and Italian descent. She played tennis in high school at the University of Chicago Laboratory Schools, and launched her acting career in the Kuumba Workshop theater there; she graduated in 1985.

Acting
Richardson "began her acting career in the theater before transitioning to roles in television and film". In film, she played small roles in Prelude to a Kiss, Mo' Money, Posse, and later had major roles in Sioux City and A Low Down Dirty Shame. From 1994 to 1996 she voiced the character Elisa Maza on the animated series Gargoyles. She had many guest-starring roles in numerous television shows, such as Star Trek: Deep Space Nine, New York Undercover, The Pretender, Stargate SG-1, NYPD Blue, House, Bones, Criminal Minds, NCIS and Castle. Richardson starred opposite Dixie Carter and Kathleen Quinlan in the CBS legal drama series, Family Law, from 1999 to 2002. She had recurring roles as Nancy Adams on Rude Awakening, and as Laura on CSI: Miami. She starred opposite Denzel Washington in the 2002 drama film Antwone Fisher. She also appeared in the 2004 horror film Anacondas: The Hunt for the Blood Orchid, and starred opposite Will Smith in 2007's post-apocalyptic film I Am Legend. She later had a leading role in the independent dramas Pastor Brown (2009), and in I Will Follow (2010) directed by Ava DuVernay. She also starred in The Sin Seer with Isaiah Washington, set for 2015 release.

From 2006 to 2012, Richardson starred as Department of Defense agent (and later head of Global Dynamics) Allison Blake in the Syfy comedy-drama series Eureka. Her second pregnancy was written into the storyline of the series. After the series' cancellation, she was cast as the lead in the Lifetime drama pilot The Secret Lives of Wives. In 2014, Richardson was cast in a recurring role on Lifetime's The Lottery as the first lady of the United States, but she lost it to Shelley Conn; She also has a role on BET's Being Mary Jane as an old friend of the lead character. In 2015, Richardson was cast in the ABC Family series, Stitchers. The series was canceled after three seasons in 2017.

Directing
Richardson has also worked as a director of episodic television, her latest being episodes 5 and 6 of the first season of Wheel of Time for Amazon. Following her directorial debut on two episodes of her show Eureka, in 2016 she directed two episodes of Ava DuVernay's drama series for Oprah Winfrey Network, Queen Sugar (on which her husband Dondre Whitfield appears as a series regular). In 2016, Richardson also directed an episode of the historical action-drama Underground for WGN America. In 2017, she directed two episodes of BET drama Rebel, and Shonda Rhimes' Scandal. Her comedy directing credits include Survivor's Remorse, I'm Dying Up Here, Black-ish and Dear White People. In 2018, she also directed the 16th episode of Agents of S.H.I.E.L.D.'s fifth-season episode "Inside Voices". Her other notable directing credits include Chicago Med, Luke Cage, Black Lightning, The Punisher, American Gods, See and Altered Carbon.

In 2019, Richardson received an NAACP Image Award for Outstanding Directing in a Drama Series nomination for her work directing Luke Cage. Also in 2019, she won a Black Reel Award for Outstanding Directing in a Comedy Series for directing Black-ish. In September 2020, she signed a project development deal with HBO. Richardson produces and had had directed episodes of HBO period drama The Gilded Age and Adam McKay's untitled Lakers project. Also in 2020, she directed the Zoom Where It Happens special The One with the Diverse Cast, a Friends one-night reboot starring Sterling K. Brown, Uzo Aduba, Ryan Michelle Bathe, Aisha Hinds, Kendrick Sampson and Jeremy Pope.

Personal life
On September 8, 2002, she married long-time boyfriend and fellow actor Dondre Whitfield. She and Whitfield have one daughter and one son.

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

title: Salli Richardson


text:
Cube mapping

In computer graphics, cube mapping is a method of environment mapping that uses the six faces of a cube as the map shape. The environment is projected onto the sides of a cube and stored as six square textures, or unfolded into six regions of a single texture.

The cube map is generated by first rendering the scene six times from a viewpoint, with the views defined by a 90 degree view frustum representing each cube face. Or if the environment is first considered to be projected onto a sphere, then each face of the cube is its gnomonic projection.

In the majority of cases, cube mapping is preferred over the older method of sphere mapping because it eliminates many of the problems that are inherent in sphere mapping such as image distortion, viewpoint dependency, and computational inefficiency. Also, cube mapping provides a much larger capacity to support real-time rendering of reflections relative to sphere mapping because the combination of inefficiency and viewpoint dependency severely limits the ability of sphere mapping to be applied when there is a consistently changing viewpoint.

Variants of cube mapping are also commonly used in 360 video projection.

History
Cube mapping was first proposed in 1986 by Ned Greene in his paper “Environment Mapping and Other Applications of World Projections”, ten years after environment mapping was first put forward by Jim Blinn and Martin Newell. However, hardware limitations on the ability to access six texture images simultaneously made it infeasible to implement cube mapping without further technological developments. This problem was remedied in 1999 with the release of the Nvidia GeForce 256. Nvidia touted cube mapping in hardware as “a breakthrough image quality feature of GeForce 256 that ... will allow developers to create accurate, real-time reflections. Accelerated in hardware, cube environment mapping will free up the creativity of developers to use reflections and specular lighting effects to create interesting, immersive environments.” Today, cube mapping is still used in a variety of graphical applications as a favored method of environment mapping.

Advantages
Cube mapping is preferred over other methods of environment mapping because of its relative simplicity. Also, cube mapping produces results that are similar to those obtained by ray tracing, but is much more computationally efficient – the moderate reduction in quality is compensated for by large gains in efficiency.

Pre-dating cube mapping, sphere mapping has many inherent flaws that made it impractical for most applications. Sphere mapping is view-dependent, meaning that a different texture is necessary for each viewpoint. Therefore, in applications where the viewpoint is mobile, it would be necessary to dynamically generate a new sphere mapping for each new viewpoint (or, to pre-generate a mapping for every viewpoint). Also, a texture mapped onto a sphere's surface must be stretched and compressed, and warping and distortion (particularly along the edge of the sphere) are a direct consequence of this. Although these image flaws can be reduced using certain tricks and techniques like “pre-stretching”, this just adds another layer of complexity to sphere mapping.

Paraboloid mapping provides some improvement on the limitations of sphere mapping, however it requires two rendering passes in addition to special image warping operations and more involved computation.

Conversely, cube mapping requires only a single render pass, and due to its simple nature, is very easy for developers to comprehend and generate. Also, cube mapping uses the entire resolution of the texture image, compared to sphere and paraboloid mappings, which also allows it to use lower resolution images to achieve the same quality. Although handling the seams of the cube map is a problem, algorithms have been developed to handle seam behavior and result in a seamless reflection.

Disadvantages
If a new object or new lighting is introduced into scene or if some object that is reflected in it is moving or changing in some manner, then the reflection changes and the cube map must be re-rendered. When the cube map is affixed to an object that moves through the scene then the cube map must also be re-rendered from that new position.

Stable specular highlights
Computer-aided design (CAD) programs use specular highlights as visual cues to convey a sense of surface curvature when rendering 3D objects. However, many CAD programs exhibit problems in sampling specular highlights because the specular lighting computations are only performed at the vertices of the mesh used to represent the object, and interpolation is used to estimate lighting across the surface of the object. Problems occur when the mesh vertices are not dense enough, resulting in insufficient sampling of the specular lighting. This in turn results in highlights with brightness proportionate to the distance from mesh vertices, ultimately compromising the visual cues that indicate curvature. Unfortunately, this problem cannot be solved simply by creating a denser mesh, as this can greatly reduce the efficiency of object rendering.

Cube maps provide a fairly straightforward and efficient solution to rendering stable specular highlights. Multiple specular highlights can be encoded into a cube map texture, which can then be accessed by interpolating across the surface's reflection vector to supply coordinates. Relative to computing lighting at individual vertices, this method provides cleaner results that more accurately represent curvature. Another advantage to this method is that it scales well, as additional specular highlights can be encoded into the texture at no increase in the cost of rendering. However, this approach is limited in that the light sources must be either distant or infinite lights, although fortunately this is usually the case in CAD programs.

