text:
Dosulepin

Dosulepin, also known as dothiepin and sold under the brand name Prothiaden among others, is a tricyclic antidepressant (TCA) which is used in the treatment of depression. Dosulepin was once the most frequently prescribed antidepressant in the United Kingdom, but it is no longer widely used due to its relatively high toxicity in overdose without therapeutic advantages over other TCAs. It acts as a serotonin–norepinephrine reuptake inhibitor (SNRI) and also has other activities including antihistamine, antiadrenergic, antiserotonergic, anticholinergic, and sodium channel-blocking effects.

Medical uses
Dosulepin is used for the treatment of major depressive disorder. There is clear evidence of the efficacy of dosulepin in psychogenic facial pain, though the drug may be needed for up to a year.

Contraindications
Contraindications include:

 * Epilepsy as it can lower the seizure threshold
 * TCAs should not be used concomitantly or within 14 days of treatment with monoamine oxidase inhibitors due to the risk for serotonin syndrome
 * Acute recovery phase following myocardial infarction as TCAs may produce conduction defects and arrhythmias
 * Liver failure
 * Hypersensitivity to dosulepin

Side effects
Common adverse effects:

 * Drowsiness
 * Extrapyramidal symptoms
 * Tremor
 * Disorientation
 * Dizziness
 * Paresthesias
 * Alterations to ECG patterns
 * Dry mouth
 * Sweating
 * Urinary retention
 * Hypotension
 * Postural hypotension
 * Tachycardia
 * Palpitations
 * Arrhythmias
 * Conduction defects
 * Increased or decreased libido
 * Nausea
 * Vomiting
 * Constipation
 * Blurred vision
 * Blurred vision

Less common adverse effects:

 * Disturbed concentration
 * Delusions
 * Hallucinations
 * Anxiety
 * Fatigue
 * Headaches
 * Restlessness
 * Excitement
 * Insomnia
 * Hypomania
 * Nightmares
 * Peripheral neuropathy
 * Ataxia
 * Incoordination
 * Seizures
 * Paralytic ileus
 * Hypertension
 * Heart block
 * Myocardial infarction
 * Stroke
 * Gynecomastia (swelling of breast tissue in males)
 * Testicular swelling
 * Impotence
 * Epigastric distress
 * Abdominal cramps
 * Parotid swellings
 * Diarrhea
 * Stomatitis (swelling of the mouth)
 * Black tongue
 * Peculiar taste sensations
 * Cholestatic jaundice
 * Altered liver function
 * Hepatitis (swelling of the liver)
 * Skin rash
 * Urticaria (hives)
 * Photosensitisation
 * Skin blisters
 * Angioneurotic edema
 * Weight loss
 * Urinary frequency
 * Mydriasis
 * Weight gain
 * Hyponatremia (low blood sodium)
 * Movement disorders
 * Dyspepsia (indigestion)
 * Increased intraocular pressure
 * Changes in blood sugar levels

 * Thrombocytopenia (an abnormally low number of platelets in the blood. This makes one more susceptible to bleeds)
 * Eosinophilia (an abnormally high number of eosinophils in the blood)
 * Agranulocytosis (a dangerously low number of white blood cells in the blood leaving one open to potentially life-threatening infections)
 * Galactorrhea (lactation that is unassociated with breastfeeding and lactation)

Overdose
The symptoms and the treatment of an overdose are largely the same as for the other TCAs. Dosulepin may be particularly toxic in overdose compared to other TCAs. The onset of toxic effects is around 4–6 hours after dosulepin is ingested. In order to minimise the risk of overdose it is advised that patients only receive a limited number of tablets at a time so as to limit their risk of overdosing. It is also advised that patients are not prescribed any medications that are known to increase the risk of toxicity in those receiving dosulepin due to the potential for mixed overdoses. The medication should also be kept out of reach of children.

Interactions
Dosulepin can potentiate the effects of alcohol and at least one death has been attributed to this combination. TCAs potentiate the sedative effects of barbiturates, tranquilizers and CNS depressants. Guanethidine and other adrenergic neuron blocking drugs can have their antihypertensive effects blocked by dosulepin. Sympathomimetics may potentiate the sympathomimetic effects of dosulepin. Due to the anticholinergic and antihistamine effects of dosulepin anticholinergic and antihistamine medications may have their effects potentiated by dosulepin and hence these combinations are advised against. Dosulepin may have its postural hypotensive effects potentiated by diuretics. Anticonvulsants may have their efficacy reduced by dosulepin due to its ability to reduce the seizure threshold.

Pharmacodynamics
Dosulepin is a reuptake inhibitor of the serotonin transporter (SERT) and the norepinephrine transporter (NET), thereby acting as an SNRI. It is also an antagonist of the histamine H1 receptor, α1-adrenergic receptor, serotonin 5-HT2 receptors, and muscarinic acetylcholine receptors (mACh), as well as a blocker of voltage-gated sodium channels (VGSCs). The antidepressant effects of dosulepin are thought to be due to inhibition of the reuptake of norepinephrine and possibly also of serotonin.

Dosulepin has three metabolites, northiaden (desmethyldosulepin), dosulepin sulfoxide, and northiaden sulfoxide, which have longer terminal half-lives than that of dosulepin itself. However, whereas northiaden has potent activity similarly to dosulepin, the two sulfoxide metabolites have dramatically reduced activity. They have been described as essentially inactive, and are considered unlikely to contribute to either the therapeutic effects or side effects of dosulepin. Relative to dosulepin, northiaden has reduced activity as a serotonin reuptake inhibitor, antihistamine, and anticholinergic and greater potency as a norepinephrine reuptake inhibitor, similarly to other secondary amine TCAs. Unlike the sulfoxide metabolites, northiaden is thought to play an important role in the effects of dosulepin.

Although Heal & Cheetham (1992) reported relatively high Ki values of 12 and 15 nM for dosulepin and northiaden at the rat α2-adrenergic receptor and suggested that antagonism of the receptor could be involved in the antidepressant effects of dosulepin, Richelson & Nelson (1984) found a low KD of only 2,400 nM for dosulepin at this receptor using human brain tissue. This suggests that it in fact has low potency for this action, similarly to other TCAs.

Pharmacokinetics
Dosulepin is readily absorbed from the small intestine and is extensively metabolized on first-pass through the liver into its chief active metabolite, northiaden. Peak plasma concentrations of between 30.4 and 279 ng/mL (103–944 nmol/L) occur within 2–3 hours of oral administration. It is distributed in breast milk and crosses the placenta and blood–brain barrier. It is highly bound to plasma proteins (84%), and has a whole-body elimination half-life of 51 hours.

Chemistry
Dosulepin is a tricyclic compound, specifically a dibenzothiepine, and possesses three rings fused together with a side chain attached in its chemical structure. It is the only TCA with a dibenzothiepine ring system to have been marketed. The drug is a tertiary amine TCA, with its side chain-demethylated metabolite northiaden (desmethyldosulepin) being a secondary amine. Other tertiary amine TCAs include amitriptyline, imipramine, clomipramine, doxepin, and trimipramine. Dosulepin exhibits (E) and (Z) stereoisomerism like doxepin but in contrast the pure E or trans isomer is used medicinally. The drug is used commercially as the hydrochloride salt; the free base is not used.

History
Dosulepin was developed by SPOFA. It was patented in 1962 and first appeared in the literature in 1962. The drug was first introduced for medical use in 1969, in the United Kingdom.

Generic names
Dosulepin is the English and German generic name of the drug and its INN and BAN, while dosulepin hydrochloride is its BANM and JAN. Dothiepin is the former BAN of the drug while dothiepin hydrochloride is the former BANM and remains the current USAN. Its generic name in Spanish and Italian and its DCIT are dosulepina, in French and its DCF are dosulépine, and in Latin is dosulepinum.

Brand names
Dosulepin is marketed throughout the world mainly under the brand name Prothiaden. It is or has been marketed under a variety of other brand names as well, including Altapin, Depresym, Dopress, Dothapax, Dothep, Idom, Prepadine, Protiaden, Protiadene, Thaden, and Xerenal.

Availability
Dosulepin is marketed throughout Europe (as Prothiaden, Protiaden, and Protiadene), Australia (as Dothep and Prothiaden), New Zealand (as Dopress) and South Africa (as Thaden). It is also available in Japan, Hong Kong, Taiwan, India, Singapore, and Malaysia. The drug is not available in the United States or Canada.

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

title: Dosulepin


text:
Rundgren

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

 * Paulus Rundgren (born 1992), Finnish ice hockey player
 * Simo Rundgren (born 1953), Finnish politician
 * Todd Rundgren (born 1948), American multi-instrumentalist, singer, songwriter, and record producer

title: Rundgren


text:
Wikipedia:Articles for deletion/EdouardGlissant

 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 redirected to Édouard Glissant. --Canderson7 16:24, September 5, 2005 (UTC)

EdouardGlissant
Dupicate article of Édouard Glissant--Don't think that it should redirect there because it's mispelled. Kewp 12:44, 27 August 2005 (UTC)
 * Actually, it's common practice to simply redirect misspellings--it lessens the load on Vfd, and makes it more likely for ill-informed readers to find what they're looking for. Meelar (talk) 14:06, August 27, 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:
The ABCs of Anarchism

The ABCs of Anarchism is an EP by American electronic group Negativland and British rock band Chumbawamba. A three-track collection, it incorporates samples of songs from Chumbawamba's Tubthumper (1997) as well as music by the then-current artists including Ice Cube and the Spice Girls, and television shows such as M*A*S*H and Teletubbies. The release's lyrics focus on political theory and children's media.

The EP was released on April 27, 1999, by Seeland Records. It elicited generally favorable response from critics, who commended the collaboration between the two groups as well as their social commentary and sampling. It also received play on some American college radio stations, appearing on multiple radio playlists compiled by CMJ New Music Monthly.

Composition
The EP, whose name is taken from the 1929 Alexander Berkman book of the same name, makes extensive use of sampling of pop songs and themes from movies and TV. The EP's overall effect has been described as sounding like "Rauschenberg-like musical collages". Lyrically, it focuses on children's media as well as political theory, and criticizes PBS, the BBC, WWF (since renamed the WWE), Noam Chomsky, George Bush, and Doris Lessing.

Negativland described the 13-minute long title track as a "simultaneously informative and confused trolley tour through the backlot of an often misunderstood political point of view". It includes loops of songs by Chumbawamba, interspersed with samples of music by the Spice Girls, the Sex Pistols, Ice Cube, James Brown, and Elvis Costello, in addition to samples from film and television (including M*A*S*H* and the children's television show Teletubbies). It also samples Chumbawamba's hit "Tubthumping" and combines it with a sample of Chic's "Good Times". The second track, "Smelly Water", discusses the issue of water pollution and extensively samples Chumbawamba's "Drip Drip Drip", from their 1997 album Tubthumper. "© Is for Stupid" is an adaptation by Weatherman (David Wills, a member of Negativland) of the title track and includes samples of the Cookie Monster (from Sesame Street), Tinky Winky (from Teletubbies), and American rapper Ice Cube; it has been described as an "electro track" that is "slightly more coherent" than the original version.

