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Garudimimus

Garudimimus (meaning "Garuda mimic") is a genus of ornithomimosaur that lived in Asia during the Late Cretaceous. The genus is known from a single specimen found in 1981 by a Soviet-Mongolian paleontological expedition in the Bayan Shireh Formation and formally described in the same year by Rinchen Barsbold; the only species is Garudimimus brevipes. Several interpretations about the anatomical traits of Garudimimus were made in posterior examinations of the specimen, but most of them were criticized during its comprehensive redescription in 2005. Extensive undescribed ornithomimosaur remains at the type locality of Garudimimus may represent additional specimens of the genus.

The only known specimen of Garudimimus was a medium-sized animal measuring nearly 3.5 m in length and weighing about 77.3 - 98 kg. It was an ornithomimosaur with a mix of basal and derived features; unlike primitive ornithomimosaurs, both upper and lower jaws were toothless, a trait that is often reported in more derived ornithomimids. Garudimimus had relatively short and stocky hindlimbs, robust feet, and a reduced ilia. The foot had four toes with the first one very reduced, whereas ornithomimids were three-toed with the first toe lost. The toothless skull has very straight jaws ending in a more rounded snout tip than that of other genera. It was previously thought that this primitive ornithomimosaurian possessed a lacrimal "horn" at the top of the skull, in front of the eye socket. However, the redescription of the only specimen has shown that this structure was simply the distorted left prefrontal bone. Another early interpretation was the metatarsus reconstructed with an arctometatarsalian condition.

With the first description in 1981, Garudimimus was identified as a primitive ornithomimosaurian within its own family. However, with the description of new specimens of Deinocheirus in 2014, it was found that the latter was the sister taxon of Garudimimus, grouping within the Deinocheiridae—ornithomimosaurs not adapted for running or agile movements. But this placement has also been found to be unlikely. The pelvic girdle and hindlimbs of Garudimimus show that the musculature of the legs was not as well-developed as in the fast-running ornithomimids, therefore, indicating poor cursorial capacities. Like other members of Ornithomimosauria, Garudimimus was an omnivore/herbivore with a reduced bite force that was compensated by a horny beak.

History of discovery
In 1981, during a Soviet-Mongolian paleontological expedition to the Gobi Desert, a relatively small theropod skeleton was discovered by the team at Bayshi Tsav in the Late Cretaceous Bayan Shireh Formation, Southeastern Mongolia. The remains are catalogued as MPC-D 100/13 (Mongolian Palaeontological Center; originally GIN 100/13) and represent a rather complete and articulated skeleton. In the same year this specimen was formally and briefly described by the Mongolian paleontologist Rinchen Barsbold as the holotype of the genus and species Garudimimus brevipes. The generic name, Garudimimus, combines a reference to Garuda which are legendary winged creatures from Mongolian Buddhist mythology and Latin mimus (meaning mimic). The specific name is derived from Latin brevis (meaning short) and pes (meaning foot), referring to the short metatarsus. Barsbold identified Garudimimus as an ornithomimosaurian taxon but noted it was more primitive than ornithomimids and gave it its own family, the Garudimimidae. Barsbold described additional remains of the holotype specimen in 1983, and later in 1990 with Halszka Osmólska.

The holotype consist of the skull in its entirety, 8 cervical vertebrae (including the atlas and axis), 9 dorsal vertebrae, 6 sacral vertebrae and 4 caudal vertebrae, some ribs, both ilia, pubes, femora, tibiae, fibulae, and a virtually complete left pes of a sub-adult individual.

In 1988 the North American author Gregory S. Paul illustrated Garudimimus with a prominent nasal horn unlike any other ornithomimosaur, considering this feature as actually preserved. Another interpretation was made also in 1988 by Philip J. Currie and Dale Alan Russell who referred the metatarsus of the holotype to Oviraptor sp. and reconstructed it with an arctometatarsal—a condition where the upper end of the third metatarsal is narrowed between the surrounding metatarsals—structure. In 1992 Thomas R. Holtz followed this interpretation and suggested the metatarsus could have been arctometatarsalian and was just disarticulated as preserved. Supporting an arctometatarsalian condition, Currie and David A. Eberth in 1993 claimed that part of the Archaeornithomimus (an ornithomimosaur from the nearby Iren Dabasu Formation) material belonged to Garudimimus based on the assumed arctometatarsalian condition, presence of the vestigial digit I and the proportions of metatarsals II, III, and IV. They pointed out that the metatarsals are crushed and metatarsal III is set back from the extensor surface of metatarsus. In 1994 Holtz suggested some similarities between the metatarsus of Garudimimus and Chirostenotes. In 1994, Bernardino P. Pérez-Moreno with colleagues described the primitive ornithomimosaur Pelecanimimus and identified the presence of a crest in the holotype specimen. They claimed a similar trait in Garudimimus which was represented by a nasal horn. In a comprehensive redescription in 2005 at the hands of Yoshitsugu Kobayashi and Barsbold, numerous of the previous statements were refuted. The supposed orbital horn is actually the disarticulated left prefrontal bone and verified that the metatarsus did not suffer taphonomical (changes during decay and fossilisation) distortion and is non-arctometatarsalian. Moreover, Kobayashi previously showed that in addition to actually lacking an arctometatarsalian condition, the metatarsal ratios are different to Archaeornithomimus.

Although Garudimimus is solely known from MPC-D 100/13, additional specimens may potentially be present among a large bonebed composed of at least five individuals in Bayshi Tsav and several undescribed ornithomimosaurs from other localities in the Bayan Shireh Formation.

Description
Garudimimus (based on the holotype specimen) is estimated to have been around 3.5 m weighing approximately 77.3 - 98 kg. Several unfused vertebrae indicates that the holotype was likely a still-growing sub-adult animal. Some of the distinguishing traits of this taxon include the jaw articulation positioned more backwards than the postorbital bar (arched bone around the orbit, also referred as the ), depressions on the upper surface of the supraoccipital at the back of the skull, paired depressions on the lateral surfaces of the neural spines of the anterior caudal vertebrae, and a deep groove at the upper end of lateral surface of pedal phalanges III-1 and III-2 (first and second phalanxes of the third digit of the foot).

Based on feather impressions of several specimens of Ornithomimus, Garudimimus likely developed a shaggy feathering mostly similar to that of large paleognath birds such as ratites.