Skyboxes
Perhaps the most advanced application of cube mapping is to create pre-rendered panoramic sky images which are then rendered by the graphical engine as faces of a cube at practically infinite distance with the view point located in the center of the cube. The perspective projection of the cube faces done by the graphics engine undoes the effects of projecting the environment to create the cube map, so that the observer experiences an illusion of being surrounded by the scene which was used to generate the skybox. This technique has found a widespread use in video games since it allows designers to add complex (albeit not explorable) environments to a game at almost no performance cost.

Skylight illumination
Cube maps can be useful for modelling outdoor illumination accurately. Simply modelling sunlight as a single infinite light oversimplifies outdoor illumination and results in unrealistic lighting. Although plenty of light does come from the sun, the scattering of rays in the atmosphere causes the whole sky to act as a light source (often referred to as skylight illumination). However, by using a cube map the diffuse contribution from skylight illumination can be captured. Unlike environment maps where the reflection vector is used, this method accesses the cube map based on the surface normal vector to provide a fast approximation of the diffuse illumination from the skylight. The one downside to this method is that computing cube maps to properly represent a skylight is very complex; one recent process is computing the spherical harmonic basis that best represents the low frequency diffuse illumination from the cube map. However, a considerable amount of research has been done to effectively model skylight illumination.

Dynamic reflection
Basic environment mapping uses a static cube map - although the object can be moved and distorted, the reflected environment stays consistent. However, a cube map texture can be consistently updated to represent a dynamically changing environment (for example, trees swaying in the wind). A simple yet costly way to generate dynamic reflections, involves building the cube maps at runtime for every frame. Although this is far less efficient than static mapping because of additional rendering steps, it can still be performed at interactive rates.

Unfortunately, this technique does not scale well when multiple reflective objects are present. A unique dynamic environment map is usually required for each reflective object. Also, further complications are added if reflective objects can reflect each other - dynamic cube maps can be recursively generated approximating the effects normally generated using raytracing.

Global illumination
An algorithm for global illumination computation at interactive rates using a cube-map data structure, was presented at ICCVG 2002.

Projection textures
Another application which found widespread use in video games is projective texture mapping. It relies on cube maps to project images of an environment onto the surrounding scene; for example, a point light source is tied to a cube map which is a panoramic image shot from inside a lantern cage or a window frame through which the light is filtering. This enables a game developer to achieve realistic lighting without having to complicate the scene geometry or resort to expensive real-time shadow volume computations.

Memory addressing

A cube texture indexes six texture maps from 0 to 5 in order Positive X, Negative X, Positive Y, Negative Y, Positive Z, Negative Z. The images are stored with the origin at the lower left of the image. The Positive X and Y faces must reverse the Z coordinate and the Negative Z face must negate the X coordinate. If given the face, and texture coordinates $$(u, v)$$, the non-normalized vector $$(x, y, z)$$ can be computed by the function:

Likewise, a vector $$(x, y, z)$$ can be converted to the face index and texture coordinates $$(u, v)$$ with the function:

title: Cube mapping


text:
Talk:Pale ale

American Pale Ale
American Pale Ale should not be called the "most recognized, widespread and successful American beer style". No way that is true. I've traveled extensively and I can say without a doubt that as far as American beers in other countries, you're ten times more likely to find a Budweiser than a Sierra Nevada. Lagers are the most recognized, widespread, and successful. If you ask any random person around the world to name a lager. More often than not, they'll say Budweiser. — Preceding unsigned comment added by Thanatopsy (talk • contribs) 03:12, 4 August 2011 (UTC)
 * I would tend to agree that that is (sadly) the case. I can't see the exact quotation this statement was based on since it is a copyrighted Google Book, but I would think it is likely just based on the personal opinion of the author of the cited book. However until a source is provided that includes statistics to back up such a claim, I think it best to remove it. By the way your deletion messed up the reference, but it has been fixed. Cheers. --Saddhiyama (talk) 09:59, 4 August 2011 (UTC)
 * Lager is not an American beer style. It's a German style, and the American Budweiser company was formed by a German. American Pale Ale, however, is a genuine American beer style, developed in America by an American company. SilkTork (talk) 21:22, 26 May 2018 (UTC)

"Ale" versus "beer"
This article suffers badly from the failure to recognise that in the 17th and 18th centuries "ale" was still a different drink to beer. I can't correct that, because my source is my own original research (see here). Thus "Pale ale was a term used for beers made from malt dried with coke" is wrong. It is also wrong to say "Coke had been first used for roasting malt in 1642" and "it wasn't until around 1703 that the term 'pale ale' was first used" - however, again, my source is my own original research, see here Zythophile (talk) 05:05, 4 January 2012 (UTC)
 * Martyn, your linked research supports the quotes in your comment. Could you explain further? SilkTork (talk) 21:26, 26 May 2018 (UTC)

Why is this a [sic]?
The word "blond" is an English adjective. The word "blonde" is an English noun, referring to a blond female. Before making a "correction" to the text, I took a look around for references to "blond/blonde ale", and it seems to be the convention to say "blonde ale". Therefore, rather than changing the text to read "blond ale", I decided to make it "blonde [sic] ale". TomS TDotO (talk) 12:58, 7 March 2013 (UTC)
 * "Blonde" is an adjective, too, as an alternative form of "blond". See the Oxford Dictionaries definition. — Jon C.  ॐ  13:55, 7 March 2013 (UTC)

 * A possible reason for using blonde-with-an-e is that it is the adjective used in French, since both biere and cervoise (ale) are feminine. 1Z (talk) 15:32, 8 March 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Pale ale. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20120229150825/http://www.praguepost.com/P03/2005/Art/0505/featu2.php to http://www.praguepost.com/P03/2005/Art/0505/featu2.php

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 01:53, 30 August 2015 (UTC)

title: Talk:Pale ale


text:
User talk:PlatinumPenguin

Welcome!
Hello, and welcome to Wikipedia. Thank you for your contribution. I hope you like the place and decide to stay. Here are a few good links for newcomers:
 * An introduction to Wikipedia
 * How to edit a page
 * Be bold
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

I hope you enjoy editing here and being a Wikipedian! Take the time to edit your User page and let us know a little about yourself.

We are always looking for quality images for our articles. If you have any images which you can release freely, please upload them to Wiki Commons.

By the way, you can sign your name on Talk and vote pages using four tildes, like this: ~~~~ (but you don't need to sign articles; the software makes sure you get the credit you deserve).

If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! User:Zeimusu

Image copyright
Thank you for uploading Image:Rachel Nichols - Dumb and Dumberer.jpg and for stating the source. However, its copyright status is unclear, so it may have to be deleted. If it is open content or public domain, please give proof of this on the image page. If the image is fair use, please provide a rationale. Thank you. Zeimusu | (Talk page) 03:52, July 12, 2005 (UTC)

Image tagging for Image:Rachel_Nichols.jpg
Thanks for uploading Image:Rachel_Nichols.jpg. The image has been identified as not specifying the source and creator of the image, which is required by Wikipedia's policy on images. If you don't indicate the source and creator of the image on the image's description page, it may be deleted some time in the next seven days. If you have uploaded other images, please verify that you have provided source information for them as well.

For more information on using images, see the following pages:
 * Image use policy
 * Image copyright tags

This is an automated notice by OrphanBot. For assistance on the image use policy, see Media copyright questions. 10:31, 10 April 2007 (UTC)

title: User talk:PlatinumPenguin


text:
File:United for peace and justice.png

Summary
UFPJ logo on a T-shirt

Licensing
I don't believe this image is trademarked. It's a logo from a UFPJ T-shirt; it's a low-res organization logo. It comes from somewhere on UFPJ's website; sorry I can't find it at the moment.

title: File:United for peace and justice.png


text:
Talk:Ashanti Alston

Bank robber
Ashanti Alston wasn't a political prisoner. He wasn't imprisoned because of what he believed but rather what he did -- namely, rob banks.

 * Bank expropriation. Property is literally, criminally robbery. Besides, politics is a large influence on the ecomony.207.62.249.129 22:42, 10 February 2006 (UTC)

Very Telling
The fact that you didnt leave a signature after your ignorant comment is very telling. --Something 01:57, 9 September 2005 (UTC)

Mongo, please change back.
Ashanti Alston is NO LONGER the Northeast coordinator of CR. You reverted back for the sake of reversion, not based on fact. I publish Ashanti's works so I would know.