Release
Beginning in April 1999, copies of the album were available through mail order; the official release date was initially announced as May 23, 1999. The album was ultimately released by Seeland Records on April 27, 1999, in both compact disc and digital formats. It was also made available as a free digital download on the group's website, Chumba.com. Physical copies of the album included a mock children's storybook as an album booklet.

Critical
The EP was favorably reviewed by the Austin Chronicle, whose critic Kate Messer awarded the release four stars and wrote that Negativland "tubthump sampled Teletubbie tunes and those of millionaire anarchists Chumbawamba"; Messer also deemed the release superior to, but not wholly dissimilar from, the soundtrack for Teletubbies. A review in the Orlando Weekly concluded that the album was unlikely to persuade listeners on political matters, but that "it's fun to hear the band try"; the review also argued that the album's title was not representative of its subject matter, and that the list of artists and media sampled in the release "seems more interesting than it actually sounds on record". Heather Phares, writing for Allmusic, awarded the EP three stars and wrote that the album highlighted the "common ground" between two politically radical groups, one of whom was commercially successful.

Commercial
The album found some success on college radio stations: it debuted at number 22 on the CMJ New Music Monthly "Core Radio" tally, based on the playlists of 65 "influential" American college radio stations. It also attained a peak of number 43 on the CMJ Radio 200, based on the playlists of 306 American college radio stations.

title: The ABCs of Anarchism


text:
Zilant

Zilant (Зилант; җылан) is a legendary creature, something between a dragon and a wyvern. Since 1730, it has been the official symbol of Kazan. This winged snake is mentioned in legends about the foundation of Kazan.

A Zilant is a legendary creature with the head of a dragon, the body of a bird, the legs of a chicken, the tail of a snake, the ears of a canine, the red wings of a bat or bird, sharp teeth, dark-gray feathers and scaly dark-gray skin.

Nomenclature and etymology

The word Zilant is the English transcription of Russian Зилант, itself a rendering of Tatar yılan/елан, pronounced (or sometimes ) and meaning a snake. The Tatars themselves, on the other hand, frequently refer to this creature with the Persian word Ajdaha (dragon) or Ajdaha-yılan ('Dragon-snake'). Tatars regarded it as a repulsive creature, corresponding to European and Persian dragon. According to Idel-Ural beliefs, any snake that survives for 100 years turns into an ajdaha.

The Zilant/Ajdaha differs from Aq Yılan ('White Snake'), which is the king of snakes. Aq Yılan or Şahmara (from Persian shah (king) and ymar (snake) advised and helped epic heroes (batırlar), often by giving them gifts. As regards his beneficial influence on humans, Aq Yılan resembles a Chinese dragon.

Chuvash and Mari (ethnic groups living in the area of Kazan alongside the Tatars) also have legends relating to the foundation of Kazan, but none of them refer to the Kazan dragon. After the 16th century, Russians acquired the foundation legend from Tatars. For Kazan Russians, Zilant had negative connotations, as it was represented as a Slavic dragon rather than as a snake.

Western culture has strongly influenced the popular perception of Zilant among citizens of Kazan, and many modern citizens imagine Zilant largely as a classically Western wyvern or dragon – as depicted in films.

No strong evidence survives that an image of a dragon or snake with wings occurred in any coat-of-arms of Kazan city or of the Kazan khanate before the Russian invasion of 1552. (Islam – the official faith of the khanate – prohibited making images of animals.) Modern Tatar villages do not have any such thing as coats of arms nor symbols of towns. (Note however that all raions of Russia adopted coats of arms recently (ca. 2004) and that the Russian Empire's uyezd centers had coats of arms before 1917). Zilant is proper name in the Russian language and the role of Zilant as a symbol of Kazan functions mostly as an element of Russian culture nowadays. Snakes with wings appear in legends in Tartar culture, and a dragon – ajdaha – plays a role in fairy tales.

Legends
Most legends related to Kazan are contradictory and Zilant is no exception. There are several variations on the Zilant legend.

According to one story, a beautiful damsel married a resident of Old Kazan. She had to get water from the Qazansu River and complained to the local khan his capital was poorly situated. She advised him to move the city to Zilantaw Hill, and the khan agreed. However, the hill was infested with numerous snakes which were "stout as a log". Their leader was a giant two-headed snake, i.e., Zilant. One head ate only grass, while the other swallowed virgins and youths. A wizard advised the khan to build a straw and wood near the hill. In spring, the snakes came out from their winter burrows and crept into the pile of straw. A knight errant was sent out to set the pile of straw on fire, burning out the snakes. They were deadly even in death, "killing people and horses with their stink". However, the gigantic two-headed snake-dragon escaped to the Qaban lakes. According to the story he still lives in the waters of the lake and, from time to time, takes vengeance on the citizens. According to other stories, the giant snake was transformed into Diü, a spirit who founded the underwater kingdom of the lake.

It is also said that Zilant did not escape to the lake but instead tried get revenge upon the knight, who by that time had ridden some 50 çaqrım away from Kazan. During the fight that followed, Zilant cut the hero into six parts. The knight, however, had managed to stab the dragon with his poisoned pike, and Zilant eventually died.

There is also a legend about Zilant's return to Zilantaw. They say that Zilant re-established himself in a big cave near the hill. The dragon would occasionally fly over the panic-stricken city and drink water from the Black Lake. At first the people of the city paid tribute to him, but later they managed to kill him with a wizard's help.

Related legends
According to one legend, when Bulgars came to found the town of Bilär, they discovered a big snake. They decided to kill it, but the snake begged for peace and pleaded with Allah to give her wings. Once she had her wings the snake flew away from Bilär.

Another great snake was said to live in a pagan tower temple at Alabuğa. Although the Bulgars adopted Islam as early as the 10th century, the snake survived until the time of Tamerlane's invasion after which it disappeared.

Ibn Fadlan, who visited Volga Bulgaria in the 10th century, referred to numerous snakes, especially in trees. Ibn Fadlan wrote about a huge fallen tree, longer than hundred ells. He saw a big snake at the trunk of the tree, almost as large as the tree itself. The Bulgars allayed his fears by assuring him that the snake was not dangerous.

Interpretations
The popular historian Lev Gumilyov pointed out in his Ancient Turks that the Kypchaks, one of the ancestors of modern Tatars, came from the Zheliang Valley in the Altay Mountains. In his opinion, the nearby Zheliang Mountain and Zheliang settlement were named after Zilant the White Snake. If there is any truth in Lev Gumilyov's idea, then the dragon of Kazan should be regarded as a remnant of the once popular Turkic totem.

These flying snakes were also known in Bolghar, Suar, Bilär and the other cities of Volga Bulgaria. For the most part, these snakes were benevolent. However, in the boundary fortresses of Kazan, Alabuğa and Cükätaw, legends about flying monsters flourished. One particular fortress on the Shishma River was known as Yılantaw, later russified as Yelantovo. Many scholars believe that Zilant, like other flying snakes, symbolized the evil rulers of the neighboring pagan peoples. The legendary burning of the snakes may symbolize the victory of Islam over paganism. Sceptics say that the Bulgars purposefully spread those legends in the border regions in order to dismay their neighbors.

There is also speculations that Zilant's origination was not from the White Snake, but the Falcon (Börket), an image similar to Zilant from an earlier epoch.

Zilantaw in Kazan
Zilantaw Hill (originally Tatar Yılantaw, Елантау, Жылантау, Snake Mount), associated with Zilant legends, was formerly situated on the bank of Kazanka River. Some researchers support the view that Kazan was founded here, citing ancient Tatar legends as support. Other legends place the city foundation at Iske Qazan, the Qaban settlement, an Old Tatar settlement from the 16th century. However, these legends ignore the Kazan Kremlin, which is actually the oldest part of the city.

It is probable that a small settlement, not the city of Kazan, had existed at Zilantaw in the Bulgarian epoch (12th–14th centuries). The nearest settlement, Biş Balta, has been known since Khanate's epoch. In 1560 the Zilantov Monastery of Assumption was established on the hill. In recent centuries, the hill was covered with an old Russian cemetery, attested to since the Khanate's epoch. During the excavations in the 1970s, vestiges of an original monastery were unearthed. The most ancient layer contained indications of a great fire, lending support to the legend about the burning of the snakes. In historians' opinion this great fire would have occurred during the 1223–1236 invasion.

Zilantaw actually used to be a high and waterless island, which would make it the best place for snakes to hibernate during winter. The nearest lake was called Zmeinoye or Zmievo, that is, Snake Lake. However, in 1957 Qazansu's course was changed so that the old riverbed, separated from the Kuybyshev Reservoir, was swamped. Nowadays, Zilantaw is an unpractical depressive area, surrounded by plants and depots. The old cloister was reopened here in 2005.

Zilant as a state symbol

After the conquest of Kazan in 1552, Ivan the Terrible adopted this image with the title of Kazan's khan (tsar). Zilant was also featured in a seal of False Dmitry I as well as a flag of Tsar Alexis. Early Russian images represent Zilant with one head, four chicken legs, a bird's body and a snake tail. This representation is thus a cockatrice rather than a dragon.

In 1730 a royal decree established Zilant as a coat of arms of the Kazan Governorate. It was described in the decree as a "black snake, crowned with the gold crown of Kazan, red-winged on the white field". Being the coat of Kazan, Zilant was incorporated into the Russian Imperial coat of arms. The image was added to the arms of all the towns in the governorate. Zilant also appeared on the coat of arms of Kashira, a town located to the south of Moscow, as it was an appendage town of the exiled Kazan khan Ğäbdellatíf back in the 16th century. After 1917, the governorate was abolished and along with it, all the imperial emblems that featured Zilant.

Discussion about restoring Zilant as a city symbol resumed in the 1990s. Supporters of Zilant referred to the state insignia of the Khanate of Kazan. Some Tatar nationalists, however, dismissed the use of Ajdaha-Zilant as an evil symbol of aggression, derogatory to the Tatars and their statehood. They also pointed out that Zilant might be construed as the dragon killed by Saint George as represented on the Coat of arms of Moscow. According to this popular interpretation, Saint George would then symbolize Muscovy, and the "dragon" would symbolize Kazan.

It was eventually decided that Zilant should be associated with Aq Yılan (White Snake) as a positive Turkic spirit. During the Millennium of Kazan in 2005, Zilant was reinstated as a symbol of Kazan. It is now featured in the coat of arms of Kazan and as well as in the municipal jack.

Zilant in art and culture
Zilant could be seen at the decorative elements all over Kazan. The most prominent is a fountain The Qazan (2005), stylized as cauldron.

 * KAI Zilant is a handball club in Kazan.
 * Zilantkon (or Zilantcon) is a popular annual fantasy and RPG festival that takes place in Kazan in the first ten days of November.

title: Zilant


text:
Kinetic Honda

Kinetic Honda was a joint venture between Kinetic Engineering Limited, India and Honda Motor Company, Japan. Kinetic was the first company to have a joint venture with HMSI. The partnership operated from 1984 to 1998, manufacturing two-stroke scooters in India. In 1998, the joint venture was terminated after which Kinetic Engineering continued to sell the models under the brand name Kinetic until 2008 when the interests were sold to Mahindra. Mahindra later wound up their two wheeler business, owing to poor sales.