Skull
Garudimimus had a rather small skull in proportion to the overall skeleton, and both jaws were edentulous (devoid of teeth). The skull was about 25 cm long with a width of 4.6 cm. The eye socket was a large cavity with a height of 6.1 cm wide. The radius of the sclerotic ring (bony plates that support the eyeball) was approximately 2.86 cm long inside and 4.12 cm outside. The breadth of each plate was about 0.8 cm. The (an opening behind the eye socket) had an irregular, nearly oval-shaped. In front of the eye socket there was the, a large and rather irregular opening. The was an elongated bone and had a roughened lateral surface, which was common in ornithomimosaurs. Both promaxillary and maxillary fenestrae (small openings in the maxilla) were poorly developed—almost absent—in Garudimimus. The bottom edges of the were thin and sharply-developed. On the lateral sides of this bone, numerous foramina (small holes) were located, a trait more characteristic of derived ornithomimids. The edentulous condition of both premaxilla and dentary with the addition of numerous foramina in their surfaces, indicate that a prominent (horny beak) was present in life. The nostrils were moderately long and turned upwards. They were surrounded and mainly formed by the, which had a narrow end that extended up above the eye sockets. The was semi T-shaped and located in front of the eye. The was a thin and delicate bone that contributed to the overall shape of the eye socket. In a top view, the were triangular and formed the upper borders of the eye socket. Both frontals together formed a single dome-like structure. The posterior border of the eye socket was formed by the, which was a sharply-developed bone of well-distributed thickness in lateral view. The had a triangular main body with very thin-walled processes (bony extensions); it also gave form to the lower border of the eye socket. The was a large and triangular-shaped bone, contrasting with the L-shaped quadratojugal of most ornithomimosaurs. On its posterior surface, the had a large, oval-shaped depression positioned at its mid-height. A small pneumatic foramen (hole) was also present in the bottom area of the depression. The was the longest mandibular element measuring 18.3 cm long and was thickened towards the end. The front of both dentaries was shovel-like and had well-developed cutting edges. Numerous foramina were developed on the lateral surfaces of the dentary tip. The was the second large mandibular element and formed the upper border of the  (a hole in the lower jaw). Compared to the two latter bones, the was much smaller and formed the lower border of this fenestra.

Postcranial skeleton
The complete vertebral column of Garudimimus is not known. The intercentrum and of the  were downwards-directed. The central length of the was rather short, measuring approximately 3 cm long and 1.8 cm high—probably a primitive condition in ornithomimosaurs. Its posterior articular surface was concave and taller than wide. Its was tall and very rounded, and its neural arch had a pneumatic fossa (depression) at the mid-length of its  (body). The neural spines of most were narrow and directed towards the end. The progressively increased in size towards the end and along with the size, the neural spines became progressively taller in posterior dorsals with nearly equal lengths. In a lateral view, all spines were slightly inclined towards the end. The dorsal centra lacked pneumatization and were larger in more posterior vertebrae, having amphicoelous (strongly concave) facets. The was composed of six sacral vertebrae of which the first and sixth had sacral ribs attached to the inner surface of the ilium. The total length of the sacrum (31 cm) was nearly equal to that of the ilium. Most sacral centra were roughly equal in length except for the fourth one. Unlike other ornithomimosaurs, the sacral vertebrae lacked pneumatization (air-spaced). The neural spines became progressively shorter and had straight and horizontal top borders. The caudal vertebrae had paired projections on either side of the sulci (fissures) for the chevron articulation. Putative large foramen and deep fossae (depressions) were present on the anterior neural arches, which may indicate caudal pneumaticity in Garudimimus. The had a short tuberculum (upper head) and long capitulum (lower head), and the  (belly ribs) were segmented into lateral and inner parts. Most sacral ribs were poorly developed. The was formed by the ilium, pubis, and. Though the latter is unknown in Garudimimus. The was a large bone—yet short compared to ornithomimids—with a hook-shaped anterior end. The was a large element measuring 39 cm in length. It had a nearly straight shaft and a prominent pubic boot (large projection at the end). The was relatively straight and had a length of 37.1 cm. It had a well-developed femoral head and a sideways flattened shaft. Both and  were nearly equal in length to the femur (36 cm and 38.8 cm respectively). The tibia was more flattened than other limb elements and the shaft was very thin. The and  were attached to the lower sides of the tibia.

In the (foot) formula, Garudimimus strongly differed from the ornithomimid condition by having five. The first metatarsal was the smallest element of the and had a more flattened and pinched shape. The second and fourth metatarsals were subequal in length, and the third metatarsal was the longest (22.9 cm long). The latter was not pinched at its upper end, therefore indicating a non-arctometatarsalian condition in Garudimimus. This trait is partially shared with the large Beishanlong and Deinocheirus. The fifth metatarsal was a very reduced and thin element that had no functional significance and was attached to the posterior surface of the fourth metatarsal. The feet had four primitive (toes) with the first being the smallest. Most were very similar in shape being expanded in their anterior and posterior ends with rounded lateral condyles, and had concave anterior articular surfaces. They become progressively shorter from the second to the fourth digit. Pedal (claw bones) had a recurved shape that differed from the straight shape in ornithomimids, and prominent flexor tubercles (flexor tendons attachments).

Classification
In 1981, Barsbold assigned Garudimimus to a separate Garudimimidae given the unusual traits in the taxon. However, he identified these as clearly primitive. With the redescription of the holotype in 2005, more diagnostic characters for Garudimimus were provided. Kobayashi and Barsbold noted that this taxon shared traits with primitive and derived ornithomimosaurs such as four-toed feet and toothless jaws. Their phylogenetic analysis recovered Ornithomimidae as the sister taxon of Garudimimus. In 2014, new and fairly complete specimens of the long-enigmatic Deinocheirus were described by Yuong-Nam Lee and colleagues. The remains showed that Deinocheirus was in fact an ornithomimosaur taxon—but aberrantly different—and also allowed to define the older Deinocheiridae as the family including all taxa sharing a more recent common ancestor with Deinocheirus than with Ornithomimus. Lee and team performed a large phylogenetic analysis for the Deinocheiridae and the three members were found in this grouping: Beishanlong, Garudimimus and Deinocheirus. Their relationships were mainly represented by various anatomical features in the limbs, but the latter two were strongly related as they both have skull and body remains. The resulting cladogram suggested that ornithomimosaurian dinosaurs diverged into two major lineages in the Early Cretaceous: Deinocheiridae and Ornithomimidae. Unlike the fast-running ornithomimids, deinocheirids were not built for running. The anatomical traits of Deinocheirus compared to other ornithomimosaurs can be explained by the notable large sizes achieved in this taxon.

More recently, in 2019 Hartman and colleagues described the new paravian Hesperornithoides performing an extensive phylogenetic analysis for the Coelurosauria. In the case of ornithomimosaurs, the Garudimimidae was recovered as a family containing Garudimimus and close relatives. Garudimimus was recovered in a rather derived position as the sister taxon of Beishanlong. This analysis found close relationship between Deinocheirus and Garudimimus to be unlikely, with the former recovered at the near base of Ornithomimosauria.

Left cladogram per Lee and colleagues in 2014, right cladogram per Hartman and colleagues in 2019:

In 2020, Serrano-Brañas and team described and named the new deinocheirid genus Paraxenisaurus from the Cerro del Pueblo Formation. This is the first member of the group to be found outside Asia and its discovery could indicate that deinocheirids originated in Laurasia (northern supercontinent during the Mesozoic) or that they dispersed across polar regions in the Northern Hemisphere; a similar interchange is also known to have occurred in other dinosaur groups with Asian affinities during the Campanian-Maastrichtian ages. The team found Harpymimus to be a rather primitive deinocheirid, however, Beishanlong was placed outside the group. Garudimimus and Deinocheirus were recovered again as closely related taxa with the addition of Paraxenisaurus in a polytomy.