[Added: you also deleted the image. Please leave that revision. Thank you. wiki_anarchist]

Brevity
Why list a specific support for Andy Stepian and a speaking engagement from 2005 without mentioning all other speaking engagements he has made? So I deleted that reference and added a generality. brooklyn_agit 14:39, 24 September 2007 (UTC)

title: Talk:Ashanti Alston


text:
Native capacity

In computing, native capacity is the uncompressed storage capacity of any medium that is usually spoken of in compressed sizes. For example, tape cartridges are rated in compressed capacity, which usually assumes 2:1 compression ratio over the native capacity.

title: Native capacity


text: User talk:216.15.56.20

title: User talk:216.15.56.20


text:
Reginald Drax

Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax, KCB, DSO, JP, DL ( Plunkett; 28 August 1880 – 16 October 1967), commonly known as Reginald Plunkett or Reginald Drax, was an Anglo-Irish admiral. The younger son of the 17th Baron of Dunsany, he was Director of the Royal Naval Staff College, President of the Naval Inter-Allied Commission of Control in (Berlin), commander-in-chief of successive Royal Navy bases. His brother Edward, who became the 18th Baron of Dunsany, was best known as the famous playwright and author Lord Dunsany. Edward inherited the paternal estates in Ireland, while Reginald was bequeathed most of his mother's inheritance across portions of the West Indies, Kent, Surrey, Dorset, Wiltshire and Yorkshire. He extended his surname by special Royal licence in 1916, and was noted for the quadruple-name result, Plunkett-Ernle-Erle-Drax.

Early life and education
Sir Reginald was born in Marylebone, Westminster, the younger son of John Plunkett, 17th Baron of Dunsany (1853–1899) and his wife, Ernle Elizabeth Louisa Maria Grosvenor Burton, later Plunkett-Ernle-Erle-Drax (1855–1916). At 13 days old, he was christened at Holy Trinity Church, Marylebone.

His elder brother was the celebrated Lord Dunsany, a prolific writer and author of more than 60 books.

He was educated at Cheam School and joined the Royal Navy at the age of 14, training aboard the stationary school ship HMS Britannia from July 1894 to 1896.

His parents were distant cousins who came from influential and wealthy families. His father was the 17th Lord Dunsany, one of the oldest titles in the Peerage of Ireland. His mother, Ernle, was the daughter of Col. Francis Augustus Plunkett Burton (son of Admiral Ryder Burton and his wife, Anne Plunkett, the daughter of Randal Plunkett, 13th Baron Dunsany) and Sarah Charlotte Elizabeth Sawbridge-Erle-Drax (died 1905; daughter of John Sawbridge and his wife, Jane, daughter of Richard Erle-Drax-Grosvenor). Following the death of her brother, Richard, Jane became the sole heiress of Charborough House and other Erle-Drax estates. After his grandmother Jane's death in 1905, Sir Reginald's mother added the additional surname Ernle on 20 December 1905 (becoming Ernle Plunkett-Ernle), then added Erle and Drax on 20 December 1906 (becoming Ernle Plunkett-Ernle-Erle-Drax), both by royal licence.

She died in 1916, leaving Reginald the majority of her vast estates in Dorset, Kent, Surrey, Wiltshire, Yorkshire, and the West Indies. He assumed the additional surnames of Ernle-Erle-Drax on 4 October 1916 by royal licence. His long series of titles, Christian names, surnames and post-nominals has made him famous beyond his career as an admiral in the Royal Navy.

Early career
In 1896, Drax passed out of the Britannia as a midshipman. He was promoted lieutenant on 15 January 1901. In 1909 he received an appointment to the Staff College, Camberley, to conduct an in-depth study of the subject of staff training and its application.

In 1909, the Admiralty published his book, Modern Naval Tactics. He hoped that it would contribute to a projected official tactical handbook. It drew on an analysis of gunnery from the recent experience of the Battle of Tsushima. He expected that visibility in the North Sea would limit the maximum range of battle fleet duels to 10,000 yards, but recognised that the need to stay outside improving torpedo range would increase gunnery ranges.

He also discussed in the book how to utilise cruisers as a fast wing to the battle fleet; the possible tactics of an inferior fleet, such as the High Seas Fleet; and the impact of ships zigzagging would have on gunnery.

The Times obituary claimed that Drax's book was dismissed by the skeptical older generation of admirals, who thought it highly presumptuous for a lowly lieutenant to write with authority on naval tactics. However, the book did succeed in making Drax a man of note. In 1912, when Winston Churchill instituted the Admiralty War Staff, Drax was the first of 15 officers selected to attend the new staff officer course. He was promoted to commander during the course and then appointed War Staff Officer to Sir David Beatty in the 1st Battlecruiser Squadron, an appointment he held until his promotion in 1916.

He served during the First World War aboard the battlecruiser HMS Lion and was present at the naval battles of Heligoland Bight, Dogger Bank and Jutland. He was promoted captain on 30 June 1916.

He was awarded the Distinguished Service Order in 1918 for his command of HMS Blanche.

Interwar period
Drax held a series of senior naval appointments between the wars. From 1919 to 1922, he was Director of the Royal Naval Staff College at Greenwich. He then served as President of the Naval Allied Control Commission in Germany from 1923 to 1924. As a rear admiral, he served as second in command of the 1st Battle Squadron of the Mediterranean Fleet from 1929 to 1930 and second in command of the 2nd Battle Squadron in the Atlantic Fleet in 1930. From 1930 to 1932 he was ashore in the Admiralty as Director of Naval Mobilisation Department that became the Department of Manning. In a 1929 memo, he argued that there were three aspects to a naval battle, namely "geometry" (the movements of ships), "tactics" (the use of weapons to sink the enemy warships) and "morale" (the spirt of the crew). Drax argued that morale was the most important of his trio, and to win a battle required aggressive officers prepared to take risks by engaging the enemy fleet head-on and close-in. Drax along with Herbert Richmond claimed that admirals of the Great War such as John Jellicoe had been insufficiently aggressive.

Promoted to vice admiral on 24 September 1932, he held from 1932 to 1934 the command of the America and West Indies Squadron. From 1935 to 1938, he was Commander-in-Chief, Plymouth. In 1935, Drax rewrote the War Plans to call for officers to be aware of their commanding admiral's plans before a battle occurred instead of waiting for orders from the flagship during the battle, and an aggressive mentality in a ship's officers that called for them to take advantage of any unexpected chance that might emerge during a battle. In a lecture given later in 1935, Drax gave as examples of what he did not what to see happen in battle, namely a war game where the captain of a cruiser came within sight of the fleet playing the "enemy" who waited for orders to engage the "enemy" and another war game where the commander of a destroyer flotilla again waited for orders to engage the ships playing the "enemy". Drax charged that too many Royal Navy officers were too passive and would not act unless ordered to. Drax maintained that in wartime a captain of a ship should open fire on an enemy warship upon sight instead of passively waiting for orders from his admiral to open fire as he argued the latter was a highly dangerous practice. In a letter to Admiral Roger Backhouse in September 1935, Drax wrote the type of battle envisioned in the standard Battle Instructions was the one most least likely to occur in reality, and that changes were needed in Battle Instructions to prepare officers for the type of battle that they would actually be fighting.

Drax retired in 1938, but was brought out of retirement by the First Sea Lord, Admiral Roger Backhouse as the best man to plan out how to execute the Singapore strategy. In the event of a threat from Japan, British planning called to send out a strong Royal Navy force to Singapore, the main British naval base in Asia, to hopefully deter Japan from war or to be ready to confront the Imperial Japanese Navy in the South China Sea if war should come. Backhouse felt that the increasing aggressive Japanese behavior as demonstrated by the Second Sino-Japanese War made it imperative to finally work out how to best implement the Singapore strategy. Backhouse's plans to execute the Singapore strategy had called for sending a force of five or four battleships to Singapore, but Drax changed the Singapore strategy by calling for a "flying squadron" to be sent to Singapore with more forces to go east if necessary. A memo stated: "Drax favored relying on small, mobile forces to deter the Japanese from interfering and overrunning British interests in the Far East. Drax felt that a "flying squadron" of two battleships or battlecruisers, an aircraft carrier, a cruiser squadron, and a destroyer flotilla would be ideal for this purpose".