The brand Kinetic Honda is remembered for its legacy two-stroke scooters which were in fact based on the Honda NH series, with continuously variable transmission and electric start, first in India when it was launched (in 1984), and the only in India until the late 1990s.

Model history

 * 1984: Kinetic DX — 98cc, two-stroke, single mirror, black plastic finish
 * 1984: Kinetic EX — 98cc, two-stroke, single mirror, black plastic finish, no indicators (replaced by black blocks), limited colour versions
 * 1994: Kinetic ZX — 98cc, two-stroke, double mirror, wind shield, more graphical stickers, grey plastic finish
 * 1995: Kinetic Marvel — 99cc, two-stroke, double mirror, wide shield, more graphical stickers, red, white and blackish blue plastic finish and with pure Honda 2 stroke Engine (Awarded Scooter Of The Year)
 * 2000: Kinetic Y2K
 * 2001: Kinetic ZX Zoom — 110cc, two-stroke; otherwise as the ZX
 * 2002: Kinetic Nova
 * 2005: Kinetic 4s — 111.5cc, four-stroke
 * 2006: Kinetic Kine
 * 2008: Kinetic Jupiter and Kinetic Blaze

title: Kinetic Honda


text:
A Day's Pleasure

A Day's Pleasure (1919) is Charlie Chaplin's fourth film for First National Films. It was created at the Chaplin Studio. It was a quickly made two-reeler to help fill a gap while working on his first feature The Kid. It is about a day outing with his wife and the kids and things do not go smoothly. Edna Purviance plays Chaplin's wife and Jackie Coogan one of the kids. The first scene shows the Chaplin Studio corner office in the background while Chaplin tries to get his car started.

Plot summary
After an initial scene featuring a Ford which is extremely reluctant to start, most of the action takes place on an excursion ferry. Gags revolve around seasickness, which Charlie, a fat couple, and even the boat's all-black ragtime band succumb to, deckchairs, and Charlie's comic pugnacity. This is followed by a scene of the family returning home, and encountering trouble at an intersection, which involves a traffic cop, and hot tar.

Cast

 * Charlie Chaplin as Father
 * Edna Purviance as Mother
 * Marion Feducha as Small Boy (uncredited)
 * Bob Kelly as Small Boy (uncredited)
 * Jackie Coogan as Smallest Boy (uncredited)
 * Tom Wilson as Large Husband (uncredited)
 * Babe London as His Seasick Wife (uncredited)
 * Henry Bergman as Captain, Man in Car and Heavy Policeman (uncredited)
 * Loyal Underwood as Angry Little Man in Street (uncredited)

Reception
A Day's Pleasure is almost universally regarded as Chaplin's least impressive First National film. Even contemporary critics were muted in their enthusiasm, as evidenced by this mixed review from The New York Times of December 8, 1919 :"'Charlie Chaplin is screamingly funny in his latest picture, A Day's Pleasure, at the Strand, when he tries in vain to solve the mysteries of a collapsible deck chair. He is also funny in many little bits of pantomime and burlesque, in which he is inimitable. But most of the time he depends for comedy upon seasickness, a Ford car, and biff-bang slap-stick, with which he is little, if any, funnier than many other screen comedians.'"

title: A Day's Pleasure


text:
Wikipedia:Articles for deletion/ISAKC

 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 to delete the article. --Canderson7 16:17, September 5, 2005 (UTC)

ISAKC
Internet club with only 321 registered forum members. Not notable enough. Phil H. E. O. 12:42, 27 August 2005 (UTC)
 * Delete. Cute name, Phil. Paul Klenk 12:54, 27 August 2005 (UTC)
 * Delete. Way below standards for web entry. Alf 16:11, 27 August 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.

title: Wikipedia:Articles for deletion/ISAKC


text:
Independence Day (Martina McBride song)

"Independence Day" is a song by the American country music recording artist Martina McBride. The song was written by songwriter Gretchen Peters, who had first written the song around 1992. It was originally offered to musician Reba McEntire, who turned it down; Peters has since stated that she never heard of the song being offered to McEntire. She spent over a year and a half writing the track. It would be recorded by McBride for her second studio album The Way That I Am (1993). It was released on May 2, 1994, as the third single from the album. Peters would record the song herself and included it on her debut studio album The Secret of Life (1996).

Despite the title, the song is not about the U.S. holiday of the same name (although it is used as a double entendre) but instead about a woman in an abusive relationship burning down her house with her abusive husband. The song is told through the perspective of the daughter. It is loosely based off the story of Francine Hughes, a domestic violence victim who murdered her husband by setting his bed on fire. It has been highly misunderstood as a 4th of July anthem. It was used as the introduction song for conservative Sean Hannity's radio show, which Peters herself objected to, as the song was about domestic violence and not a patriotic song. It was also used by politician Sarah Palin.

The song has been regarded as McBride's signature song, being ranked 50th on CMT's 2003 list of 100 Greatest Songs of Country Music and number two on the 100 Greatest Videos in Country Music. Despite those rankings, the song reached only number 12 on the US Billboard Hot Country Songs chart. Its initial limited success was due to many programmers refusing to play the song because of its message. McBride has questioned why songs about domestic violence are not played. Retrospectively, it has been considered one of the greatest country songs of all time. It won the CMA Award for Song of the Year at the 1995 CMA Awards, making Gretchen Peters the second female songwriter to win the award and the 14th to win the award solely writing the track. As of July 2015, the song has sold over 550,000 copies in the United States and has gone on to be certified Platinum.

Content
In the video, a daughter (Heidi Butler Prine) recalls a tragic incident she experienced as a child. Her mother (Darcie Jones) was involved in a domestic abuse incident with her alcoholic father (Aaron Wrench). On Independence Day, the daughter walks to the town fair and hears rumors going on about the father's abuse. Apparently the whole town knew about the abuse, but did nothing to help stop it. That day, the mother burns down their house, presumably with the husband and herself inside it, and the daughter is sent to a county home. The music video was produced by American director team Deaton-Flanigen Productions, consisting of William Deaton III and George Flanigen IV, and premiered on CMT on May 20, 1994.

The lyrics have a double meaning in that the woman in the story is finally gaining her "freedom" from her abusive husband. Thus, it is her "Independence Day." The title also refers to the fact that the events noted in the song happened on the United States' Independence Day, or July 4.

Critical reception
In 2024, Rolling Stone ranked the song at number 45 on its 200 Greatest Country Songs of All Time ranking.

In media
Beginning shortly after September 11, 2001 attack on the World Trade Center, Sean Hannity began using part of the chorus as an opening bumper for his Premiere Radio Networks radio talk show. Writer Gretchen Peters objected to Hannity's use, arguing the song was about domestic violence, not patriotic values. Since she could not stop his use, she collected royalties from him every time it was played and used those royalties to donate to her causes, until Hannity's program dropped the song in mid-2014.

Personnel
Credits from album liner notes.
 * Joe Chemay – bass guitar
 * Ashley Cleveland – backing vocals
 * Paul Franklin – pedal steel guitar
 * Vicki Hampton – backing vocals
 * Bill Hullett – acoustic guitar
 * Mary Ann Kennedy – backing vocals
 * Brent Mason – electric guitar
 * Martina McBride – lead and backing vocals
 * Steve Nathan – keyboards
 * Pam Rose – backing vocals
 * Lonnie Wilson – drums
 * Paul Worley – acoustic guitar

Awards and nominations
It received the RIAA Gold Certificate on December 12, 2018.

Notable covers
In 2002, singer Taylor Horn covered the song for her debut album taylor-made at the age of nine.

In 2003, Pat Benatar performed the song in a duet with Martina McBride on the CMT television series CMT Crossroads.

On American Idol, Carrie Underwood, Lil Rounds, and Tristan McIntosh have each performed the song on the show. Carrie Underwood also released the song as a B-side track with her single of "Inside Your Heaven".

In 2011, Little Big Town performed Independence Day as a tribute to Martina McBride, who was being honoured as part of ACM's Girls Night Out - Superstar Women of Country show.

In 2019, Martina McBride performed the song as the opener to the 53rd CMA Awards alongside a host of other women in country music. Those featured were: Martina McBride, Dolly Parton, Carrie Underwood, Gretchen Wilson, Reba McEntire, Jennifer Nettles, Karen Fairchild, Kimberly Schlapman, The Highwomen, Tanya Tucker, Crystal Gayle, Terri Clark and Sara Evans.

In October 2019, Kelly Clarkson performed Independence Day during the Kellyoke segment of her daytime talk show The Kelly Clarkson Show.

In 2021, the band American Aquarium recorded the song on their album Slappers, Bangers and Certified Twangers Vol. 2.

title: Independence Day (Martina McBride song)


text:
Live at the Copa (The Temptations album)

Live at the Copa is a 1968 live album recorded by The Temptations at the Copacabana supper club in New York City. Released in 1968 by Gordy (Motown) Records, Live at the Copa features new lead singer Dennis Edwards in place of David Ruffin. Edwards' first studio album with the Temptations would be the group's next album, 1969's Cloud Nine.

Side one

 * 1) Introduction
 * 2) "Get Ready" (Smokey Robinson) (lead singer: Eddie Kendricks)
 * 3) "You're My Everything" (Cornelius Grant, Roger Penzabene, Norman Whitfield) (lead singers: Eddie Kendricks, Dennis Edwards)
 * 4) "I Truly, Truly Believe" (George Gordy, Margaret Gordy, Allen Story) (lead singer: Melvin Franklin)
 * 5) "I Wish It Would Rain" (Penzabene, Barrett Strong, Whitfield) (lead singer: Dennis Edwards)
 * 6) "For Once in My Life" (Ron Miller, Orlando Murden) (lead singer: Paul Williams, last line: Otis Williams)
 * 7) "I Could Never Love Another (After Loving You)" (Penzabene, Strong, Whitfield) (lead singer: Dennis Edwards)

Side two

 * 1) Introduction of Band and Group
 * 2) "Hello, Young Lovers" (Oscar Hammerstein II, Richard Rodgers) (lead singer: The Temptations)
 * 3) "With These Hands" (Benny Davis, Abner Silver) (lead singer: Eddie Kendricks)
 * 4) "Swanee" (Irving Caesar, George Gershwin) (lead singer: The Temptations)
 * 5) "The Impossible Dream" (Mitch Leigh, Joe Darion) (lead singer: Dennis Edwards)
 * 6) "Please Return Your Love to Me" (Strong, Whitfield) (lead singer: Eddie Kendricks)
 * 7) "(I Know) I'm Losing You" (Grant, Edward Holland Jr., Whitfield) (lead singer: Dennis Edwards)


text:
User talk:Love Virus Beta 4

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you were just trying to experiment, then use the sandbox instead. Thank you. (Signing for User:Gblaz)

Please stop creating nonsense pages. They make work. Bishonen | talk 12:44, 27 August 2005 (UTC)

Blocked
Your account has been blocked for vandalism. Your other accounts have been blocked as well. Any new accounts you create will be blocked. This first block will last for 24 hours. You are welcome to return and edit articles if you can abide by Wikipedia's guidelines and policies. If you persist in vandalising articles this block may become permanent. Exploding Boy 23:49, 29 September 2005 (UTC)

title: User talk:Love Virus Beta 4


text:
Talk:Zilant

Untitled
Seems like slightly off-normal cockatrice to me. ~anonymous

A part of this article was translated from Russian:

«...Возили сено: хлам буграми Кругом Зилантовой горы И чародейскими травами Осыпав круг, зажгли костры... ...Тотчас все змеи вон из нор, И сами целыми стаями Каталися в огонь клубками. Но где ж Зилант? Вот ваш вопрос!»