Daily activity
Limb proportions, pedal unguals morphology and the extension of the ilium of Garudimimus suggest that it was not adapted for speed as in the more cursorial ornithomimids, which are characterized by powerful thighs and straight unguals. In 2011, Lars Schmitz and Ryosuke Motani measured the dimensions of the sclerotic ring and eye socket in fossil specimens of dinosaurs and pterosaurs, as well as some living species. They noted that whereas diurnal (photopic) animals have smaller sclerotic rings, nocturnal (scotopic) animals tend to have more enlarged rings. Cathemeral (mesopic) animals—which are irregularly active throughout the day and night—are between these two ranges. Schmitz and Motani separated ecological and phylogenetic factors and by examining 164 living species, they noticed that eye measurements are quite accurate when inferring diurnality, cathemerality, or nocturnality in tetrapods. The results indicated that Garudimimus was a cathemeral herbivore with other predatory theropods being mainly nocturnal. Large herbivorous dinosaurs were found to have been cathemeral most likely because of the extended amounts of time during foraging and thermoregulation factors. Birds and pterosaurs were mostly diurnal with some nocturnal exceptions. They concluded that the ecological niche was a main driver in the development of diel activity.

However, this analysis was criticized in the same year by Hall and colleagues arguing against the methods employed by Schmitz and Motani in that there is a considerable degree of similarities on scleral anatomy between diurnal, cathemeral and nocturnal animals. Moreover, soft tissues like the cornea are essential in figuring out how much light can enter the eye, which is clearly absent in fossil specimens. Schmitz and Motani made a response to this comment affirming their research and methodology properly categorized extinct dinosaur behaviors based on extant species. They cited the exterior border of the scleral ring as a reliable source when reconstructing visual capabilities.

Senses
In 2019, Graham M. Hughes and John A. Finarelli analyzed the olfactory bulb ratio in modern birds and preserved skulls of several extinct dinosaur species to predict how many genes would have been involved in the olfactory strength of these extinct species. Their analysis found that most ornithomimosaurs had relatively weak senses of smell; Garudimimus had roughly 417 genes encoding its olfactory receptors and an olfactory bulb ratio of 28.8, indicating a poorly developed sense of smell. Given that these values were more pronounced in larger dinosaur species, such as tyrannosaurids, Hughes and Finarelli pointed out that as dinosaurian lineages became larger, the size of the olfactory bulb also increased, which may suggest olfaction as the dominant sensory modality in non-avian dinosaurs.

Feeding habits
Kobayashi and Barsbold stated in 2005 that the absence of dentition on the lower jaw and the recurved shape of the same indicates that Garudimimus was fairly more similar to ornithomimids when consuming food than to other primitive ornithomimosaurs. Like ornithomimids, the anterior parts of the upper and lower jaws of Garudimimus were both covered by a beak and may have been used for plucking food. In addition, the sharp edges on the middle portions of the jaws helped for cutting food. Moreover, Garudimimus and kin are widely regarded as herbivore or at least omnivore dinosaurs by their peculiar anatomical traits—including the presence of a beak.

In 2015, Andrew R. Cuff and Emily J. Rayfield performed CT scans on taphonomically distorted specimen skulls of Garudimimus, Ornithomimus and Struthiomimus in order to be retrodeformed—a method used to produce the original state of a deformed object. The scans and relatively completeness of the specimens allowed the reconstruction of the adductor (motion-inducing) musculature of the lower jaw, which was then mapped onto the skulls. Additionally, the extent of the rhamphotheca (beak) was reconstructed into small—based on a ratite bird, the ostrich—and large morphs. Among the three genera studied, Garudimimus had the most reduced bite force, found to produce 19 N at the tip of the beak and 23.9 N at the mid-length of the same. However, this taxon had the most modified muscle mechanical advantage and moment arm—a measure of the effectiveness of a muscle at contributing to a particular motion over a range of configurations. With this consideration, the most significant muscular difference between Garudimimus and the two ornithomimids was found in that most muscles are more mechanically advantageous in the latter two; this is likely caused due to the longer skull in Garudimimus. Cuff and Rayfield pointed out that the bite force of Garudimimus may be limited for having to use the mandible of Struthiomimus in the reconstructions or that MPC-D 100/13 is a sub-adult individual. Tentatively, they agreed in that relatively low bite forces combined with a rhamphotheca could be used to hold plant material during feeding in ornithomimosaurs, all of this whilst neck musculature provided enough force to pluck away vegetation. In 2019, David J. Button and Lindsay E. Zanno performed a large phylogenetic analysis based on skull biomechanical characters—provided by 160 Mesozoic dinosaur species—to analyze the multiple emergences of herbivory among non-avian dinosaurs. Their results found that herbivorous dinosaurs mainly followed two distinct modes of feeding, either processing food in the gut—characterized by relatively gracile skulls and low bite forces—or the mouth, which was characterized by features associated with extensive processing such as high bite forces and robust jaw musculature. Garudimimus and Deinocheirus, along with caenagnathid, diplodocoid, ornithomimid, therizinosaurid and titanosaur dinosaurs, were found to be in the former category, indicating that Garudimimus had indeed low bite forces and relied mostly on its stomach to process food. Large body sizes were achieved independently in deinocheirids and ornithomimids, and larger sizes offer advantages to herbivore animals, such as increased resistance to fasting and more ingestion. Hence, these habits may indicate a more herbivorous life-style in deinocheirids and ornithomimids. However, Button and Zanno pointed out that the relationship between herbivory and size is not always related and there is no lineal trend of increasing mass in ornithomimosaurs. Furthermore, specific niches were poorly exploited for most ornithomimosaurian dinosaurs with only Deinocheirus showing an opportunistic omnivory. Button and Zanno concluded that feeding strategies convergently evolved in unrelated herbivorous dinosaurs over the time.

During the same year, Ali Nabavizadeh studied the jaw musculature in herbivorous dinosaurs and concluded that some were primarily orthal feeders—moving their jaws up and down—including theropods, sauropodomorphs, primitive ornithischians, and some stegosaurs. Nabavizadeh noted that ornithomimosaurs were orthal feeders and raised their jaws isognathously whereby the upper and lower teeth of each side occluded (contacted each other) at once. Deinocheirus and Garudimimus have unique attachment sites for the muscles that open and close the jaws, which are composed by a downwards-expanded, triangular adductor musculature complex attaching to a forwards expanding surangular bone. This, working together with a flared jugal flange, allows more cavity for the adductor muscle. With such elongate snout, the bite forces of both deinocheirids were low with reduced mechanical advantage, however, if this muscle extended farther forwards then this would have added strength to the temporal muscle.

Paleoenvironment
The known remains of Garudimimus were unearthed from the Late Cretaceous Bayan Shireh Formation at the Bayshi Tsav locality. This formation is mainly composed by claystones and sandstones with concretions and characterized by mudstones and yellowish-brown medium grained sandstones. The presence of caliche, fluvial and lacustrine sedimentation at various localities indicates that this formation was deposited by meandering rivers and other large water bodies on an alluvial plain (flat land consisting of sediments deposited by highland rivers) under a semi-arid climate. Bayshi Tsav itself, is interpreted to have been deposited under fluvial environments. Using calcite U–Pb measurements, the age of the Bayan Shireh Formation has been dated from about 95.9 ± 6.0 million to 89.6 ± 4.0 million years ago during the Cenomanian-Santonian stages.