In addition, Drax called for another aircraft carrier to be sent to the Indian Ocean for the protection of both Australia and India. Drax's plans called for the "flying squadron" to confront the Japanese fleet in the South China Sea while he also called for another force to be stationed in Singapore that was to consist of 8 cruisers, 17 destroyers, 15 submarines, 12 motor torpedo boats, and two minelayers for the protection of the trade routes and for the defense of Singapore itself. Drax admitted that his plan would require the British to stay on the defensive on the account of the numerical superiority of the Japanese Navy and it would be impossible to deliver a "knock-out blow" against Japan with the forces envisioned. Drax wrote that the Royal Navy would be able to take the offensive against the Imperial Japanese Navy only in the event of more British naval forces to be sent to Singapore and/or if the United States was involved, stating a combined Anglo-American fleet would have the necessary numbers to take the offensive against Japan. Drax argued that Britain needed control of the Mediterranean Sea both to supply and reinforce the forces in Singapore and to allow the necessary numbers to take on Japan. Believing that Benito Mussolini would try to take advantage of Britain being engaged in a war with Germany and/or Japan, Drax called for the Royal Navy to deliver a "knock-out blow" against the Regia Marina first before turning east to focus on Japan. Drax noted that the location of Italy in the central Mediterranean required any British naval forces going east to enter the Suez canal on the way to Singapore to first sail past Italy, which led him to argue that the Regia Marina had to be eliminated first to execute the Singapore strategy.

Drax argued that in the event of war, the Japanese would try to capture Singapore. Drax argued that there were two ways that the Japanese would come, namely the "direct approach" of a landing at Singapore or the "step-by-step approach" of first capturing Hong Kong and Brunei as the prelude to taking Singapore. Drax argued that the defenses of Singapore had to be strengthened to prevent the "direct approach" while in the case of the "step-by-step approach", British aircraft, submarines and light vessels should try to interdict Japanese ships in the South China Sea. Finally, Drax argued that the battleships of the "flying squadron" should be of the modern Queen Elizabeth class, which he felt to be the best battleships to face the Imperial Navy Drax wrote that the "superior training" of the Royal Navy's crews would make the decisive difference while he used the Japanese obsession with secrecy as almost nothing was known about the latest warships of the Imperial Navy other than that they existed, which led him to argue that it was quite possible that the Japanese warships were inferior.

Mission to Moscow
He was the British half of the Anglo-French delegation sent to Moscow in August 1939 alongside General Joseph Doumenc to discuss a possible alliance with the USSR with Soviet Defense Commissar Kliment Voroshilov. As an indication of the low priority the Allied governments put on the mission, it was sent by sea aboard the outdated merchant ship City of Exeter on a slow voyage to Leningrad. The Foreign Secretary, Lord Halifax, had vetoed sending the military mission on a fast-moving cruiser or a destroyer because he felt sending a British warship into the Baltic Sea would was a provocation of Germany, which led to the slow-moving City of Exeter, which moved at only 13 knots per her hour, being chartered to take the mission to Leningrad. The Soviet ambassador Ivan Maisky, confronted Drax about the choice of transportation, asking him why he was travelling on the City of Exeter instead of taking the first flight to Moscow. Drax claimed to Maisky that he needed a ship because of all the excess baggage he was bringing with him to Moscow, an explanation that Maisky did not find very believable. In fact, Drax had been ordered to go as slowly as possible to Moscow.

Herbert von Dirksen, the German ambassador in London reported to the State Secretary Ernst von Weizsäcker: "The continuation of negotiations for a pact with Russia, in spite of – or rather, just because of – the dispatch of a military mission is regarded here with skepticism. This is borne out by the composition of the British military mission: the admiral, until now the Commandant of Portsmouth, is practically in retirement, and was never on the staff of the Admiralty; the general is likewise purely a combat officer; the air general is an outstanding aviator and air instructor, but not a strategist. This indicates the value of the military mission is more to ascertain the fighting value of the Soviet Army rather than to make operational arrangements...The Wehrmacht attachés are agreed in observing a surprising skepticism in British military circles about the forthcoming talks with the Soviet armed forces."

The Soviets did not take the delegation seriously because Drax did not have any power to make decisions without the approval of the British government, rendering him next to powerless. Furthermore, although the Allied governments were willing to grant the Red Army transit rights through Poland and Romania they were unwilling to allow them to enter Polish Galicia and the Vilno Gap. Joseph Stalin told his foreign minister Vyacheslav Molotov "They're not being serious. These people can't have the proper authority. London and Paris are playing poker again." The British government also ignored advice to send an officer of equivalent rank as Edmund Ironside, who had been sent on a similar mission to meet Polish Marshal Edward Rydz-Śmigły in Warsaw.

Second World War
In December 1939, Drax was appointed Commander-in-Chief, The Nore, serving until 1941. It was an important post, as he was responsible for the protection of the east coast convoys from Scotland to London. He faced the multiple threats of acoustic mines and magnetic mines as well as attacks from Wehrmacht air and surface vessels, especially after the fall of the Netherlands and of Belgium. In October 1939 he was appointed President of the Board of Inquiry into the sinking of HMS Royal Oak by the Kriegsmarine submarine U-47.

As the war continued, advancing years caused him to retire from the active navy list and to join the British Home Guard. Nonetheless, he went to sea from 1943 to 1945 as a convoy commodore during the Battle of the Atlantic.

Alongside Admiral Herbert Richmond and Vice-Admiral Kenneth Dewar, Drax was considered to be an intellectual with controversial views, including the need for naval reform.

He was an early pioneer of solar heating.

Legacy
His friend, James Bond novelist Ian Fleming, named the character Sir Hugo Drax in his book Moonraker as a tribute.

Publications

 * He wrote a book entitled Handbook on Solar Heating (Montefiore Stalin 272)
 * Admiral Drax's papers are at Churchill College, Cambridge.
 * He is also referred to in David Niven's autobiography The Moon's a Balloon when he assisted in the starting of Niven's career. Niven was on his uppers, having left the Army and adrift in Hollywood.  After a cocktail party on the Admiral's ship, he was deposited the following morning into the press barge at a PR junket for the launch of the film Mutiny on the Bounty.  Niven goes on to reveal it made him stand out and be recognised and become the only man "to crash Hollywood in a battleship".

Family
In 1916, he married Kathleen Chalmers. They had four daughters and one son. Their youngest daughter, Mary (1925–2017), married Robert Rothschild in her second marriage. Their son, Henry Walter Plunkett-Ernle-Erle-Drax (1928–2017), is the father of Richard Drax, Conservative MP for South Dorset since the 2010 general election.

title: Reginald Drax


text:
David Cicero

David John Cicero (born May 29, 1970, Greenport, New York, United States) is a Scottish-American singer and keyboardist who was signed in 1991 to Spaghetti Records, a record label owned by Pet Shop Boys. Releasing material as Cicero, he went on to have minor success in the early 1990s.

Career
Cicero was born in Long Island, but when his parents divorced, he moved to Livingston, Scotland. In 1997, his school band Pneumatic Beat came third in a Battle of the Bands competition encouraging Cicero to become a musician full time. In 1989, he attended a Pet Shop Boys concert in Glasgow and gave a demo tape to Peter Andreas, Pet Shop Boys' personal assistant. Andreas contacted Cicero with an offer of artist management and later, when Neil Tennant and Chris Lowe heard Cicero's material, they signed him up to their recently formed Spaghetti label, licensed through Polydor.

Cicero released his debut single "Heaven Must Have Sent You Back to Me" on August 12, 1991. Despite promotion from the artist and Pet Shop Boys, the single failed to chart. The follow-up, "Love Is Everywhere", reached number 19 in the UK Singles Chart in January 1992 and may have charted higher, as Cicero saw his Top of the Pops slot dropped at the last minute to make room for Michael Jackson's 10-minute video for "Black or White". The third single release was "That Loving Feeling" which reached number 46 in April 1992. The latter two singles were co-produced by Pet Shop Boys.