Основание города Казани. Повесть, взятая из татар. преданий А. Фукс.

Драконы

У каждого народа есть свои мифы и предания, где встречаются сказочные существа. Легенды о драконе занесены в первые письменные памятники человеческой истории. Раньше других они появляются в шумерских источниках. Легенды о них кочуют из тысячелетия в тысячелетия по всем континентам и поразительно похожи друг на друга. Сказочный дракон обычно наделен крыльями, бессмертием и особым знанием сути жизни и смерти. Эти существа властвуют над реками, дождями и ливнями, владеют секретами плодородия. Предполагается, что в драконе соединяются два противоположных образа животного мира - верхний (птицы) и нижний (змеи). Их соединение в одном мифологическом символе устраняет его отождествление с реальными животными. Пока не ясно, является ли образ дракона в мифологиях ранних государств Западной, Южной и Восточной Азии, доколумбовой Америки результатом независимого параллельного развития или связан с культурными взаимовлияниями.

Легенда

Зилант (от татар.:jылан - змея) - крылатое существо со змеиным хвостом, нашел многогранное отражение в татарской мифологии. Варианты легенд весьма противоречивы. В некоторых из них Зилант - положительный персонаж, добрый дракон-хранитель.В распространенном варианте легенды говорится, что у одного из жителей Казани был пчельник за Зилантовым лесом. У этого человека была дочь, известная своей красотой. Дочь выдали замуж. Однажды она пошла за водой к реке Казанке. Не понравилось ей, что очень трудно доставать воду из реки. Дошли ее жалобы до ушей хана Галим-бика, основателя этого города. Хану и самому не нравилось местоположение Старой Казани. И посоветовала женщина основать город около Зилантовой горы. Но водилось там множество змей. Поэтому, по совету молодой женщины, на указанное место сложено было много соломы и сучьев. Весной, когда змеи выползли из-под земли и собрались под соломой, помчался по велению хана богатырь на коне, чтобы поджечь солому. Спалил богатырь и солому и змей вместе с нею. А громадная двуглавая змея спаслась от огня и осталась жива - здорова. Вот этот-то огромный дракон бросился на богатыря и хотел его убить. Но богатырь смог проехать на своем коне от Казани 50 верст, когда дракон настиг его. Дракон рассек богатыря на шесть частей. Богатырь же несколько раз проткнул тело дракона своим отравленным копьем. Дракон, говорят, от той отравы и умер.

В другом варианте, Зилант улетел на Зилантову гору и долго мстил жителям Казани, поселившись в пещере этой горы. Иногда он летал над Новой Казанью и пил воду в Черном озере, причем жители, пораженные страхом, преклонялись перед драконом. Умерщвлен, наконец, он был посредством заклинаний волшебника Хакима. В 1730 г. Зилант занял центральное место в городском гербе Казани.

В истории Казани много белых пятен. Тем более ценны легенды и предания, помогающие заглянуть в прошлое. Они, конечно, соединяют факты и вымысел. Но дыма без огня не бывает...

Быль

В РНБ среди рукописей хранится старинный дневник некоего священника. Титульный лист утерян, поэтому имя неизвестно. Запись 1816 года весьма примечательна: «Плывя на лодке, по реке Волга, мы видели огромного летящего змея, который нес во рту человека со всеми одеянием. И слышно было от оного несчастного только: «Их! Их!» И перелетел змей за Волгу и упал с человеком в болота». Далее священник сообщает, что в тот день ему довелось видеть змея еще раз: «У Коломенского уезда села Уварова есть пустошь, которая называется Камирязиева. Приехали мы туда ночевать числом более 20 человек. Два прошло или больше, внезапно осветилась местность... Я увидел огненного змея. Он извивался над нашим станом на высоте 2х или 3х колоколен. Длиною он был 3 аршина и стоял над нами четверть часа». Как знать, насколько достоверна эта информация.

Реальность

По поводу местоположения древней Казани археологами были высказаны несколько версий. Впервые мысль о первоначальном нахождении Казани на Зилантовой горе была высказана Н. Арцыбашевым, который исходил из татарских преданий об основании нового города и Зиланте. Сама гора расположена в Кировском районе на левом берегу старого русла Казанки. Большая часть холма была использована под кладбище «старое русское». На нем хоронили еще до взятия Казани в 1552 г. В 1560 г. на горе был построен Зилантово - Успенский монастырь.В результате археологических работ начала 1970-х гг., культурный слой был выявлен на территории монастыря. Ниже слоя щебня и извести, отложившихся при постройке монастырской стены в ХVII веке, было найдено большое количество фрагментов неполивной керамики ХVI-ХVII вв. Встречаются кости животных. В слои траншеи южного слоя холма были вскрыты обгорелое бревно и столб от какой-то постройки. Описанный слой местами подстилается тонкой угольно-золистой прослойкой. (Уж не то ли самое место, где сожгли змей?) Ниже идет серо-белый кварцевый песок без находок. Археологи пришли к выводу, что предположение существование следов основания города на Зилантовой горе не получило подтверждение. Однако нельзя исключать того, что здесь в булгарское время (XII -XIV вв.) могло располагаться какое-то небольшое поселение. Об этом говорят находки Н. Ф.

Калинина - около десятка фрагментов булгарской гончарной и лепной керамики. Возможно, с этим же временем связано и название горы Зилан - Тау (Змеиная гора). По мнению специалистов, именно тогда возникли легенды о змеях и драконах, существующие в истории и преданиях об основании Казани. Вполне вероятно, что страх перед Зилантом на этом месте и помешал людям заложить здесь город. Он был основан на том холме, где сейчас находится Кремль.

Гипотеза 1. Птерозавры

Если допустить действительное существование Зиланта, то кем же он мог быть?Когда на Земле наступила мезозойская эра, за эти 40 млн. лет в эволюции преуспели рептилии - текодонты. Эти существа умели не только плавать, но и лазать по деревьям, планировать и позже летать. Самыми большими рептилиями были динозавры. За 20 млн. лет рептилии положили начало не только классу динозавров, но и целым классам птиц, птерозавров, крокодилов и черепах. Одни ли только крокодилы и черепахи уцелели до наших дней? Некоторые свидетельства наводят на мысль, что их сородичи могут существовать и сегодня. При раскопках в Вавилоне были обнаружены знаменитые врата богини Иштар, а на них - изображение фантастического животного Сирруша или Вавилонского дракона. Долгое время считалось, что это животное плод воображения художника, пока проф. Р. Кольдевей не пришел к выводу, что это вполне реальное животное, ископаемый плевиазар - рептилия, давно вымершая...Наиболее известными претендентами на славу выживших динозавров являются чудовища в озерах Лох-Несс, Чан, Вудс, так же мокеле-мбембе в джунглях Конго.Если рассмотреть древний герб Казани, где изображен Зилант, то можно увидеть две птичьи лапы, крупное змееподобное тело и перепончатые крылья. Насколько художник достоверно и точно изобразил Зиланта уже сказать трудно. Но такие крылья наводят на мысль, что он мог быть потомком птерозавра. Крылья птерозавров были образованы кожаными перепонками, натянутыми между туловищем и передними конечностями с сильно удлиненными пальцами.

Драконы, прежде всего, связаны в мифах с водной стихией, хозяином которой он выступал. Если верить легенде, Зилант жил рядом с Казанкой в пещере. По словам Арцыбашева («Вестник Европы», №21, 1822 г.) «если спросить у казанских простолюдинов, где жил некогда большой змей? То они укажут на пещеру... Она ныне осыпалась, а была к северу, за оградою монастыря, в горе». Учитывая, что это уже был 19 век, а сведения о Зиланте еще не стерлись из памяти народа, можно предположить, что данный факт все-таки имел место в истории Казани.

Гипотеза 2. Отдельный вид

Существует также мнение, что драконы были отдельным видом, который вымер по естественным причинам, поскольку во все времена был крайне редок.

Достаточно было небольшого изменения климата, выгнавшего драконов из привычных мест обитания, или сокращения пищевого рациона, чтобы число особей резко уменьшилось, и драконы исчезли с лица Земли.

Гипотеза 3. Параллельные миры

В последнее время все большее распространение получает гипотеза о других, параллельных мирах. Они не отделяются от нашего измерения трехмерного расстоянием. Они просто окружают нас. Их нельзя увидеть, услышать, воспринять или измерить, если только не покинешь свое измерение и не войдешь в другое. Имеется много фактов таинственных исчезновений и появлений людей. Проходы или дыры между мирами незаметны. Но может быть, именно из мира динозавров к нам и попадают загадочные существа?

Гипотеза 4. НЛО

Существуют показания очевидцев, где драконы предстают как в обычном, так и огненном виде. Зилант не был исключением. Многие видели, как огненный змей летел к Зилантовой горе, и это передавалось из поколения в поколение. До сих пор эти рассказы предков вспоминают наши бабушки и дедушки. Получается, что змей мог менять свой облик, так как обычное земное существо не может быть огненным без ущерба для себя. НЛО же были во все времена существования человечества. Для НЛО характерен полиформизм - один объект в течение нескольких минут может поменять форму и цвет несколько раз. Может быть, и воспринимали древние булгары НЛО как летающего змея. А может быть, все было проще - в лучах заходящего солнца горела его чешуя...

Петрова Мария --Untifler 12:42, 27 August 2005 (UTC)

Strange sentence
A wizard advised the khan to build a straw and wood near the hill.