Numerous scale-like cross-stratifications at the Baynshire locality are indicators of large meanders, and the vast majority of these water bodies may have drained the eastern part of the Gobi Desert. These humid environments are further supported by the discovery of aquatic reptiles like turtles and crocodylomorphs, and ostracods. Based on the similar fossil assemblages, a correlation between the Bayan Shireh and Iren Dabasu formations has been proposed by numerous authors. Furthermore, the Iren Dabasu Formation has been dated about 95.8 ± 6.2 million years ago.

Garudimimus shared its habitat with multiple dinosaurian fauna, such as the herbivorous ornithischians Gobihadros, Graciliceratops and Talarurus. Other theropods are represented by the predator of medium-sized prey Achillobator, and the therizinosaurids Erlikosaurus and Segnosaurus. Erketu may have been the tallest herbivore within the fauna. Several species were separated by niche differentiation, such as Erlikosaurus and the large Segnosaurus, or the grazer Talarurus and browser Tsagantegia, another ankylosaurid from the formation. In terms of biodiversity, therizinosaurs were some of the most abundant theropods with multiple described and undescribed specimens across the formation. However, hadrosauroid remains—particularly at Baynshire—are also abundant and well-reported. Though Garudimimus is currently the only ornithomimosaur taxon named, the Bayan Shireh Formation has produced locally abundant ornithomimosaurs at Bayshi Tsav.

title: Garudimimus


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Virtual earth

Virtual earth may refer to:

 * Virtual ground - a node of an electrical circuit that is maintained at a steady reference potential, without being connected directly to the reference potential.
 * Microsoft Virtual Earth - a technology framework used in interactive online mapping applications such as Live Search Maps.

Virtual Earth may refer to:

 * Tiktoker - @jkalinna1 viral tiktok creator on the TikTok platform of social media network.

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NOTICE
The following is my sandbox for experimenting with a few ideas for the myth article. Anyone is welcome to leave any comments or proposed changes in the Comments section below. Since this my own userpage, any changes to the text itself will be reverted if I do not like them. JHCC (talk) 04:44, 31 December 2005 (UTC)

Etymology and usage
The English word Myth carries a number of different meanings, which bear close examination. The ancient Greek Μυθος originally meant simply word or speech, and by extension, a story or narrative. This quickly took on the sense of fiction, and both Pindar (d. 443 BC) and Plato (d. ca. 347 BC) contrast Μυθος with Λογος as "historical truth." Most ancient usages of Μυθος are specifically as fiction; see here for details in the Liddell-Scott-Jones Greek-English Lexicon entry on Μυθος.

The English language has retained this early usage as myth as fiction. The 1961 Oxford English Dictionary defines myth primarily as:
 * A purely fictitious narrative usually involving supernatural persons, actions, or events, and embodying some popular idea concerning natural or historical phenomena. Properly distinguished from allegory and from legend (which implies a nucleus of fact) but often used vaguely to include any narrative having fictitious elements. (Volume VI, p. 818)

More recent dictionaries also include this sense:
 * An unfounded or false notion (Merriam Webster Online)

 * A fiction or half-truth, especially one that forms part of an ideology and A fictitious story, person, or thing (both from the American Heritage Dictionary, Fourth Edition)

With the development of Mythology as the academic study of myths (as opposed to simply a body of myths or their telling), Myth has taken on a wider meaning. Since many — indeed, most — ancient myths "embody some popular idea concerning natural or historical phenomena" and particularly the origin (often supernatural) and meaning (often religious) of those phenomena, myth has come to describe any traditional narrative that embodies religious or cultural meaning, especially in reference to a particular community's worldview or cultural identity. Thus, the traditional stories that different religions use to describe the origins of the world would be considered examples of a creation myth.

Initially, academic usage of myth and mythology was restricted to ancient (often obsolete) religions and to the so-called "primative" religions of non-Christian and non-European peoples. In this usage, there may have been an element of cultural and religious bias, an implied prejudice that these beliefs were necessarily false. The earliest usage of myth as "a fictional narrative" would certainly have contributed to this implication. However, in time, growing respect for non-European and non-Christian traditions, objection by practitioners of those religions to the implication that their beliefs were false, and the expanded application of "myth" and "mythology" to all religions led to the gradual elimination of the notion of "falsity" in the academic sense of "myth". In this sense, myth is understood simply as a type of narrative, with no implications of whether it is true or false. Indeed, this sense has proved so useful that it has been further expanded to also include stories that carry secular meaning and that do not necessarily have any supernatural content. Thus, stories describing the beginnings of a local community or nation would be examples of a founding myth or a national myth.

This later academic usage has become more and more common, to some extent displacing the earlier meaning of "myth equals fiction." This is reflected in the change in the OED entry; the Concise Oxford English Dictionary (Tenth Edition) defines myth primarily thus:
 * 1 a traditional story concerning the early history of a people or explaining a natural or social phenomenon, and typically involving supernatural beings or events.
 * 2 a widely held but false belief. > a fictitious person or thing. > an exaggerated or idealized conception of a person or thing.

Thus, the earlier meaning of "myth equals fiction" has not disappeared and remains both current and common in everyday usage. This often causes confusion when it is not clear whether the common usage or the academic usage is intended. Academics may unintentionally cause offense by seeming to imply falsehood in religious belief, and denying the "truth-neutral" nature of the academic usage misses the point of a useful academic categorization. Of course, individual motivations vary, and a particular academic may indeed wish to exploit the ambiguity of myth to imply that particular belief is false. Nonetheless, it is advisable to tread carefully when using myth and mythology and to make clear which sense is intended.

SJ
MYTHOLOGY 1 n.s. [ mu&qoj and lo&goj mythologie, French.] System of fables; explication of the fabulous history of the gods of the heathen world. The modesty of mythology deserves to be commended: the scenes there are laid at a distance; it is once upon a time, in the days of yore, and in the land of Utopia. Bentley. MYTHOLOGY 4 n.s. [ mu&qoj and lo&goj mythologie, French.] System of fables; explication of the fabulous history of the gods of the heathen world. The modesty of mythology deserves to be commended: the scenes there are laid at a distance; it is once upon a time, in the days of yore, and in the land of Utopia. Bentley.

FABLE 1 n.s. [fable, French; fabula, Latin.] 1. A feigned story intended to enforce some moral precept. Jotham's fable of the bees is the oldest extant, and as beautiful as any made since. Addison's Spectator. 2. A fiction in general. Triptolemus, so sung the nine, Strew'd plenty from his cart divine; But, spite of all those fable makers, He never sow'd on Almaign acres. Dryden. 3. A vitious or foolish fiction. But refuse profane and old wives fables. Bible 1 Tim. 4. The series or contexture of events which constitute a poem epick or dramatick. The moral is the first business of the poet: this being formed, he contrives such a design or fable as may be most suitable to the moral. Dryden's Dufresnoy. The first thing to be considered in an epick poem is the fable, which is perfect or imperfect, according as the action, which it relates, is more or less so. Addison's Spectator. 5. A lye. This sense is merely familiar. FABLE 1 v.n. [from the noun.] 1. To feign; to write not truth but fiction. That Saturn's sons receiv'd the three-fold reign Of heav'n, of ocean, and deep hell beneath, Old poets mention, fabling. Prior. Vain now the tales which fabling poets tell, That wav'ring conquest still desires to rove! In Marlbro's camp the goddess knows to dwell. Prior. 2. To tell falshoods; to lye. He fables not: I hear the enemy. Shakesp. Henry VI. FABLE 1 v.a. To feign; to tell of falsety. We mean to win, Or turn this heav'n itself into the hell Thou fablest. Milton's Paradise Lost, Ladies of th' Hesperides, that seem'd Fairer than feign'd of old, or fabl'd since Of fairy damsels met in forest wide, By knights. Milton's Parad. Lost. FABLE 4 n.s. [fable, French; fabula, Latin.] 1. A feigned story intended to enforce some moral precept. Jotham's fable of the trees is the oldest extant, and as beautiful as any made since. Addison's Spectator. 2. A fiction in general. Triptolemus, so sung the nine, Strew'd plenty from his cart divine; But, spite of all those fable makers, He never sow'd in Almaign acres. Dryden.