His debut album, Future Boy, was released in June 1992. The album was produced by David Jacob, with the exceptions of "Love Is Everywhere" and "That Loving Feeling", which were produced by Pet Shop Boys, and "Cloud 9" and "Sonic Malfunction", which Cicero produced himself. Pet Shop Boys also remixed "Heaven Must Have Sent You Back to Me" for the album, and also received keyboard and backing vocal credit for the album. The album did not chart, but to promote it, a new version of "Heaven Must Have Sent You Back to Me" was released as the fourth single and charted at number 70. The music video for the single was directed by Chris Lowe.

On November 2, 1992, Cicero released a fifth single "Live for Today" with Sylvia Mason-James providing backing vocals. The single was taken from the Pet Shop Boys produced soundtrack to the film, The Crying Game, but it failed to chart. The following year, after the success of the title track, sung by Boy George, it was planned to re-release the single, but this never happened.

Cicero released nothing further through Spaghetti Records, although he was still signed with them until 1996. The Pet Shop Boys' fan club magazine regularly gave updates about him, saying that he was working on new tracks and he even came close to a duet release that year with a singer called Bianca, who had been spotted on the television show Stars in Their Eyes.

By late 1996, Cicero moved to Clubscene Records, later merged into Academy Street Records in Scotland and his brother Mike took over as manager. He supported Take That on tour.

Cicero featured as one of the mystery guests in the episode of Never Mind the Buzzcocks, broadcast on October 9, 2008 on BBC Two.

In 2019, he played his first gig in 28 years, a benefit for Macmillan Cancer Support in Livingston.

In 2021, he released Today the follow-up to Future Boy, his first new album in 29 years, which included "In the Rain (Children of Today)", a single recorded with his 8-year-old daughter Holly and "Wish" with Amy Maeve Ballie, a Livingston-based artist who plays in Cicero's band. In 2022, Cicero released an instrumental album project called Atmospheric with singles such as "When Love Fades Away".

Albums

 * Future Boy (Spaghetti / Polydor) (1992)
 * Future Boy – The Complete Works (Cherry Red / Strike Force Entertainment) (2016 re-issue)
 * Today (2021)
 * Atmospheric (2022)
 * For Broken Hearts (2024)

Singles

 * "Heaven Must Have Sent You Back to Me" (Spaghetti / CIAO 1)
 * "Love Is Everywhere" (1992) (Spaghetti / CIAO 3)
 * "That Loving Feeling" (1992) (Spaghetti / CIAO 4)
 * "Heaven Must Have Sent You Back to Me (Remix)" (1992) (Spaghetti / CIAO 5)
 * "Live for Today" (Spaghetti / CIAO 7)
 * "Don't Worry" (Clubscene)
 * "Say Hello Wave Goodbye" (1996) (Clubscene)
 * "She Has a Way" (1996) (Clubscene)
 * "Summertime" (1997) (Clubscene)
 * "Forever More" (Academy Street)
 * "Wish" (featuring Amy Baillie) (Academy Street)
 * "Face This World Alone" (2015) (Academy Street)
 * "Wish" (with Amy Maeve Ballie) (2021)
 * "In the Rain (Children of Today)" (with Holly Cicero) (2021)
 * "This World I Never Knew" (2021)
 * "Hold Onto The Memories" (2021)
 * "When Love Fades Away" (2022)
 * "We Were In Love" (2022)
 * "Weekender" (2022)

title: David Cicero


text:
Nganasan language

The Nganasan language (formerly called тавгийский, tavgiysky, or тавгийско-самоедский, tavgiysko-samoyedsky in Russian; from the ethnonym тавги, tavgi) is a moribund Samoyedic language spoken by the Nganasan people.

Classification
Nganasan is the most divergent language of the Samoyedic branch of the Uralic language family (Janhunen 1998). There are two main dialects, Avam (авамский говор, avamsky govor) and Vadeyev (вадеевский говор). A part of the vocabulary can be traced to elements of unknown substrate origin, which are roughly twice as common in Nganasan than in other Samoyedic languages like Nenets or Enets, and bear no apparent resemblance to the neighboring Tungusic and Yukaghir languages. The source of this substrate remains a mystery so far.

Phonology
Nganasan has 10 vowel phonemes and 21 consonant phonemes. Several disyllabic sequences of vowels are possible:

The sequences // and // also occur, but only across morpheme boundaries.

The vowels and  only occur in initial syllables.

Vowels can be divided two pairs of groups based on harmony: Front vs Back, and Unrounded  vs Rounded. Backness harmony only applies to high vowels.

Front vowels do not occur after initial dental consonants.

do not occur after initial palatal consonants, having been neutralized into.

does not occur after palatal consonants, having been neutralized into.

does not occur after initial labial consonants, having been neutralized into.

One of the main features of Nganasan is consonant gradation, which concerns the consonant phonemes alternating with  and their nasal combinations  with.
 * is labialized before  and
 * has the allophone before other consonants, though this can also be analyzed as an "unusual" allophone of
 * has the allophone when not before a vowel
 * is lenited to intervocalically

Orthography
The language's Cyrillic-based alphabet was devised in the 1990s:

Nouns
Nouns in Nganasan have the grammatical categories of number (singular, dual, plural), case (nominative, genitive, accusative, lative, locative, elative, prolative, comitative) and possessivity (non-possessive versus possessive forms). Nganasan lacks determiners; however, the possessive forms of second person singular and third person singular can be used to express definiteness (Katzschmann, 2008).

Pronouns
Nganasan has personal, demonstrative, interrogative, negative and determinative pronouns. Personal pronouns are not inflected: their grammatical case forms coincide and their local case forms are expressed by the corresponding possessed forms of the postposition na-. Other pronouns are inflected like nouns (Helimski, 1998).

Verbs
Verbs agree with their subjects in person and number, and have three conjugation types. Like other Samoyedic languages, Nganasan has the opposition of perfective and imperfective verbs.

Conjugation
The subjective conjugation is used when there is no object or the object is focused. The objective conjugation is used with transitive words. The reflexive conjugation is used for some intransitive verbs. Each conjugation type has its own personal endings. There are three subtypes of objective conjugation endings that correspond to object number.

Mood
Nganasan has a broad mood paradigm with nine forms: indicative, imperative, interrogative, inferential, renarrative, irrealis, optative, admissive-cohortive, debitive, abessive and prohibitive. Mood forms are mostly built with the help of affixation but special particles are also sometimes used. All mood forms, except the imperative, have the same personal suffixes. Tenses are distinguished in the indicative, imperative and interrogative moods (Tereščenko, 1979).

Aspect and tense
Most corresponding imperfective and perfective stems have the same root, but in rare cases the roots can be different. The aspectual opposition between imperfective and perfective verbs remains semantic in most verbal forms. However, in the indicative mood it is used to express present continuous and present perfect meanings, respectively. In this case, the opposition is present formally: imperfective verbs take imperfective suffixes and the perfective ones have the perfective suffixes (Helimski, 1998). Imperfective verbs can also express future meanings. These forms are not considered tense in the strict sense. The proper tense forms of past and future include past, past perfect, future, future-in-the past (Katzschmann, 2008).

Word order
The dominating word order in Nganasan is SOV, similar to other Samoyedic languages. However, Nganasan is considered to exhibit more freedom in word order than other languages of its group. According to Tereščenko (1979), other types of word orders are used for shifting the sentence focus, especially in emphatic speech. The focused constituent usually immediately precedes the verb. Wagner-Nagy (2010) suggests that Nganasan is similar to Hungarian in its behavior, in that its word order is determined by pragmatic factors rather than being fixed.

On the phrase level, the attributes within the noun phrase usually precede the noun and become focused when placed after it. Numerals and adjectives agree with the heads in case, and adjectives also agree with the head in number. The case agreement is only complete in grammatical cases; in locative cases the attribute gets genitive form. There are no prepositions in Nganasan, postpositions are composite parts of words and also require the attributes in genitive cases. Possession is expressed with genitive construction or by a possessive suffix attached to the possessed (Helimski, 1998; Katzschmann, 2008).

Nganasan is a pro-drop language: pronominal subjects are often omitted when the verb conjugation type is subjective (Tereščenko, 1979).