I suspect a translation mishap here, but I have no idea what the khan were advised to build out of the straw and wood. Maybe someone who knows the legend can insert the right word.Neltah 07:52, 1 November 2006 (UTC)

try to prove zilant = ajdaha . it is not
zilant is not ajdaha. zilant is not symbol of tatar kazan. it is russian symbol made by russian for russians for russian kazan. and it is russian word. but it is made from tatar word jilan/yilan which means "snake". snakes relates to kazan because according to stories in place of kazan there were lot of snakes. --Qdinar (talk) 10:52, 1 September 2013 (UTC)

 * "zilant is not symbol of tatar kazan" - it is also wrong. though i am tatar, i cannot say surely/confidently that it was not insignia/sign/print/stamp of either of kazan, kazan khanate, kazan khan. --Qdinar (talk) 12:22, 1 September 2013 (UTC)

this is wrong. ok, snake that lives 100 years becomes dragon according to legend. so it is same... but zilant is just russian word, made from tatar word jilan. jilan is snake and ajdaha is dragon in tatar language. they are not exactly same thing. jilan is just a snake. but may be there were phrase "snake with wings", but it is also not dragon. there are fairy tails with ajdaha, and there are legends about foundation of kazan. as i know, the legends about kazan do not mention ajdaha, by name ajdaha, may be only snake with wings is mentioned. --Qdinar (talk) 11:20, 1 September 2013 (UTC)

ok, it is already said in article... : Chuvashes and Mari, ethnic groups surrounding Kazan as well as Tatars, also have legends relating to the foundation of Kazan, but none of them refer to the Kazan dragon. After the 16th century Russians acquired this legend from Tatars. For Kazan Russians, Zilant had negative connotations, as it was represented as a Slavic dragon rather than a snake --Qdinar (talk) 11:26, 1 September 2013 (UTC)

"The Tatars themselves, on the other hand, frequently refer to this creature with the Persian word Ajdaha (dragon)[2] or Ajdaha-yılan (Dragon-snake)" - this is not correct. it looks like the creature in the symbol is tatar symbol. no. may be tatars refer to it with word ajdaha, because it is like it/similar to it. tatars do not use it, do not talk about it, just may need to call it some how as it is in the kazan symbol. but kazan also is russian city, there were not even a school with tatar language of education, near 10-40 years before 1990. while there were such schools in tatar villages. --Qdinar (talk) 11:39, 1 September 2013 (UTC)

no, it is also ok, because it is said " to this creature" , and that is the creature named "zilant" in russian language and in the legends --Qdinar (talk) 12:00, 1 September 2013 (UTC)

i have heard that legends and fairy tales only from books. i am not sure there really were such stories in tatar folklore. but also i have not heard any folklore story orally. --Qdinar (talk) 12:33, 1 September 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Zilant. 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/20051228043546/http://www.crwflags.com:80/fotw/flags/ru-ta_h.html to http://www.crwflags.com/fotw/flags/ru-ta_h.html

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 03:26, 14 February 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 one external links on Zilant. 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 http://web.archive.org/web/20060205004740/http://www.handball.kai.ru:80/ to http://www.handball.kai.ru
 * Added archive http://web.archive.org/web/20070525152239/http://www.kermen.ru:80/EngVer/ancient_kazan.php to http://www.kermen.ru/EngVer/ancient_kazan.php
 * Added archive http://web.archive.org/web/20070929151606/http://www.transpress.ru/articles/0508/01_06.shtml to http://www.transpress.ru/articles/0508/01_06.shtml

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.— InternetArchiveBot  (Report bug) 19:52, 20 July 2016 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 10:54, 29 April 2019 (UTC)
 * Zilantawmap.jpg

title: Talk:Zilant


text:
A329(M) motorway

The A329(M) is a motorway in Berkshire, England. It is 4 mi long and runs from the west of Bracknell to the north west of Winnersh. It is one of a small number of parts of the motorway system in England that are managed by the local highway authority, in this case Wokingham Borough Council, rather than National Highways.

Route
From southeast to northwest, the route starts to the north of Bracknell and runs directly from the A329. It passes east of Wokingham in countryside. It then crosses the M4, continues northwest and meets the A3290 at Winnersh Triangle west of which see the status-downgraded A3290 road, to the junction with the A4. It is managed locally, by Wokingham Borough Council, rather than by National Highways.

History
The first section of the road opened in 1973, and went from the Winnersh junction to a temporary terminus at the A321.

A further section to the North/West of Winnersh — due to open at the same time — took the road up to the junction with the A4 to the east of Reading, running to the north of the railway line and dividing the Earley area of Reading almost in two. However the opening of this section was delayed due to the collapse of the Loddon Viaduct on 24 October 1972, which killed three people and injured ten others. This section subsequently opened in 1974.

The third and final section to be completed was the southern section of the motorway which was built to a standard dual two lane motorway specification (D2), and was opened in 1975. This extended the road to the 329 and B3408 junction at Amen Corner roundabout. The section of Berkshire Way (and the construction of the flyover) came some years later, allowing traffic to flow from Reading and the M4 past the official end of the motorway onto the Southern and Western industrial areas of Bracknell.

The large free-flow interchange between the A329(M) and the M4 was constructed as part of plans for an M31 motorway, which was originally planned to extend down to the M3 (and possibly beyond) in the south.

In the early nineties, the section of the A329(M) that met the A4 east of Reading was downgraded to an A road to enable the hard shoulder to be used by a park-and-ride bus service. It was then renamed the A3290. The Park and Ride bus service car park is subject to flooding and this causes frequent closures of the service.

A feature of the A329(M) is its wide grass central reservation north of the M4. The cross-section of the motorway was built in this way to support future widening to dual-three lane standard, which was never introduced: the later southern section to Amen Corner lacks this provision. Because of this wide central reservation, the A329 (M) was formerly one of the only motorways in the United Kingdom to have no central barriers on some stretches. However, as of 2010, almost the entire length of the road has had a central reservation barrier installed.

In 2006, on an area to the south of the A329(M) just beyond the actual designated motorway section, construction began on a new housing development—Jennett's Park. A new roundabout retaining an eastbound through lane was built on the A329 to provide access to this development. It was finished in early 2011.

In 2015, the A329(M) was reduced to a single lane each way through Junction 10 by Highways England.

Death of construction workers
The formwork over its new River Loddon bridge should have supported the concrete while being poured but collapsed. Three men died and ten were injured in the wreckage. The Bragg report considered why this happened and made recommendations as to how formwork should be designed and tested, to make bridge construction safer. Around 500tons of concrete, with the steelwork and planking that should have supported it, dropped 40 ft into the river. It was the eighth span of a total of 33 which make up the viaduct.

Junctions
Note: motorway has no junction numbers

title: A329(M) motorway


text:
User:Johnmichaelbrownjr

User Info

title: User:Johnmichaelbrownjr


text:
Neville Tufnell

Neville Charsley Tufnell (13 June 1887 – 3 August 1951) was a British cricketer and army officer.

Born in 1887 in Simla, Punjab, India, Tufnell played first-class cricket for Cambridge University and the Marylebone Cricket Club (MCC) in a first-class career as a wicketkeeper that lasted from 1906 to 1924. He was selected to tour New Zealand in 1906–07 with MCC before he had played a first-class match. He also played one Test match for England at Cape Town against South Africa in 1909–10 while still a student at Cambridge. He played a single first-class match for Surrey in 1922 against Oxford University, captaining the side.

Tufnell was educated at Eton and Trinity College, Cambridge. He was commissioned into the 1st Volunteer Battalion (later 4th Battalion), Queen's Royal Regiment (West Surrey) in 1908. He left before the First World War with the rank of captain, but rejoined with the same rank in 1914. He later transferred to the Grenadier Guards (Special Reserve). Tufnell was appointed a Gentleman Usher to George VI upon the King's accession. In 1939 he was appointed lieutenant-colonel as a group commander in the National Defence Companies, and transferred to the King's Royal Rifle Corps later the same year.

Tufnell was also involved in politics. In 1945 at the General Election, he stood as the Liberal candidate for the Windsor division of Berkshire. He came third and did not stand for parliament again.

He died in 1951 in Whitechapel, London.

title: Neville Tufnell


text:
Love Child (The Supremes album)

Love Child is the fifteenth studio album released by Diana Ross & the Supremes for the Motown label in 1968. The LP was the group's first studio LP (excepting covers and tribute albums) not to include any songs written or produced by any member of the Holland–Dozier–Holland production team, who had previously overseen most of the Supremes' releases.

Side one

 * 1) "Love Child" (Pam Sawyer, R. Dean Taylor, Frank Wilson, Deke Richards) – 2:55
 * 2) "Keep an Eye" (Nickolas Ashford, Valerie Simpson) – 2:59
 * 3) "How Long Has That Evening Train Been Gone" (Sawyer, Wilson) – 2:46
 * 4) "Does Your Mama Know About Me" (Tom Baird, Tommy Chong) – 2:52
 * 5) "Honey Bee (Keep on Stinging Me)" (Janie Bradford, Debbie Dean, Richards) – 2:20
 * 6) "Some Things You Never Get Used To" (Ashford, Simpson) – 2:24

Side two

 * 1) "He's My Sunny Boy" (Smokey Robinson) – 2:18
 * 2) "You've Been So Wonderful to Me" (Anna Gordy Gaye, George Gordy, Allen Story) – 2:31
 * 3) "(Don't Break These) Chains of Love" (George Beauchamp, Harvey Fuqua, Johnny Bristol) – 2:23
 * 4) "You Ain't Livin' Till You're Lovin'" (Ashford, Simpson) – 2:41
 * 5) "I'll Set You Free" (Gwen Fuqua, B. Gordy, Ivy Jo Hunter, Renee Tener) – 2:37
 * 6) "Can't Shake It Loose" (Sidney Barnes, George Clinton, Joanne Jackson, Rose Marie McCoy) – 2:07

Unused Recordings from the Love Child timeframe (March 1968-November 1968)

 * 1) "The Beginning Of The End Of Love" (Richards-Taylor-Dean)
 * 2) "Sweet Thing" (Robinson-Johnson-Cleveland)
 * 3) "In The Evening Of Our Love" (Miner)
 * 4) "Wish I Knew" (Richards-Dean)
 * 5) "If You Should Walk Away" (Wilson-Gordy)
 * 6) "I Can't Give Back The Love I Feel For You" (Ashford-Simpson-Holland)
 * 7) "Ain't No Sun Since You've Been Gone" (Whitfield-Moy-Grant)
 * 8) "Those Precious Memories" (Wilson-Sawyer)
 * 9) "Can't You See It's Me" (Goga-Hunter-Sawyer) (Released on their 1969 Cream of the Crop album.)
 * 10) "When It's To The Top (Still I Won't Stop Giving You Love)" (Dean-Weatherspoon-Weatherspoon) (Released on their 1969 Cream of the Crop album.)