Reverts
language cleanup, but removed useful definition

myth
Myth (Greek Μυθος, a narrative) has a number of different senses in English, most of which relate to the primary meaning of a story.

Definition
In common usage, a myth is a

1. A story of great but unknown age which originally embodied a belief regarding some fact or phenomenon of experience, and in which often the forces of nature and of the soul are personified; an ancient legend of a god, a hero, the origin of a race, etc.; a wonder story of prehistoric origin; a popular fable which is, or has been, received as historical.

2. A person or thing existing only in imagination, or whose actual existence is not verifiable.

(Webster's 1913)

1 a traditional story concerning the early history of a people or explaining a natural or social phenomenon, typically involving the supernatural.

2 a widely held but false belief.

3 a fictitious person or thing.

(Compact OED)

1a. A traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that serves as a fundamental type in the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, customs, or ideals of society: the myth of Eros and Psyche; a creation myth. b. Such stories considered as a group: the realm of myth.

2. A popular belief or story that has become associated with a person, institution, or occurrence, especially one considered to illustrate a cultural ideal: a star whose fame turned her into a myth; the pioneer myth of suburbia.

3. A fiction or half-truth, especially one that forms part of an ideology.

4. A fictitious story, person, or thing: “German artillery superiority on the Western Front was a myth” (Leon Wolff). (AHD)

Samuel Johnson's dictionary defines "mythology" as "System of fables; explication of the fabulous history of the gods of the heathen world." and fable as "1. A feigned story intended to enforce some moral precept. 2. A fiction in general."

Controversy
(or some such) — to neutrally describe the issues arising from the application of different senses of "myth", especially in reference to religious beliefs.

Myth as opposed to fable
Carries moral lesson. Never believed to be true. Shares pejorative sense of "falsehood" or fiction"

Myth as opposed to legend
Specifically historical. Contrast in 1961 OED.

title: User:JHCC/Sandbox


text: Talk:List of NHL players (H)

title: Talk:List of NHL players (H)


text:
Penguin Classics

Penguin Classics is an imprint of Penguin Books under which classic works of literature are published in English, Spanish, Portuguese, and Korean among other languages. Literary critics see books in this series as important members of the Western canon, though many titles are translated or of non-Western origin; indeed, the series for decades since its creation included only translations, until it eventually incorporated the Penguin English Library imprint in 1986. The first Penguin Classic was E. V. Rieu's translation of The Odyssey, published in 1946, and Rieu went on to become general editor of the series. Rieu sought out literary novelists such as Robert Graves and Dorothy Sayers as translators, believing they would avoid "the archaic flavour and the foreign idiom that renders many existing translations repellent to modern taste".

In 1964 Betty Radice and Robert Baldick succeeded Rieu as joint editors, with Radice becoming sole editor in 1974 and serving as an editor for 21 years. As editor, Radice argued for the place of scholarship in popular editions, and modified the earlier Penguin convention of the plain text, adding line references, bibliographies, maps, explanatory notes and indexes. She broadened the canon of the 'Classics', and encouraged and diversified their readership while upholding academic standards.

Design
Penguin Books paid particular attention to the design of its books, recruiting German typographer Jan Tschichold in 1947. The early minimalist designs were modernised by Italian art director Germano Facetti, who joined Penguin in 1961. The new classics were known as "Black Classics" for their black covers, which also featured artwork appropriate to the topic and period of the work. This design was revised in 1985 to have pale yellow covers with a black spine, colour-coded with a small mark to indicate language and period (red for English, purple for ancient Latin and Greek, yellow for medieval and continental European languages, and green for other languages).

In 2002, Penguin redesigned its entire catalogue. The redesign restored the black cover, adding a white stripe and orange lettering. The text page design was also overhauled to follow a more closely prescribed template, allowing for faster copyediting and typesetting, but reducing the options for individual design variations suggested by a text's structure or historical context (for example, in the choice of text typeface). Prior to 2002, the text page typography of each book in the Classics series had been overseen by a team of in-house designers; this department was drastically reduced in 2003 as part of the production cost reductions. The in-house text design department still exists, albeit much smaller than formerly. Recent design work includes the Penguin Little Black Classic series, which was released in 2015.

Penguin Classics collaborated with Bill Amberg in 2008 in the design of six books (A Room with a View, Breakfast at Tiffany's, The Big Sleep, The Great Gatsby, Brideshead Revisited, and The Picture of Dorian Gray).

Series
Within the broader category of Classics, Penguin has issued specialized series with their own designs. These include:

 * Penguin Nature Classics, issued from 1987 onwards, with authors such as Peter Matthiessen, Mary Austin, Henry David Thoreau, and John Muir.
 * Penguin Modern Classics, issued from 1961 onwards, with authors such as Truman Capote, James Joyce, George Orwell, Vladimir Nabokov, and Antoine de Saint-Exupéry. Some titles come with critical apparatus. The series has gone through a number of redesigns, the most recent being in June 2017: see here here, and here.
 * The series was renamed Penguin 20th Century Classics in May 1989, but reverted to its old name in February 2000. 20th Century Classics feature full-page front cover art, with a light blue-green/eau de nil rear cover and spine.
 * Penguin Enriched Classics, issued, such as Adventures of Huckleberry Finn, Pride and Prejudice, The Scarlet Letter, and A Tale of Two Cities
 * Penguin Popular Classics, issued in 1994, are paperback editions of texts under the Classics imprints. They were a response to Wordsworth Classics, a series of very cheap reprints which imitated Penguin in using black as its signature color.
 * Penguin Classics Deluxe Edition, issued from 1997 onward, are paperback editions of texts with matte paper covers, French flaps, deckled page edges and cover art often illustrated by renowned comic artists.
 * Penguin Designer Classics, issued in 2007, is a set of five limited-edition books, with covers created by fashion designers to commemorate the series' 60th Anniversary
 * Penguin Mini Modern Classics, issued in 2011, is an assortment of fifty pocket-sized books from fifty different authors such as Franz Kafka, Italo Calvino, E. M. Forster, Virginia Woolf and Stefan Zweig. It has been released to celebrate the 50th Anniversary of the Penguin Modern Classics. It is currently out of print.
 * Penguin Little Black Classics, issued in 2015 a series of pocket-sized classics introduced to celebrate the 80th anniversary of Penguin Books.
 * Pocket Penguins, issued in 2016. The series echoes the style of the original Penguin Books, with smaller A-format size, and tri-band design.
 * The first 20 books were released in May 2016, and described by publishing director Simon Winder as "a mix of the famous and the unjustly overlooked".