Negation
Standard negation is expressed by negative auxiliary (ńi-) followed by the main verb in connegative form marked with ʔ, e.g. ńi-ndɨ-m konɨʔ "I do not go". All inflectional markers are taken by the negation auxiliary (Gusev, 2015). Objects in the form of personal, negative or demonstrative pronouns can be inserted between the negative auxiliary and the main verb (Wagner-Nagy, 2011). There are a few negative verbs other than ni-, such as kasa — "nearly", ləði — "vainly", əku — "maybe", and ŋuəli — "of course", but their functionality is restricted, with only ni- having a full paradigm.

Existential sentences are negated with the negative existential predicate d'aŋku or its derivative stem d'anguj-. D'aŋku can only be used in present indicative as it behaves like a noun: it takes nominal predicative endings. D'anguj- (a composite of d'aŋku and ij- "be") is used for all other tense/mood combinations.

Subordination
Subordination is typically formed by constructions with non-finite verbal forms. Such constructions are usually placed before the constituents they modify. The relative construction is always placed immediately before the modified constituent, whereas other types of constructions allow other constituents to interfere. The word order in such construction is the same as in simple sentences (Tereščenko, 1973).

Coordination
Coordination is most often achieved by means of intonation. Sometimes pronominal and adverbial derivatives can be used as conjunctions. For example, adverb ŋonə 'also' can be used as conjunction. The category of conjunctions may be undergoing formation under the influence of Russian (Tereščenko, 1973).

Literature

 * Gusev, V. (2015) Negation in Nganasan. In Miestamo, M., Tamm, A., Wagner-Nagy, B. (ed.) Negation in Uralic Languages, 103–312. Amsterdam: John Benjamins Publishing Company. ISBN 9789027268648
 * Helimski, Еugene. (1994). Очерк морфонологии и словоизменительной морфологии нганасанского языка. Таймырский этнолингвистический сборник, (1), 190-221.
 * Helimski, Eugene. (1998) Nganasan. In Abondolo, Daniel (ed.), The Uralic Languages, 480–515. London: Routledge.
 * Katzschmann, M. (2008) Chrestomathia Nganasanica: Texte – Übersetzung – Glossar – Grammatik, Norderstedt.
 * Tereščenko, N.M. (1986) Алфавит нганасанского языка, in Skorik P.A. (ed.), Палеоазиатские языки, Leningrad: Nauka.
 * Tereščenko, N.M. (1979) Нганасанский язык, Leningrad: Nauka.
 * Tereščenko, N.M. (1973) Синтакс самодийских языков, Leningrad: Nauka.
 * Wagner-Nagy, B. (2002) Chrestomathia Nganasanica. (Studia Uralo-Altaica : Supplementum 10) Szeged. ISBN 963-482-588-5
 * Wagner-Nagy, B. (2010) Existential and possessive predicate phrases in Nganasan. In Gusev, V. and Widmer, A., Finnisch-Ugrische Mitteilungen, 32/33. Hamburg: Buske.
 * Wagner-Nagy, B. (2011) On the typology of negation in Ob-Ugric and Samoyedic languages (MSFOu 262). Helsinki: SUS
 * Wagner-Nagy, B. (2018). A grammar of Nganasan (Vol. 6). Brill.
 * Wagner-Nagy, B. (2018). A grammar of Nganasan (Vol. 6). Brill.

title: Nganasan language


text:
Wikipedia:Articles for deletion/Abbey of Kells

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

The result of the debate was KEEP. Postdlf 23:40, 19 July 2005 (UTC)

Abbey of Kells
Keep the rewrite. This is a hoax. There was an Abbey of Kells, but this article is about a non-existent baseball player, not the medieval monastery. The article was created on June 16, 2005, the same day that the Book of Kells was the FA on the Main Page. "Abbey of Kells" was a red link from that page. Google search for "Abbey of Kells" + tigers, turns up no relevent hits. Dsmdgold 03:56, July 12, 2005 (UTC)
 * Delete Nonsense. royblumy 05:25 12 July, 2005 (UTC)
 * Delete, hoax. Keep after rewrite.  Dcarrano 15:07, July 12, 2005 (UTC)
 * Delete hoax, and even if it was true Wikipedia is not a memorial. JamesBurns 08:32, 12 July 2005 (UTC)
 * Keep. Have rewritten the article so that it refers to the Abbey not the bogus baseball player. It is a significant site due to the Book of Kells and St Columba's shrine was also moved there but was destroyed in Viking raids. Capitalistroadster 09:52, 12 July 2005 (UTC)
 * Keep the rewrite. Good save, Capitalistroadster! Grutness...  wha?  10:30, 12 July 2005 (UTC)
 * Keep - the rewrite seems more reasonable. gren 11:48, 12 July 2005 (UTC)
 * Keep after the rewrite. *Dan* 12:18, July 12, 2005 (UTC)
 * Keep nice rewrite. --Etacar11 00:20, 13 July 2005 (UTC)
 * Keep Sonitus 21:29, 18 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Walter Jones (American football)

Walter Jones Jr. (born January 19, 1974) is an American former professional football player who was an offensive tackle in the National Football League (NFL) for 13 seasons. Born in Alabama, he played college football for the Florida State Seminoles.

Jones played his entire professional career with the Seattle Seahawks, where he was a seven-time All-Pro selection and eventual NFL 2000s All-Decade Team honoree. Starting in each of his 180 games in Seattle, the Seahawks attempted more than 5,500 passes with Jones on the field, while Jones gave up a total of only 23 quarterback sacks, and was penalized for holding just nine times. On February 1, 2014, Jones was selected to the Pro Football Hall of Fame in his first year of eligibility.

College career
Jones attended Holmes Community College for two seasons, where he was named Mississippi Junior College Player of the Year by the Jackson Clarion-Ledger in 1994. Then 6′5″ (6 ft) and 265 lb, Jones played both offensive tackle and tight end. He allowed one sack in two seasons.

After transferring to Florida State University, Jones played for coach Bobby Bowden's Seminoles teams in 1995 and 1996. He had to redshirt the 1995 season. As a junior in 1996, Jones started 11 games and the Sugar Bowl for the Seminoles and allowed one sack, subsequently earning second-team All-ACC honors. He decided to forgo his final year of college eligibility and enter the 1997 NFL draft.

Professional career
Jones was drafted by the Seahawks in the first round with the sixth overall pick in the 1997 NFL draft. He started every game in which he played, beginning with his rookie season. Jones was a member of the 2005 Seahawks team that lost Super Bowl XL to the Pittsburgh Steelers. In 2006, Jones topped the list of the 101 best NFL players by the Sporting News.

Jones was a nine-time Pro Bowl selection and seven-time All-Pro. Jones was perhaps the best at his position in the NFL during the early part of the decade, exemplified by being voted to the NFL's 2000s All-Decade Team. From 1998 through 2000, he helped Ricky Watters achieve three consecutive 1,000-yard seasons for the Seahawks and, later, paved the way for Shaun Alexander's NFL record-setting success.

Jones was recognized by John Madden as the best player in the NFL in 2004 in a broadcast. Madden recognized Jones in numerous broadcasts as the best left tackle in the NFL and possibly one of the best of all time.

Seahawks coach Mike Holmgren has called Jones the best offensive player he had ever coached.

On Thanksgiving 2008, Jones succumbed to a knee injury playing against the Cowboys in his 180th and final game. The injury required microfracture surgery to repair and immediately ended his season. Jones tried to play again in 2009 but was unsuccessful. On October 28, 2009, Jones was placed on injured reserve by the Seahawks. In a press conference the same day, Jones stated his intention to play in 2010. On April 29, 2010, Jones announced on his Twitter account that he would retire.

The Seahawks announced the retirement of his number, 71, and governor Christine Gregoire declared April 30 to be "Walter Jones Day" in the state of Washington.

On December 5, 2010, in a game versus the Carolina Panthers, in front of a crowd of over 66,000, the Seahawks honored the career of Jones by retiring his #71 jersey. This was only the second player number (#80 Steve Largent was the first) to be retired by the Seahawks (they have also retired #12 in honor of the fans).