Performers

 * Diana Ross – lead vocals
 * Mary Wilson – backing vocals (side 1: track 3-4; side 2: tracks 1, 2, and 5-6)
 * Cindy Birdsong – backing vocals (side 1: track 3-4; side 2: tracks 1, 2, and 5-6)
 * The Andantes – backing vocals (side 1: tracks 1, 3–5; side 2: track 3)
 * Nickolas Ashford – backing vocals (side 1: tracks 2 and 6; side 2: tracks 4 and 6)
 * Valerie Simpson – backing vocals (side 1: tracks 2 and 6; side 2: tracks 4 and 6)
 * The Funk Brothers – instrumentation (side 1: tracks 1 – 3, 5 and 6; all of side 2)
 * Detroit Symphony Orchestra – instrumentation (side 1: tracks 1 – 3, 5 and 6; side 2: tracks 2–5)
 * Los Angeles-area session musicians – instrumentation (side 1: track 4)

Production

 * Nickolas Ashford, Valerie Simpson – producers, "Keep an Eye", "Some Things You'll Never Get Used To", "You Ain't Livin' Until You're Lovin'"
 * R. Dean Taylor – producer, "Love Child"
 * Frank Wilson – producer, "How Long Has That Evening Train Been Gone", "Does Your Mama Know About Me", "Love Child"
 * Deke Richards – producer, "Honey Bee (Keep on Stinging Me)", "Does Your Mama Know About Me", "Love Child"
 * Smokey Robinson – producer, "He's My Sunny Boy"
 * George Gordy – producer, "You've Been So Wonderful to Me"
 * Harvey Fuqua – producer, "(Don't Break These) Chains Of Love"
 * Johnny Bristol – producer, "(Don't Break These) Chains Of Love"
 * Berry Gordy, Jr. – producer, "I'll Set You Free", "Love Child"
 * Henry Cosby – producer, "Can't Shake It Loose", "Love Child"

title: Love Child (The Supremes album)


text:
Vesara

Vesara is a hybrid form of Indian temple architecture that combines Dravidian Southern Indian site layouts with shape details characteristic of the Nagara style of North India. This fusion style likely originated in the historic architecture schools of the Dharwad region. It is common in the surviving temples of later Chalukyas and Hoysalas in the Deccan region, particularly Karnataka. According to Indian texts, Vesara Style was popular in central India, particularly in between the Vindhya Range and the Krishna River. It is one of six major types of Indian temple architecture found in historic texts, the others being Nagara, Dravida, Bhumija, Kalinga, and Varata.

Some scholars like Adam Hardy avoid using the term "Vesara" because although ancient writers used the word, they may have intended different meanings from its modern usage. Alternative terms for the tradition's whole timespan, from the 7th to the 13th century CE, include "Karnata Dravida" (Hardy's choice), "Central Indian temple architecture style", "Deccan architecture", or for shorter periods, terms referring to local dynasties, such as "Chalukyan architecture". Increasingly precise alternatives might include "Early Chalukya" or "Badami Chalukya architecture", "Later" or "Kalyana" or "Western Chalukya architecture", and "Hoysala architecture", depending on dynastic and regional specifics.

Among those who do use "Vesara", there is some disagreement as to the periods to which it applies. Such disagreements are largely restricted to matters of the term's usefulness and extent. There is general agreement about most aspects of the actual surviving buildings.

Etymology
Vesara means mule. The south Indian text Kamika-agama explains that this name is derived from its mixed nature, as its plan is Dravidian, yet its shape is Nagara in the details. The same text says that Vesara is also called Sankara (hybrid) for the same reason.

Texts
The Vesara style is not mentioned by name in north Indian texts on architecture, according to contemporary architectural scholars. In contrast, it is a term found in most South Indian texts on architecture alongside Dravida and Nagara. This pattern suggests that the Vesara style originally emerged and grew in the south of the subcontinent. The Manasara regionally categorizes Nagara in the north, Dravida in the south and Vesara in the middle. It goes on to state that Nagara emphasizes the four sides, Dravida a polygon (octagon), while Vesara compliments both with circular or elliptical forms. Given the many post-10th-century Hindu and Jain temple structures and ruins in Vesara form that have survived in Karnataka, the Vesara style has been linked to Karnataka and texts composed there.

In general, many South Indian texts state that Vesara is a building that is "circular or round" in plan above its karna (base) or kantha (neck). Some examples of this definition for Vesara are found in verse 50.15–17 of the Svayambhuva-agama, verse 7.117 of the Karana-agama, verse 12.68 of the Ajita-agama, verse 30.41 of the Suprebheda-agama and others. On the other hand, verse 7.15 of the Dipta-agama, verse 9.3 of the Padma-samhita, and verse 30.44–45 of Ishana-Sivagurudeva-Paddhati state that a Vesara may be circular, elliptical or apsidal in plan. A third view is proffered in the section 6 of the Marichi samhita, verses 18.47–48 of the Manasara, and verses 19.36–38 of the Mayamata, namely that a Vesara can be circular or it can be a square up to prastara and then is circular from the griva (neck) onwards.

There are other theoretical classifications of Hindu temple architecture, with South Indian texts using the plan and North Indian texts using the overall shape and form, in particular of the superstructure. However, the realized temples built before the 17th century show such an abundance of experimentation, innovations and overlapping varieties that scholars generally avoid adhering to strict theoretical terms. For example, while the theory in Manasara states that Dravida temples are those south Indian temples that have an octagonal (or polygonal) plan, historic Dravidian temples with octagonal plans either were never built or have not survived into the modern age. Similarly, even on the walls of Hindu and Jain temples of Karnataka, there is no depiction of any elliptical temple. This may be because the sthanpati (architect) and silpins (artisans) in 9th to 11th century Karnataka were deliberately ignoring traditional texts and experimenting with novel and innovative approaches.

History
The Vesara style originated in the region between the Krishna and Tungabhadra rivers that today is northern Karnataka. According to some art historians, the roots of Vesara style can be traced to the Chalukyas of Badami (500 – 753 AD) whose Early Chalukya or Badami Chalukya architecture featured temples in a style that mixed some features of the Nagara and the Dravida styles. For example, they used both the northern shikhara and southern vimana type of superstructure over the sanctum in different temples of similar date, such as at Pattadakal. This style was further refined by the Rashtrakutas of Manyakheta (750 – 983 AD) in sites like Ellora. Though there is clearly a good deal of continuity with the Badami or Early Chalukya style, some writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983 – 1195 AD), whose sites include Lakkundi, Dambal, Itagi, and Gadag, and the later Hoysala empire (1000 – 1330 AD).

Other art historians such as Sinha state that experimentation and innovations in Hindu temple architecture began quite early in Karnataka at sites such as Aihole, Pattadakal, Badami and Mahakuta where both Nagara and Dravida temples were built close to each other. However, each of these temples more or less retained their historic identity. Vesara, states Sinha, should not be treated as a simple mixture of Nagara and Dravida, but as a deliberate architectural synthesis grounded in the available materials and construction methods in India from the 7th to 12th centuries. This view is supported by inscriptions discovered in the north Karnataka region. For example, at the mid-11th-century Joda Kalasha Hindu temple in Sudi – an early Vesara example – an inscription is visible in a mix of Sanskrit and Kannada below Shaiva iconography. It mentions Somesvara I and saka 981 (circa 1060 AD). After mentioning Hindu dynasties all over the Indian subcontinent, successful public works, ascetics and the schools of the silpins, it states in verses 16–17:

"Shankararya constructed in the middle of the town of Shundi a dwelling for Nagesvara [Shiva] so that the finials were completed in a manner that none could possibly imagine."

The Joda Kalasha temple thus was a challenging innovation on a trend whose earliest surviving sample is in what is now the Kukkanur village of Karnataka, the Kallesvara (Shiva) temple (1000 – 1025 AD). The Kukkanur temple shows mostly Dravidian features, particularly in the superstructure. The sanctum and mandapa, however, introduce a projecting bhadra with rhythmically placed thin pilasters. This thereby incorporates Nagara style and takes an initial step in harmonizing the relationship between how the viewer aesthetically experiences the temple from the outside and from the inside. This bhadra innovation required changes in temples' construction methods and superstructure layouts. These changes were further perfected as the 11th century progressed in Karnataka. The Sudi temple was a significant step forward. The Kasivisvesvara temple in Lakkundi marked a high point of architectural and artistic accomplishment in the Vesara style. Thereafter, many more innovations were introduced and increasingly sophisticated Kalayana Chalukya and Hoysala temples were built in the emerging Vesara style through the 13th century.

Description
The Vesara architecture departs from the Dravida architecture in several key conceptual and experiential ways: it projects the bhadra; widens the sanctum (and mandapa); takes it ever closer to a rounded form; adds motifs and decoration to the outer walls; and changes how the temple aesthetically appears both outside and inside to the pilgrims. The Vesara form allowed the architect and artisans to add more narrative panels about the Epics, the Puranas, the Vedic legends, scenes of artha, kama, dharma (divine iconography). These accompanied illustrations of different types of temple shikaras as aedicules to the outside and inside. This ornamentation sharply contrasts with the plain structures found in the Dravida temples of earlier centuries.

The Vesara style (if defined as beginning only with the Western Chalukyas in the late 10th century) contains elements of both Dravida and Nagara styles. In particular the shape of the superstructure over the sanctum is usually pyramidal in profile, and shorter than the northern shikhara tower. The walls and superstructure are broadly circular or a straight-sided cone, though the geometry is based on rotating a square imposed on a circle. Vesara also contains unique decorative motifs. A common motif is miniature shikharas, often of the Bhumija type, showing that the architects were well aware of northern styles. Like the southern vimana superstructure, the Vesara equivalent is strongly divided into storeys or steps, but there are more of them, and the kapota roof motif is less dominant than in contemporaneous southern vimanas.

George Michell describes a characteristic feature as "the obscuring of the outer profile of the building by multiplying the projections of the walls and superstructure; these move restlessly from one plane to another, relying upon effects of light and shade to lend the building its solidity and shape."

There are generally prominent sukanasa projections from the tower on the roof over an antarala antechamber to the sanctum. The mandapa is generally larger than the sanctum and its vimana, while further open mandapas may be larger still. Some shrines have multiple temples, especially three. These are usually with three entrances off the same mandapa, as at the Chennakesava Temple, Somanathapura and Kedareshvara Temple, Balligavi; the two side shrines are at 90° angles to the central, main one.

According to Dubey, there is no consensus in pre-13th-century Indian tradition as to how Vesara should be described or identified. The conditions and "mixed" features for Vesara are also found in Bhumija and Varata architecture, where synthesis and innovation drives the North Indian and South Indian towards being variants of each other. The discovery of early examples of elliptical, circular, apsidal Hindu temples, states Dubey, may correspond to the Vesara as they once existed, and as such what the South Indian texts were referring to when they were composed. Adam Hardy states that these inventive forms are better understood in terms of the architecture schools and their geographical context, bearing in mind that those schools shared and competed in their ideas. Vesara evolved in Karnataka, Varata in the Vidarbha-Berar region, Kalinga in Odisha, and Bhumija in Malwa.
 * Comparisons with Bhumija and Varata architectures

Examples
The early Vesara temples are primarily near and between the Tungabhadra River and the Krishna River before they merge. These sites include:
 * Kallesvara temple, Kukkanur
 * Ramalingesvara temple, Gudur
 * Mahadeva temple, Ittagi
 * Kasivisvesvara temple, Lakkundi (and several other temples at Lakkundi)
 * Brahmadeva temple, Savadi – notable for being fully stellate
 * Mallikarjuna temple, Sudi (and Joda Kalasha temple)

Later Vesara temples include the Hoysala temples at Belur, Halebidu and Somanathapura. These temples have been nominated as a potential UNESCO World Heritage Site.

title: Vesara


text:
File:Brighton Interceptor Sewer 1874.jpg

Brighton Interceptor Sewer 1874


text:
User talk:Johnmichaelbrownjr

My Talk

title: User talk:Johnmichaelbrownjr


text:
The Thirteenth Tribe

The Thirteenth Tribe is a 1976 book by Arthur Koestler advocating the Khazar hypothesis of Ashkenazi ancestry, the thesis that Ashkenazi Jews are not descended from the historical Israelites of antiquity, but from Khazars, a Turkic people. Koestler hypothesized that the Khazars (who converted to Judaism in the 8th century) migrated westwards into Eastern Europe in the 12th and 13th centuries when the Khazar Empire was collapsing.