 * Penguin Clothbound Classics

 * Penguin Crime & Espionage, issued in 2023. An initial series of 10 paperback books

60th Anniversary
In 2007, Penguin Classics released a set of five books limited to 1,000 copies each, known as the Designer Classics. Each book was specially designed to celebrate Penguin Classics' Diamond Anniversary:

 * The cover for Crime and Punishment was created by graphic designers Stephen Sorrell and Damon Murray of Fuel, who used Cyrillic and English type. Stephen explains: "This visual device echoes the mind games in the head of Raskolnikov as he battles with his voice of conscience. We want the design to form the shape and feel of the book as a whole not just its cover." They have screen printed the cover on the same brown craft paper used for the text. The book has a Perspex slipcase.
 * The Idiot was designed by industrial designer Ron Arad and has no cover, so the reader will pick it up and read the author's first words. It is stripped back to show the glue and thread in the spine, which is visible through an acrylic slipcase (with a lid) with a Fresnel lens, so the text appears to move as the lid is removed. Arad explains: "By not wanting to have a cover, it ended with the book becoming an amazing object that is alive, but which maintains its transparency. It became a glorious box with a book inside—almost like a monument."
 * The cover for Lady Chatterley's Lover was created by fashion designer Paul Smith.
 * The cover for Madame Bovary was designed by fashion designer Manolo Blahnik. The jacket features Blahnik's original painting of Emma with her lover, and the book is protected by a Perspex slipcase. He said: "I wanted to come up with something light, sensual... something frivolous, because this is a novel about the dangers of frivolity. And I wanted something sexy too, cheeky. I usually focus on one part of the foot—the shoe. For this project, I had to consider a whole scene, there had to be a context, which is new for me. But I managed to sneak in a pair of shoes anyway. She wore good shoes."
 * The cover for Tender Is the Night was designed by English filmmaker, photographer, and visual artist Sam Taylor-Wood, who used an ethereal black-and-white photograph printed onto tracing paper. An elegant, barefoot young man stands with his hands in his pocket, perfectly summing up the elegance and fragility of Nicole and Dick Diver's world. The book is wrapped in a cloth hardcover and has a Perspex slipcase.

In the public eye
In 2013, Penguin Classics published Morrissey's Autobiography. Concerns arose about the imprint's publishing a book too recently published to be an acknowledged classic, that such a book diluted the brand. Penguin argued that the autobiography was "a classic in the making". The Independent's Boyd Tonkin wrote: "The droning narcissism of the [book] may harm [Morrissey's] name a little. It ruins that of his publisher... Morrissey will survive his unearned elevation. I doubt that the reputation of Penguin Classics will."

Penguin Classics sold well during the 2019-2021 coronavirus pandemic when citizens in many countries, forced into lockdown as a preventive measure, found solace in books.

title: Penguin Classics


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User talk:SuperBas

Welcome to Wikipedia!
Hello, welcome to Wikipedia!

I noticed nobody had said hi yet... Hi!

You might like some of these links and tips:
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If you feel a change is needed, feel free to make it yourself! Wikipedia is a wiki, so anyone (yourself included) can edit any article by following the  link. Wikipedia convention is to be bold and not be afraid of making mistakes. If you're not sure how editing works, have a look at How to edit a page, or try out the Sandbox to test your editing skills.

If, for some reason, you are unable to fix a problem yourself, feel free to ask someone else to do it. Wikipedia has a vibrant community of contributors who have a wide range of skills and specialties, and many of them would be glad to help. As well as the wiki community pages there are IRC Channels, where you are more than welcome to ask for assistance.

If you have any questions, feel free to ask me on my talk page. Thanks and happy editing, Alf 17:28, 2 September 2005 (UTC).

Hymen 18:33, 12 February 2007 (UTC)
Please do not upload nonsensical images to Wikipedia for the purpose of vandalism, as you did with for Hymen. Robotman1974 18:33, 12 February 2007 (UTC)

title: User talk:SuperBas


text: Talk:List of NHL players (I)

title: Talk:List of NHL players (I)


text:
Talk:Calalzo di Cadore

Hi!

Do not delete! I am the author of the Italian edition of this page (compare the IP). I authorize for the translation. Thank you!

 * It is en Wikpedia policy to not allow untranslated cut-pastes from other Wikipedias. See WP:CSD. I don't know what the article is about, as I don't read Italian, but I am sure it would be welcome if it was translated. Thue | talk 18:23, 2 September 2005 (UTC)

title: Talk:Calalzo di Cadore


text: Talk:List of NHL players (J)

title: Talk:List of NHL players (J)


text:
User:Henrin

Articles I have started:

Weapons

 * Shashka
 * Kindjal
 * Nagyka

title: User:Henrin


text: User talk:68.97.116.155

title: User talk:68.97.116.155


text: Talk:List of NHL players (K)

title: Talk:List of NHL players (K)


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Giorgio Ronconi

Giorgio Ronconi (6 August 1810 – 8 January 1890) was an Italian operatic baritone celebrated for his brilliant acting and compelling stage presence. In 1842, he created the title-role in Giuseppe Verdi's Nabucco at La Scala, Milan.

Personal life
Ronconi was born in Milan and had been taught to sing by his father, Domenico Ronconi, who was a leading tenor.

He married soprano Elguerra Giannoni on 8 October 1837 in Naples, Kingdom of the Two Sicilies. By some accounts Giannoni had sung with some success at the Lyceum Theatre and at the King's Theatre in London. However, Harold Rosenthal has written: "This lady, who failed on virtually every opera stage in Europe, was considered a good concert-room singer only, but so indispensable was her husband to any Italian company that willy-nilly she had to be engaged as well."

In his later years, Ronconi founded a school of singing at Granada in Spain and also accepted a professorial post at the Madrid Royal Conservatory. Ronconi died in Madrid, aged 79.

Career in opera
He made his operatic debut at Pavia in 1831, as Valdeburgo in Bellini's La straniera, and went on to sing at the Teatro alla Scala and elsewhere in Italy.

In the 1830s and 1840s, he appeared in the first performances of seven operas by Donizetti:
 * 1833, as Cardenio in Il furioso all'isola di San Domingo;
 * 1833, in the title role in Torquato Tasso;
 * 1836, as Enrico in Il campanello;
 * 1837, as Nello Dello Pietra in Pia de' Tolomei;
 * 1838, as Corrado Waldorf in Maria de Rudenz;
 * 1841, as Don Pedro in Maria Padilla; and
 * 1843, as Enrico, Duke of Chevreuse, in Maria di Rohan.

In 1842, Ronconi appeared for the first time in London, at Her Majesty's Theatre, performing the part of Henry Ashton in Donizetti's Lucia di Lammermoor. Ronconi's success with audiences outside Italy was immediate, and he continued to be one of the most popular and influential operatic artists in Europe until the early 1870s, when he retired. For instance, from 1847 and until 1866, he appeared at London's Theatre Royal, Covent Garden, in the second and third of the three theatres on that site (now known as the Royal Opera House.) Vienna heard him in 1843 and he sang in St Petersburg between 1850 and 1860 and New York City from 1866 to 1872.