On January 8, 2011, Jones lifted the 12th Man flag at Qwest Field before the Seahawks' wild card matchup against the New Orleans Saints. The 7–9 Seahawks went on to defeat the defending Super Bowl champion Saints 41–36.

On February 2, 2014, Jones served as the Seahawks' honorary captain at Super Bowl XLVIII at MetLife Stadium in East Rutherford, New Jersey, prior to their 43–8 victory over the Broncos. This coincided with his election onto the Pro Football Hall of Fame. He also helped former Giant and fellow Hall of Famer Michael Strahan toss the coin to end the pregame ceremonies.

title: Walter Jones (American football)


text:
Florida Judicial Nominating Commission

The Florida Judicial Nominating Commissions are 26 separately constituted bodies responsible for providing the governor of Florida with a list of possible appointments to the various state courts (the Florida Supreme Court, the five Florida District Courts of Appeal, and the twenty Florida Circuit Courts). These commissions are required under Article V of the Florida Constitution.

Composition and operations
The Constitution specifies that "[w]henever a vacancy occurs in a judicial office to which election for retention applies, the governor shall fill the vacancy by appointing... one of not fewer than three persons nor more than six persons nominated by the appropriate judicial nominating Commission". This provision applies to Florida Supreme Court justices and Florida District Court judges. The Constitution makes a similar provision for Florida Circuit Court judges, except that such positions are normally filled in elections, and the governor may only step in where there is a vacancy well before the next election. further provides that "[t]here shall be a separate judicial nominating Commission as provided by general law for the supreme court, each district court of appeal, and each judicial circuit for all trial courts within the circuit", This section requires that the Commissions have uniform rules of procedure, and that their proceedings and records must be open to the public.

The composition of the Commissions is laid out elsewhere in the Constitution, which requires that each Commission be composed of:
 * a. Three members appointed by the Board of Governors of the Florida Bar from among Florida Bar members who are actively engaged in the practice of law with offices within the territorial jurisdiction of the affected court, district or circuit;
 * b. Three electors who reside in the territorial jurisdiction of the court or circuit appointed by the governor; and
 * c. Three electors who reside in the territorial jurisdiction of the court or circuit and who are not members of the bar of Florida, selected and appointed by a majority vote of the other six members of the Commission.

The Constitution prohibits judges and justices from serving on any Commission, and disqualifies Commission members from being appointed to judicial office until two years after they leave the Commission. It also sets the term of office of Commission members at four years.

title: Florida Judicial Nominating Commission


text:
File:Brady Bunch.jpg

Summary
Opening cast "grid" of The Brady Bunch

Fair use in The Brady Bunch
This copyrighted image is used in the English-language Wikipedia article "The Brady Bunch." The manner of said use constitutes a "fair use" under United States copyright law. Specifically:
 * 1) The English-language Wikipedia is a project of the Wikimedia Foundation, Inc., a non-profit charitable organization.
 * 2) The article for which this use occurs is purely educational in nature and, thus, is non-commercial.
 * 3) The sole purpose of this use of the copyrighted image is to visually identify the television series in question.
 * 4) Said image is the primary means of visual identification of the main topic of the article; that is, the television series.
 * 5) The image is used only once in the article, and is used in a section or "information box" that is neutral in tone.
 * 6) The image is an iconic, representative image of the show, from the introduction that began each episode.
 * 7) Since it is a screenshot from a copyrighted television series, the image is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.
 * 8) Digital versions of this image have been previously published on numerous websites, so this use on Wikipedia does not make the image significantly more accessible.
 * 9) The market for the original television series will not be diminished by this use of the image. In fact, this use is likely to encourage the increased legitimate sales of recorded media of the series and television viewership.

Fair use in List of The Brady Bunch episodes
This copyrighted image is used in the English-language Wikipedia article "List of The Brady Bunch episodes." The manner of said use constitutes a "fair use" under United States copyright law. Specifically:
 * 1) The English-language Wikipedia is a project of the Wikimedia Foundation, Inc., a non-profit charitable organization.
 * 2) The article for which this use occurs is purely educational in nature and, thus, is non-commercial.
 * 3) The sole purpose of this use of the copyrighted image is to visually identify the television series in question.
 * 4) Said image is the primary means of visual identification of the main topic of the article; that is, the television series.
 * 5) The image is used only once in the article, and is used in a section or "information box" that is neutral in tone.
 * 6) The image is an iconic, representative image of the show, from the introduction that began each episode.
 * 7) Since it is a screenshot from a copyrighted television series, the image is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.
 * 8) Digital versions of this image have been previously published on numerous websites, so this use on Wikipedia does not make the image significantly more accessible.
 * 9) The market for the original television series will not be diminished by this use of the image. In fact, this use is likely to encourage the increased legitimate sales of recorded media of the series and television viewership.

title: File:Brady Bunch.jpg


text:
Learning to Breathe (Switchfoot album)

Learning to Breathe is the third studio album by the band Switchfoot. It was released on September 26, 2000. It was their final record for independent label re:think Records, which was distributed by Sparrow Records. This album also received a Grammy nomination for Best Rock Gospel Album in 2001.

Promotion
A music video was filmed for the song "You Already Take Me There". It shows the band skydiving out of an airplane, and playing the song on the ground.

Composition
"Dare You To Move", "Playing For Keeps", "The Loser", "Erosion" and "Living Is Simple" are in the key of E major or C♯ minor.

"Learning to Breathe" and "You Already Take Me There" are in the key of G major.

"Love is the Movement" and "Innocence Again" are in the key of D minor.

"Poparazzi" is in the key of C major. "The Economy of Mercy" is written in the key of D major.

Legacy
The songs "I Dare You to Move" and "Learning to Breathe" were prominently used in a popular teen romantic drama film starring Mandy Moore and Shane West, A Walk to Remember (2002).

The phrase "Love Is the Movement" has been adopted as a motto by To Write Love on Her Arms, a non-profit organization that Switchfoot supports.

Personnel
Switchfoot
 * Jon Foreman – lead vocals, guitar, keyboards
 * Tim Foreman – bass, backing vocals, keyboards
 * Chad Butler – drums, percussion

Additional musicians
 * Vicky Hampton – additional backing vocals (track 4)
 * Darwin Hobbs – additional backing vocals (track 4)
 * Jan Foreman – additional vocals (track 11)

Technical personnel
 * Charlie Peacock – production (tracks 1–2, 4–5 and 9)
 * Jacquire King – production (tracks 3, 6–8, 10), recording (tracks 3, 6–8, 10) , mixing (tracks 2–3, 5–10)
 * Switchfoot – production (track 11)
 * Shane D. Wilson – recording (tracks 1–2, 4–5, 9 and 11), overdubs recording (tracks 1–2, 4–5 and 9) , mixing (track 11)
 * Richie Biggs – overdubs recording (tracks 1–2, 4–5 and 9)
 * Jon Foreman – pre-production recordings (tracks 1–2, 4–5, 9 and 11)
 * Ryan Fisher – pre-production recordings (tracks 1–2, 4–5 and 9), engineering assistance (tracks 1–2, 4–5 and 9) , mixing (tracks 1 and 4)

 * Tony Miracle – pre-production recordings (tracks 1–2, 4–5, 9 and 11), synths and noise (tracks 1–2, 4–5 and 9) , analog synths and textures (tracks 3, 6–8, 10)
 * Kip Kuban – pre-production recordings (tracks 1–2, 4–5 and 9), synths and noise (tracks 1–2, 4–5 and 9)
 * Dan Leffler – mixing assistance (tracks 2–3, 5–10)
 * Chris Grainger – assistance (tracks 3, 6–8, 10)
 * Chris Hauser – assistance (tracks 3, 6–8, 10)
 * Lynn A. Nichols – executive production
 * Ken Love – mastering

title: Learning to Breathe (Switchfoot album)


text:
Talk:James Gall

Untitled
Major edits. Restructured the article into small sections. Better organized information. More concise. If I might suggest to anyone who knows about this man, add more detail to his religous views. The astronomy seems to be the major focus, not his viewpoints on religion. (7/12/05)

Alphabet for the blind
Most sources seem to agree that the inventor of the triangular alphabet for the blind was not this James Gall but his father, James Gall the Elder (1784-1874). 162.83.181.86 (talk) 21:37, 1 August 2011 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on James Gall. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20131012053847/http://www.carrubbers.org/about/history/ to http://www.carrubbers.org/about/history/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 20:40, 20 November 2017 (UTC)

title: Talk:James Gall


text:
Uppland Runic Inscription 35

This memorial runestone, listed as U 35 under Rundata, is located in Svartsjö, Uppland, Sweden, and dates from the Viking Age.