Koestler used previous works by Douglas Morton Dunlop, Raphael Patai and Abraham Polak as sources. His stated intent was to make antisemitism disappear by disproving its racial basis.

Popular reviews of the book were mixed, academic critiques of its research were generally negative, and Koestler biographers David Cesarani and Michael Scammell panned it. In 2018, the New York Times described the book as "widely discredited." Neither was it effective in disproving antisemitism, as antisemites merely adapted it — like prior work on the hypothesis — to argue the illegitimacy of present-day Jews.

Contents
Koestler advances the thesis that Ashkenazi Jews are not descended from the historical Israelites of antiquity, but from Khazars, a Turkic people originating in and populating an empire north of and between the Black Sea and Caspian Sea. Koestler's hypothesis is that the Khazars – who converted to Judaism in the 8th century – migrated westwards into current Eastern Europe (primarily Ukraine, Poland, Belarus, Lithuania, Hungary and Germany) in the 12th and 13th centuries when the Khazar Empire was collapsing.

At the end of the book's last chapter, Koestler summarizes its content and his intentions as follows: "In Part One of this book I have attempted to trace the history of the Khazar Empire based on the scant existing sources. In Part Two, Chapters V-VII, I have compiled the historical evidence which indicates that the bulk of Eastern Jewry — and hence of world Jewry — is of Khazar-Turkish, rather than Semitic, origin. In the last chapter I have tried to show that the evidence from anthropology concurs with history in refuting the popular belief in a Jewish race descended from the biblical tribe."

Motive
Koestler biographer Michael Scammell writes that Koestler told French biologist Pierre Debray-Ritzen he "was convinced that if he could prove that the bulk of Eastern European Jews (the ancestors of today's Ashkenazim) were descended from the Khazars, the racial basis for anti-Semitism would be removed and anti-Semitism itself could disappear". According to George Urban, Koestler's desire to connect Ashkenazi Jews with Khazars was "based on a tacit belief that the intellectual brilliance of and international influence of Hungarians and Jews, especially Hungarian Jews or Jewish-Hungarians, was due to some unexplained but clearly ancient affinity between the two peoples".

Reception
In The Invention of the Jewish People, Shlomo Sand, historian of cinema, French intellectual history, and nationalism at Tel Aviv University, writes "while the Khazars scared off the Israeli historians, not one of whom has published a single paper on the subject, Koestler's Thirteenth Tribe annoyed and provoked angry responses. Hebrew readers had no access to the book itself for many years, learning about it only through the venomous denunciations". Writing in The Wall Street Journal, Chronicle of Higher Education editor Evan Goldstein states "Sand suggests that those who attacked Koestler's book did so not because it lacked merit, but because the critics were cowards and ideologues. 'No one wants to go looking under stones when venomous scorpions might be lurking beneath them, waiting to attack the self-image of the existing ethnos and its territorial ambitions.'"

In the Arab world the theory espoused in Koestler's book was adopted by persons who argued that if Ashkenazi Jews are primarily Khazar and not Semitic in origin, they would have no historical claim to Israel, nor would they be the subject of the Biblical promise of Canaan to the Israelites, thus undermining the theological basis of both Jewish religious Zionists and Christian Zionists. The Saudi Arabian delegate to the United Nations argued that Koestler's theory "negated Israel's right to exist". Koestler did not see alleged Khazar ancestry as diminishing the claim of Jews to Israel, which he felt was based on the United Nations mandate and not on Biblical covenants or genetic inheritance. In his view, "[t]he problem of the Khazar infusion a thousand years ago... is irrelevant to modern Israel."

Koestler's book was praised by the neo-Nazi magazine The Thunderbolt as "the political bombshell of the century", and it was enthusiastically supported by followers of the Christian Identity movement. According to Jeffrey Kaplan, The Thirteenth Tribe was "Identity's primary source for the Khazar theory"; they felt Koestler's book confirmed their own beliefs regarding Jews, and sold it "through their mail order services". Goldstein writes that "Koestler and the Khazar theory he advanced lives on in the fever swamps of the white nationalist movement". Michael Barkun writes that Koestler was apparently "either unaware of or oblivious to the use anti-Semites had made of the Khazar theory since its introduction at the turn of the century."

Assessment
After it was first published, Fitzroy Maclean in The New York Times Book Review called The Thirteenth Tribe excellent, writing "Mr. Koestler's book is as readable as it is thought-provoking. Nothing could be more stimulating than the skill, elegance and erudition with which he marshals his facts and develops his theories." Reviewing the work in the Washington Report on Middle East Affairs in 1991, journalist and author Grace Halsell described it as a "carefully researched book" that "refutes the idea of a Jewish 'race'."

Despite some positive reviews in the press, James A. Beverley writes "When The Thirteenth Tribe was released, the academic critique of its research was prompt, public, and generally negative", and Evan Goldstein states that it was "savaged by critics". An August 1976 review in Time magazine described Koestler's theory as "all too facile, despite the obvious effort and time the author spent on his study", and stated that "Koestler offers a blizzard of information but not enough hard facts to support his thesis". A November 1976 review in National Review stated that the work had "neither the value of a well-executed honest piece of scholarship nor the emotional appeal of a polemic – only the earmarks of a poorly researched and hastily written book". Koestler's analysis was described as a mixture of flawed etymologies and misinterpreted primary sources by Chimen Abramsky in 1976 and Hyam Maccoby in 1977.

Barkun describes the book as an "eccentric work", and writes that Koestler was "unequipped with the specialist background the subject might be thought to require", but that he "nevertheless made an amateur's serious attempt to investigate and support the theory." Professor of Polish-Jewish history Gershon D. Hundert wrote in 2006 "There is no evidence to support the theory that the ancestors of Polish Jewry were Jews who came from the Crimean Jewish kingdom of Khazaria", describing Koestler as the "best-known advocate" of the theory. In 2009, Jeffrey Goldberg wrote that the book was "a combination of discredited and forgotten [ideas]".

Koestler biographers have also been critical of the work. In Arthur Koestler: The Homeless Mind (1998), David Cesarani states it makes "selective use of facts for a grossly polemical end" and is "risible as scholarship". In Koestler: The Literary and Political Odyssey of a Twentieth-Century Skeptic (2009), Michael Scammell writes that Koestler's theory "was almost entirely hypothetical and based on the slenderest of circumstantial evidence", and takes the book as evidence that Koestler's brain "was starting to fail him".

Genetic research
A 2005 study by Nebel et al., based on Y chromosome polymorphic markers, showed that Ashkenazi Jews are more closely related to other Jewish and Middle Eastern groups than to the populations among whom they lived in Europe. However, 11.5% of male Ashkenazim were found to belong to Haplogroup R1a, the dominant Y chromosome haplogroup in Eastern Europeans, suggesting possible gene flow. Referencing The Thirteenth Tribe, the study's authors note that "Some authors argue that after the fall of their kingdom in the second half of the 10th century CE, the Khazar converts were absorbed by the emerging Ashkenazi Jewish community in Eastern Europe." They conclude: "However, if the R-M17 chromosomes in Ashkenazi Jews do indeed represent the vestiges of the mysterious Khazars then, according to our data, this contribution was limited to either a single founder or a few closely related men, and does not exceed ~ 12% of the present-day Ashkenazim". Subsequent research showed that Ashkenazi varieties of R1a cannot have been Khazar in origin, with their Levite branch R1a-Y2619 within R1a-M582 being of Middle Eastern origin and their non-Levite haplogroup R1a-M12402 having close Slavic matches but a distance from Turkic matches.

Writing in Science, Michael Balter states Koestler's thesis "clash[es] with several recent studies suggesting that Jewishness, including the Ashkenazi version, has deep genetic roots." He refers to a 2010 study by geneticist Harry Ostrer which found that Ashkenazi Jews "clustered more closely with Middle Eastern and Sephardic Jews, a finding the researchers say is inconsistent with the Khazar hypothesis" and concludes "that all three Jewish groups—Middle Eastern, Sephardic, and Ashkenazi—share genomewide genetic markers that distinguish them from other worldwide populations". Geneticist Noah Rosenberg asserts that although recent DNA studies "do not appear to support" the Khazar hypothesis, they do not "entirely eliminate it either."

A 2013 study by Costa et al. included The Thirteenth Tribe in its list of references and attempted to test its Khazar hypothesis genetically. It concluded that "virtually none" of the Ashkenazi mitochondrial DNA (mtDNA) haplogroups originated in the North Caucasus or Chuvashia, which it viewed as invalidating Koestler's hypothesis.

title: The Thirteenth Tribe


text: User talk:Budweiser666

title: User talk:Budweiser666


text:
Third Churchill ministry

Winston Churchill formed the third Churchill ministry in the United Kingdom following the 1951 general election. He was reappointed as Prime Minister of the United Kingdom by King George VI and oversaw the accession of Queen Elizabeth II in 1952 and her coronation.

History
The Conservative Party returned to power in the United Kingdom after winning the 1951 general election following six years in opposition. This was the first majority Conservative government formed since Stanley Baldwin's 1924–1929 ministry. Winston Churchill became prime minister for a second time. Churchill's government had several prominent figures and up-and-coming stars. Rab Butler was appointed as Chancellor of the Exchequer while Sir Anthony Eden returned as Foreign Secretary. The noted Scottish lawyer Sir David Maxwell Fyfe, who had gained fame as a prosecutor at the Nuremberg Trials, became Home Secretary. He remained in this post until 1954, when he was ennobled as Viscount Kilmuir and appointed Lord Chancellor. Future Conservative Prime Minister Harold Macmillan achieved his first major Cabinet position when he was made Minister of Defence in 1954.

Gwilym Lloyd George, younger son of former Liberal Party leader and Prime Minister David Lloyd George, replaced Sir David Maxwell Fyfe as Home Secretary in 1954. Florence Horsbrugh became the first woman to hold a Cabinet post in a Conservative government when she was appointed Minister of Education in 1951. Several figures who were later to achieve high offices held their first governmental posts. These included: future Conservative Prime Minister Edward Heath, future Chancellors of the Exchequer Reginald Maudling, Peter Thorneycroft and Iain Macleod and future Foreign Secretary Lord Carrington. Other notable figures in the government were: John Profumo, Bill Deedes, David Ormsby-Gore and Robert Gascoyne-Cecil, 5th Marquess of Salisbury.

The Churchill ministry was mainly concerned with international affairs, the widening Cold War and decolonialisation (especially the Mau Mau Uprising and the Malayan Emergency).