Assessment and legacy
The Encyclopædia Britannica Eleventh Edition offers the following assessment of Ronconi: His voice was neither extensive in compass nor fine in quality, but the genius of his acting and the strength of his personality atoned for his vocal defects. He was equally at home in comedy and tragedy, and the two parts by which he is best remembered, Rigoletto and Figaro, show conclusively the range of his talent. The two roles cited are the title character in Giuseppe Verdi's Rigoletto and the central character of Gioachino Rossini's The Barber of Seville.

A large section is devoted to descriptions of Ronconi's powers in the critic Henry Fothergill Chorley's Recollections of 1862.

Another celebrated 19th century baritone, Sir Charles Santley, recorded in his 1892 memoirs the following anecdote about Ronconi:
 * The word libertà ("freedom") was expunged from the Italian stage-vocabulary by the [occupying] Austrians. Singing in the duet "Suoni la tromba" in I Puritani on one occasion, Ronconi gave the words gridando libertà ("crying Liberty!") with such vigour and emphasis that the audience was excited to the pitch of frenzy, and a great commotion ensued. Next morning he received a reprimand for using the prohibited word, accompanied by a request to use the word lealtà ("loyalty") on future occasions in its stead. Shortly after, playing Il Sergente in L'elisir d'amore and in deference to the request for him to substitute perdè la liberta ("lost his freedom") with perdè la lealtà ("lost his loyalty"), the result was received with shrieks of laughter by the audience, to the great discomfiture of the advocates of "loyalty".

Ronconi instigated a long line of great Italian baritones that continued into modern times. But the most esteemed of his contemporaries and immediate successors were probably Felice Varesi, Leone Giraldoni, Francesco Graziani and Antonio Cotogni, all of whom were chosen by Verdi himself to create or premiere his baritone roles.

title: Giorgio Ronconi


text: Category:WikiProject Business and Economics


text: Talk:List of NHL players (M)

title: Talk:List of NHL players (M)


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User:BillMacK

Bill MacKenzie

wdm@qnet.com

Quartz Hill, California 935361

title: User:BillMacK


text: User talk:24.63.72.100

title: User talk:24.63.72.100


text: Talk:List of NHL players (N)

title: Talk:List of NHL players (N)


text:
Portal:Trains/Anniversaries/April 23/More

19th century

 * 1860 – The Staten Island Railway starts operations in Staten Island, New York; this is now the oldest rapid transit right-of-way in New York City, but it is operated separately from the New York City Subway.
 * 1869 – Crews building the Central Pacific Railroad lay 10 miles (16 km) of track in one day.

21st century

 * 2005 – Los Angeles Metrolink opens a new station in Palmdale on the system's Antelope Valley line.

Births

 * [[Image:CMDepew.jpg|thumb|Chauncey Depew]] 1834 – Chauncey Depew, president of New York Central Railroad, is born (d. 1928).
 * 1858 – Leonor F. Loree, president of Baltimore and Ohio Railroad 1901-1903, Delaware and Hudson Railway 1907-1938 and Kansas City Southern Railway 1918-1920, is born (d. 1940).


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User talk:Gat0r

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title: User talk:Gat0r


text:
Talk:Ray Township, Michigan

Untitled
Friday September 2,2005 While sitting at my computer looking out my window at the bright sunshine and feeling the humidity free temperatures of mid to high 70's and listening to the wind blow all of the beautiful pine trees, watching the road commission trucks roll down the road doing there work so freely, I am also watching the TOTAL destruction scenes down in New Orleans. It just doesn't seem fair that something like that could happen. The live pictures of the president walking arm and arm with some of the people who really, when you think about it, don't have a full mind at this time. They need help people, and i for one will be willing to help in any way i can. Even I, with all this beauty surrounding me, don't know where to start other than sending money to help these poor people, so they can at least get their sanity back. I know that if your watching any of whats going on down in Louisiana and Mississippi, you will realize how good you have it and will also help these desperate people.

God speed to these people

~ if tomorrow never comes ~

title: Talk:Ray Township, Michigan


text: Talk:List of NHL players (O)

title: Talk:List of NHL players (O)


text: Talk:List of NHL players (P)

title: Talk:List of NHL players (P)


text:
Sonic the Hedgehog 2 (8-bit video game)

Sonic the Hedgehog 2 (ソニック・ザ・ヘッジホッグ) is a 1992 platform game developed by Aspect and published by Sega for the Master System and Game Gear. It is the sequel to the 8-bit Sonic the Hedgehog (1991) and follows Sonic as he attempts to get the Chaos Emeralds back to rescue his friend Miles "Tails" Prower from Dr. Robotnik. Like the first Sonic the Hedgehog, players run through levels at high speeds while collecting rings and defeating enemies. Although it shares the same title with Sonic the Hedgehog 2 for the Sega Genesis and their releases coincided, the games have little in common and share no levels.

Unlike the first 8-bit Sonic game, which was developed by Ancient, Sonic 2 was developed by Aspect, which did not interact with the Sega Technical Institute team developing the Genesis version. Sonic 2 was released in November 1992 to critical acclaim. Critics considered it an improvement over the first 8-bit Sonic and praised its visuals and gameplay. The game has been rereleased in numerous formats, including Sonic compilations and Nintendo's Virtual Console service.

Gameplay
Sonic the Hedgehog 2's gameplay is largely the same as its 1991 predecessor. A side-scrolling platformer, the player controls Sonic the Hedgehog as he runs at high speeds, defeats enemies, and overcomes obstacles. The story takes place following the events of the last game; Sonic returns home to find that Doctor Robotnik has captured Miles "Tails" Prower, so he heads off to rescue him before it's too late.

Like the original, Sonic collects power-ups (such as boosts of speed and invincibility) that give him temporary powers, and rings to protect himself from being hit by enemies or obstacles. Sonic starts with three lives; if he is hit without carrying any rings, falls into a bottomless pit, drowns, or goes past the act's 10-minute mark, he loses a life. Losing all lives results in a game over. There are some changes however; checkpoint and shield item boxes are absent, and Sonic can now collect rings he drops when damaged. Certain elements present in the Sega Genesis version of Sonic the Hedgehog are also implemented, such as the ability to smash through walls and run through vertical loops. The game also features modes of transportation for Sonic in which to maneuver the levels, including minecarts and hang gliders.

The game is split into seven levels called zones, each comprising two main acts and a boss fight with one of Doctor Robotnik's robots. While the 8-bit Sonic the Hedgehog stages borrowed thematically from those in the original 16-bit Sonic game, Sonic 2 features original levels to differentiate itself from its 16-bit counterpart. At the end of each main act, the player hits a signpost, which will spin and land on an image; it can award bonuses depending on the image it settles on. There are six Chaos Emeralds to collect throughout the stages. If the player collects them all, they will be able to save Tails at the end of the game.

Development and release
Sonic the Hedgehog 2 was developed by Aspect with co-operation from Sega, unlike its predecessor which was developed by Ancient. Craig Stitt, who worked as a stage artist with Sega Technical Institute (STI) on Sonic 2 for the Sega Genesis, stated that there was little interaction between Aspect and STI.