Description
The inscription on this granite runestone, which is three meters in height, has two fanged beasts surrounded by a runic serpent text band. The name of the runemaster is unknown, and the stone is classified as being in runestone style Pr2, which is also known as the Ringerike style.

The name Adils or Aðísl from the runic text appears to have been a rather rare name, during both the Viking Age and the Middle Ages. It does not appear in any other Swedish runic inscription. The name does appear in Ynglingatal, Norse sagas, and Beowulf as belonging to a Swedish king during the sixth century named Eadgils. It also appears on one of the Manx Runestones, Kirk Michael MM 130.

The runic text states that the stone is a memorial by three sons to their father Vigisl, who is described as being the husband of Ärnfrids. By referring to her in this manner, the text is probably indicating that she was also deceased when the stone was raised.

Inscription
A transliteration of the runic text into Latin letters is:
 * aþisl : auk : ays- : auk : ---fr : þaiʀ : litu : raisa : stain : þinsa : at : uikisl : faþur : sin : boanta : irfriþaʀ

title: Uppland Runic Inscription 35


text: Talk:Shay

title: Talk:Shay


text:
Too Pure

Too Pure Records was a London-based independent record label formed in 1990 by Richard Roberts and Paul Cox. The label gained prominence after the release of PJ Harvey's debut studio album Dry in 1992, and subsequently found further success in the late 1990s and early 2000s with albums by indie rock artists such as Mclusky and Electrelane. The label was closed in 2008.

History
Too Pure started off as an experimental label and built its reputation by releasing primarily alternative/independent music which its founders felt was being ignored by major labels. At its inception Too Pure was largely preoccupied by the so-called Camden Lurch scene, through its 'Sausage Machine' night in North London (documented by its Now That's Disgusting Music (1990) compilation). The label discovered PJ Harvey but was struggling to hold on to the artist after the success of single "Sheela Na Gig", as an industry feeding frenzy brought in a host of major labels. Eventually Too Pure secured UK release rights as long as the album was licensed to Island Records for the rest of the world. Island picked up all futures of the band at the same time.

4AD founder Ivo Watts-Russell bought into the company to help the founders fund the signing of PJ Harvey, who was discovered at the Sausage Machine gigs. This enabled the label to release the PJ Harvey debut album Dry and develop and sign more artists. The label was briefly distributed in the US by Rick Rubin's American Recordings through Warner Bros. Records from 1995 to 1997 in a deal done by former agent and American Recordings exec Marc Geiger, in conjunction with founder Richard Roberts. Nick West, an old friend of Richard Roberts and formerly of Fiction Records and Polygram, was brought in to run Too Pure US, out of American Recordings' offices in Burbank, CA. The label had some notable successes at college radio in the US, with both Laika and Long Fin Killie playing Loolapalooza. Laika toured with both Radiohead and Tricky. The contract was bought out by American Recordings parent company Warner Bros in April 1997, after American Recordings hit financial difficulties.

Too Pure became majority owned by the Beggars Group, taking over and increasing the shareholding previously owned by Watts-Russell. Remaining founder Paul Cox and MD Nick West were minority shareholders. Co-founder and mainman, Richard Roberts moved to Australia in 1997, being replaced by Nick West. From 2001 the label was run by Jason White, formerly of the Mean Fiddler and the former press officer at Too Pure, following the departure of Nick West, who'd returned from the US to run the label as MD from 1997. Nick West also established the Derrière de la Garage publishing arm of the label in order to sign Hefner's publishing.

On 7 July 2008, it was announced on its Web site that Too Pure "is no more" and that "the artists currently on those labels will be released through 4AD," yet it will continue operating its Too Pure Singles Club. In 2009 Paul Riddlesworth took over the reins of the Too Pure singles club signing bands that include Pulled Apart by Horses, Friendship, Bear Hands, JEFF the Brotherhood, The Lucid Dream, DZ Deathrays, Fear of Men, The Lovely Eggs, Dead Skeletons, Deaf Club, False Advertising, Seize The Chair, Best Friends and HOOKWORMS. In 2013, the roster added Beard of Wolves, Seasfire, Menace Beach, Black Moth, Department M, Lola Colt and Sealings. The Singles Club continues to run as a subscription based label.

Artists
• Billy Mahonie

• Bows

• Electrelane

• Fear of Men

• Friendship

• Future of the Left

• Hefner

• Jack

• Kaputt

• Laika

• Long Fin Killie

• Mclusky

• Monade

• Moonshake

• Motormark

• Mouse on Mars

• Murry the Hump

• Peggy Sue

• PJ Harvey

• Pram

• Rothko

• Scout Niblett

• Scala

• Seefeel

• Seely

• Shooting at Unarmed Men

• Stereolab

• Suncarriage

• Th' Faith Healers

• The Keys

• The Rogers Sisters

• Tigercub

• Tracy and the Plastics

• Voodoo Queens

title: Too Pure


text:
Covariance and correlation

In probability theory and statistics, the mathematical concepts of covariance and correlation are very similar. Both describe the degree to which two random variables or sets of random variables tend to deviate from their expected values in similar ways.

If X and Y are two random variables, with means (expected values) μX and μY and standard deviations σX and σY, respectively, then their covariance and correlation are as follows:

 * covariance
 * $$\text{cov}_{XY} = \sigma_{XY} = E[(X-\mu_X)\,(Y-\mu_Y)]$$

 * correlation
 * $$\text{corr}_{XY} = \rho_{XY} = E[(X-\mu_X)\,(Y-\mu_Y)]/(\sigma_X \sigma_Y)\,,$$

so that $$\rho_{XY} = \sigma_{XY} / (\sigma_X \sigma_Y) $$

where E is the expected value operator. Notably, correlation is dimensionless while covariance is in units obtained by multiplying the units of the two variables.

If Y always takes on the same values as X, we have the covariance of a variable with itself (i.e. $$\sigma_{XX}$$), which is called the variance and is more commonly denoted as $$\sigma_X^2,$$ the square of the standard deviation. The correlation of a variable with itself is always 1 (except in the degenerate case where the two variances are zero because X always takes on the same single value, in which case the correlation does not exist since its computation would involve division by 0). More generally, the correlation between two variables is 1 (or –1) if one of them always takes on a value that is given exactly by a linear function of the other with respectively a positive (or negative) slope.

Although the values of the theoretical covariances and correlations are linked in the above way, the probability distributions of sample estimates of these quantities are not linked in any simple way and they generally need to be treated separately.

Multiple random variables
With any number of random variables in excess of 1, the variables can be stacked into a random vector whose ith element is the ith random variable. Then the variances and covariances can be placed in a covariance matrix, in which the (i, j) element is the covariance between the ith random variable and the jth one. Likewise, the correlations can be placed in a correlation matrix.

Time series analysis
In the case of a time series which is stationary in the wide sense, both the means and variances are constant over time (E(Xn+m) = E(Xn) = μX and var(Xn+m) = var(Xn) and likewise for the variable Y). In this case the cross-covariance and cross-correlation are functions of the time difference:

 * cross-covariance
 * $$\sigma_{XY}(m)=E[ (X_n-\mu_X)\,(Y_{n+m}-\mu_Y)],$$

 * cross-correlation
 * $$\rho_{XY}(m) =E[ (X_n-\mu_X)\,(Y_{n+m}-\mu_Y)]/(\sigma_{X} \sigma_{Y}).$$

If Y is the same variable as X, the above expressions are called the autocovariance and autocorrelation:

 * autocovariance
 * $$\sigma_{XX}(m)=E[ (X_n-\mu_X)\,(X_{n+m}-\mu_X)],$$

 * autocorrelation
 * $$\rho_{XX}(m) =E[ (X_n-\mu_X)\,(X_{n+m}-\mu_X)]/(\sigma_{X}^2).$$

title: Covariance and correlation