Despite suffering a stroke in 1953, Churchill remained in office until April 1955, when he resigned at the age of eighty. He was succeeded by his ambitious protégé and deputy, Sir Anthony Eden, who finally reached the post he had coveted for so long; although his premiership was to last for less than two years.

1955 cabinet

 * Sir Winston Churchill – Prime Minister
 * The Viscount Kilmuir – Lord High Chancellor of Great Britain
 * The Marquess of Salisbury – Leader of the House of Lords and Lord President of the Council
 * Harry Crookshank – Leader of the House of Commons and Lord Keeper of the Privy Seal
 * Rab Butler – Chancellor of the Exchequer
 * Sir Anthony Eden – Secretary of State for Foreign Affairs
 * Gwilym Lloyd George – Secretary of State for the Home Department and Secretary of State for Welsh Affairs
 * Derick Heathcoat-Amory – Minister of Agriculture, Fisheries and Food
 * Alan Lennox-Boyd – Secretary of State for the Colonies
 * The Viscount Swinton – Secretary of State for Commonwealth Relations
 * Harold Macmillan – Minister of Defence
 * Sir David Eccles – Minister of Education
 * Duncan Sandys – Minister of Housing and Local Government
 * Sir Walter Monckton – Minister of Labour and National Service
 * The Earl of Woolton – Chancellor of the Duchy of Lancaster and Minister of Materials
 * Osbert Peake – Minister of Pensions
 * James Stuart – Secretary of State for Scotland
 * Peter Thorneycroft – President of the Board of Trade
 * Norman Brook – Cabinet Secretary

List of ministers
Members of the Cabinet are in bold face.

title: Third Churchill ministry


text:
Japanese Left Army

During the Japanese invasions of Korea (1592–1598), the Japanese Left Army was a Japanese army. Under the command of Ukita Hideie in the late 16th century, it consisted mainly of the former First division led by Konishi Yukinaga, the Fourth Division led by Shimazu Yoshihiro, and the Eighth Division led by Ukita Hideie.

Organization

 * Konishi Yukinaga (小西行長) - 7,000 men
 * So Yoshitoshi (宗義智) - 1,000 men
 * Matsura Shigenobu (松浦鎮信) - 3,000 men
 * Arima Harunobu (有馬晴信) - 2,000 men
 * Omura Yoshiaki (大村喜前) - 1,000 men
 * Goto Sumiharu (五島純玄) - 700 men
 * Hachisuka Iemasa (蜂須賀家政) - 7,200 men
 * Mōri Yoshinari (毛利吉成) - 2,000 men
 * Ikoma Kazumasa (生駒一正) - 2,700 men
 * Shimazu Yoshihiro (島津義弘) - 10,000 men
 * Shimazu Tadatoyo (島津忠豊) - 800 men
 * Akizuki Tanenaga (秋月種長) - 300 men
 * Takahashi Mototane (高橋元種) - 600 men
 * Ito Suketaka (伊東祐兵) - 500 men
 * Sagara Yorifusa (相良頼房) - 800 men
 * Ukita Hideie (宇喜多秀家) - 10,000 men
 * Ota Kazuyoshi (太田一吉) -
 * Takenaka Shigetoshi (竹中重利) -

Battles Fought

 * Battle of Chilcheollyang
 * The Siege of Namwon
 * Battle of Geumgu
 * Battle of Myeongnyang
 * Battle of Gwangyang
 * Battle of Muju
 * Battle of Hamyang
 * Battle of Sacheon (1598)
 * Siege of Suncheon
 * Battle of Noryang Point

title: Japanese Left Army


text:
World Productions

World Productions Limited is a British television production company, founded on 20 March 1990 by acclaimed producer Tony Garnett, and owned by ITV plc following a takeover in 2017.

History
The company's first major series was the police drama Between the Lines (BBC1, 1992–94), and throughout the decade they went on to produce a succession of drama series. The most notable of these include This Life (BBC2, 1996–97), about a group of young law students in London; vampire-based thriller Ultraviolet (Channel 4, 1998); and a police series for the BBC, The Cops (BBC2, 1998–99), which was so controversial in its depiction of the police force that official police advice was withdrawn for the second series.

More recently, the company has made the series No Angels (2004–2006), a drama based around the lives of young nurses, and Goldplated for Channel 4. For Channel Five, it produced the Perfect Day trilogy and Tripping Over, a co-production with Network Ten in Australia. It also co-produced a one-off This Life + 10 reunion special with BBC Wales, transmitted in early 2007.

Marcus Evans takeover
It was announced in February 2012 that the company had been taken over by Marcus Evans Entertainment owned by billionaire businessman and owner of Ipswich Town F.C., Marcus Evans. Evans's company had been looking to get involved with television and film production for a number of years beforehand, and in 2010, set up its own production operation, Marcus Evans Entertainment.

Takeover by ITV plc
ITV plc announced in May 2017 that they had taken over World Productions. As a result of the deal, World Productions became a unit of ITV Studios and ITV Studios Global Entertainment began distributing all future series internationally.

In 2018, the series Bodyguard which World Productions produced, become the most-watched TV show in the UK since 2008, achieving approximately 10.4 million viewers throughout the programme.

Awards

 * 2012

-Royal Television Society – Midlands (2012) -Winner – Best Drama – Line of Duty -Winner – Best Acting Performance (Male) – Lennie James -Winner – Best Newcomer (Acting Performance) Gregory Piper

 * 2011

-United -Prix Europa Nomination Best Drama

 * 2009

-Hancock and Joan -BAFTA Nomination – Best Single Drama -BAFTA Nomination – Best Actor – Ken Stott -BAFTA Nomination – Best Actress – Maxine Peake -Broadcast Awards Finalist – Best Single Drama

 * 2008

-Party Animals -Broadcast Press Guild Nomination – Best Drama Series

 * 2007

-Perfect Day -Rose D'Or Nomination – Best Comedy

 * 2005

-Outlaws -BAFTA Nomination – Best Drama Serial

-Ahead of the Class -Broadcast Awards Nomination – Best Single Drama -RTS Awards Nomination – Best Actress – Julia Walters -RTS Awards Nomination – Best Single Drama

-No Angels -Indie Awards Nomination – Best Drama Series

 * 2004

-Murder Prevention -RTS Craft and Design Award – Best Sound

-Love Again -RTS Awards Nomination – Best Single Drama -BANFF Awards Nomination – Best Single Drama

 * 2003

-Buried -BAFTA Award – Best Drama Series

 * 2002

-Men Only -BAFTA Nomination – Best New Writer

 * 2001

-The Cops -BAFTA Nomination – Best Drama Series

-World Productions -won BAFTA Television Craft Award Special Achievement Award

 * 2000

-The Cops -BAFTA TV Award – Best Drama Series

 * 1999

-The Cops -BAFTA TV awards – Best Drama Series -RTS Awards – Best Drama Series

 * 1998

-Ballykissangel -Broadcasting Press Guild – Best Actor – Tony Doyle

-This Life -RTS Television Award – Best Drama Series -BAFTA TV Award – Best Actress – Daniela Nardini

 * 1997

-This Life -The Writers' Guild of Great Britain – Best Original TV Drama Series -South Bank Show Award for TV Drama

 * 1996

-Ballykissangel -Royal Television Society – Best Drama Series -National TV Awards – Most Popular Actress – Dervla Kirwin

 * 1994

-Cardiac Arrest -BAFTA Nomination – Best Editing

-Between The Lines -BAFTA Award – Best Drama

 * 1993

-Between The Lines -Writer's Guild of Great Britain Award – Best Drama Series

 * 1992

-Between The Lines -Broadcasting Press Guild – Best Drama Series

title: World Productions


text:
User:Stevie mac

a genius that works in supervalu ballynahinch

title: User:Stevie mac


text:
User talk:James Easton

As you have done work with the Kingdom of Hawaii's monarchy, please take a look again. There's been a huge fuss lately over whether articles on Hawaii's monarchs are in the right location and there are some people who'd like to change the format used in naming the articles (e.g. one user wants to move the article Kamehameha I to Kamehameha I, King of Hawaii. We're having a discussion at Wikipedia talk:WikiProject Hawaii/Manual of Style, and your views on the conflict would be most appreciated. Arrigo 12:49, 27 August 2005 (UTC)

title: User talk:James Easton


text:
Erwin Kreyszig

Erwin Otto Kreyszig (January 6, 1922 in Pirna, Germany – December 12, 2008) was a German Canadian applied mathematician and the Professor of Mathematics at Carleton University in Ottawa, Ontario, Canada. He was a pioneer in the field of applied mathematics: non-wave replicating linear systems. He was also a distinguished author, having written the textbook Advanced Engineering Mathematics, the leading textbook for civil, mechanical, electrical, and chemical engineering undergraduate engineering mathematics.

Kreyszig received his PhD degree in 1949 at the University of Darmstadt under the supervision of Alwin Walther. He then continued his research activities at the universities of Tübingen and Münster. Prior to joining Carleton University in 1984, he held positions at Stanford University (1954/55), the University of Ottawa (1955/56), Ohio State University (1956–60, professor 1957) and he completed his habilitation at the University of Mainz. In 1960 he became professor at the Technical University of Graz and organized the Graz 1964 Mathematical Congress. He worked at the University of Düsseldorf (1967–71) and at the University of Karlsruhe (1971–73). From 1973 through 1984 he worked at the University of Windsor and since 1984 he had been at Carleton University. He was awarded the title of Distinguished Research Professor in 1991 in recognition of a research career during which he published 176 papers in refereed journals, and 37 in refereed conference proceedings.

Kreyszig was also an administrator, developing a Computer Centre at the University of Graz, and at the Mathematics Institute at the University of Düsseldorf. In 1964, he took a leave of absence from Graz to initiate a doctoral program in mathematics at Texas A&M University.

Kreyszig authored 14 books, including Advanced Engineering Mathematics, which was published in its 10th edition in 2011. He supervised 104 master's and 22 doctoral students as well as 12 postdoctoral researchers. Together with his son he founded the Erwin and Herbert Kreyszig Scholarship which has funded graduate students since 2001.

Books

 * Statistische Methoden und ihre Anwendungen, Vandenhoeck & Ruprecht, Göttingen, 1965.
 * Introduction to Differential Geometry and Riemannian Geometry (English Translation), University of Toronto Press, 1968.
 * (with Kracht, Manfred): Methods of Complex Analysis in Partial Differential Equations with Applications, Wiley, 1988, ISBN 0-471-83091-7.
 * Introductory Functional Analysis with Applications, Wiley, 1989, ISBN 0-471-50459-9.
 * Differentialgeometrie. Leipzig 1957; engl. Differential Geometry, Dover, 1991, ISBN 0-486-66721-9.
 * Advanced Engineering Mathematics, Wiley, (First edition 1962; ninth edition 2006, ISBN 0471488852; tenth edition (posthumous) 2011, ISBN 0470458364).

Literature

 * Manfred W. Kracht: In Honor of Professor Erwin Kreyszig on the Occasion of His Seventieth Birthday, Complex Variables 18, pp. 1–2, (1992)
 * Obituary by Martin Muldoon

title: Erwin Kreyszig