Both versions of Sonic the Hedgehog 2 were released in PAL territories in November 1992. The Game Gear version was released in Japan on November 21 and in North America in December 1992. It was the first four megabit cart for the Game Gear, the largest yet. The Master System version remained exclusive to PAL territories until it was released in December 2008 for the Wii Virtual Console. The Game Gear version was included as an unlockable bonus in Sonic Adventure DX (2003), and as one of the games featured in the Sonic compilation Sonic Gems Collection (2005). It was also released on the Nintendo 3DS eShop in June 2013.

In the United Kingdom, all versions of Sonic the Hedgehog 2 (including the 16-bit Sonic 2) combined topped the Christmas 1992 sales charts. For the month of December 1992, the Mega Drive version was ranked number one, the Game Gear version number three, and the Master System version number four, while Super Mario Land 2 for the Game Boy was number two. Sonic 2 is the bestselling Game Gear game, having sold over 400,000 copies.

Reception
Critics praised the Master System version as an improvement over the first Sonic game on the platform. Sega Power called Sonic 2 the best Master System game. Critics were impressed with the graphics, even leading some Mean Machines Sega staff to think they were viewing a Mega Drive game. Many journalists felt the game ran faster and smoother than Sonic 1, which Computer and Video Games credited to there being less enemies populating the levels. Sega Force felt the game could have benefited from more enemies gameplay-wise. Gameplay was otherwise praised, with critics taking a liking to the carts, gliders, and other new gameplay additions. Sega Power and Sega Zone enjoyed the secret rooms that could be found throughout the game. Complaints were directed towards the lack of a two-player mode, lack of special zones, and Tails being relegated to only appearing in the game's final cutscene.

Reviews for the Game Gear version carried many of the same sentiments as the Master System version. Sega Force explained that the game was almost identical to its home console counterpart, except for some tweaks to gameplay and graphics. Critics found the game was more difficult than the Master System version. Sega Force and Sega Pro found the hang glider difficult to control. Mean Machines Sega felt that the reduced field-of-vision on the Game Gear made gameplay tougher. Sega Force and Sega Pro both noted that the graphics, especially Sonic's character sprite, were notably larger than in the first Sonic Game Gear game and the home version of Sonic 2. They viewed this as an improvement to graphical fidelity. GamePro and Computer and Video Games felt the game was an improvement to the first Sonic game on the Game Gear. For their 1992 game awards, Electronic Gaming Monthly honored Sonic 2 as their "Game of the Year" among portable games.

Retrospective reviews
Reviewing the Master System version, IGN praised the game for differentiating itself from the Genesis version with original stage themes and gameplay elements. While Hardcore Gaming 101 found the core gameplay good, they felt Sonic 2 was weaker than its predecessor, criticizing the level design and art direction. Kotaku called Sonic 2 the hardest Sonic game on the Game Gear because of its labyrinth-like levels paired with its small visual field. Hardcore Gaming 101 agreed with the game's reputation for difficulty, primarily due to its low screen resolution which makes hazards more difficult to anticipate. AllGame felt the game played very fast on the Game Gear for the system's processing power. Nintendo Life recommended it to Sonic fans looking to become better acquainted with 8-bit games in the series.

title: Sonic the Hedgehog 2 (8-bit video game)


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Terry Pathmanathan

Thambiah "Terry" Pathmanathan (born 9 February 1956) is a former Singapore international footballer who played as a defender. He played for Singapore and Pahang in the Malaysia Cup. Towards the end of his career, he played for Tampines Rovers in the inaugural S.League season in 1996, retiring from playing professionally in the same year.

Club career
He played generally in the role of sweeper, as the last man in defence. He was renowned for his poise on the ball and impeccable reading of the game. He was nicknamed "Captain Marvel", for his leadership qualities, and one of his trademark moves was the long throw-in. Among his national teammates, he was nicknamed "Ganesan's favourite" as one of the privileged ones under N. Ganesan when Ganesan was vice president of Football Association of Singapore.

In 1982, Pathmanathan left Singapore FA to join Pahang FA. In 1983, he won the Malaysia Cup with the team. He played with Pahang till 1987 when his contracts end on 24 April 1988. Pathmanathan then rejoined Singapore FA with the Football Association of Singapore (FAS).

In 1996, Pathmanathan signed with Tampines Rovers FC and became the oldest player in the S.League.

In 1997, Pathmanathan joined National Football League Division 2 club Tessensohn Khalsa Rovers as a player-coach.

International career
In 1984, Pathmanathan was recalled to the national team for Merlion Cup. He was initially unable to join the team until he was released by Pahang.

Coaching career
Pathmanathan was the head coach for Young Lions from 2009 to 2010, and Tanjong Pagar United from 2011 to 2012.

Management career
In 1982, Pathmanathan worked as a supervisor at a mining company at Pahang and then worked as a marketing executive at a Kuantan Hotel. In 1997, he was an account manager with DNC Advertising.

Pathmanathan is currently a senior manager with the Singapore Sports Council.

Personal life
Pathmanathan was offered Malaysian citizenship by the Sultan of Pahang, Ahmad Shah of Pahang, who was also the President of the Malaysian Football Association (FAM). Pathmanathan took up permanent residency instead.

Profile and achievements

 * 1978, Called into national team
 * 1981, Finals of Malaysia cup lost to Selangor
 * Late 1981 appointed captain of national team until 1992
 * 1985, 1989, Silver medalist at Sea games Thailand and Malaysia
 * 1985, Merlion Cup Singapore, Joint Champions with Yugoslavia
 * 1983, Voted most exciting player in Malaysia, equivalent to footballer of the year
 * 1991, Sea games Philippines, Bronze medalist
 * 1992,Voted Singapore footballer of the year
 * 1990, Finals of Malaysia cup with Singapore squad
 * 1992, In the Tiong Bahru squad in the Singapore Premier league
 * 1997 to 2004, Player coach for Khalsa and Singapore Recreation club in Singapore Div 1
 * 2005, National UNDER 21 Head coach and also assistant coach to young lions
 * 2009, National UNDER 23 Head coach and led the team to Laos Sea games. Won the bronze medal with youngest team ever of average age 19yrs.

Honours
Singapore FA

 * Malaysian Cup : 1980

Pahang FA

 * Malaysian Cup : 1983

Orders and special awards

 * Pinak Jasabakti Kerja : 1985

title: Terry Pathmanathan


text: Talk:List of NHL players (Q)

title: Talk:List of NHL players (Q)


text: Talk:List of NHL players (R)

title: Talk:List of NHL players (R)


text:
Talk:Josie and the Pussycats (film)

Subliminal Advertising?
"In line with its theme of subliminal advertising, it is arguable that the inordinate degree of product placement in the movie constitutes a running joke. Almost every scene features a mention of one or more famous brands, including the likes of Motorola and Starbucks. None of the advertisement was paid promotion by the represented brands, it was inserted voluntarily by the filmmakers."

Is there documentation for this? If so, it's beyond "arguable" -- in fact, it's pretty much inarguable. -It's mentioned in IMDB trivia also. 204.120.207.2 18:46, 3 August 2007 (UTC)

 * In fact, it looks as if the film showed blatant advertising like in the film Mac and Me, which was seen as McDonalds adware by some... Blake Gripling 11:08, 2 October 2007 (UTC)

 * The directors state in the DVD commentary they did not receive any money for the "advertising" in the film--and indeed, the movie was quite low budget. If they'd gotten the money for all that advertising, I imagine the film would have had a much higher budget and they would have been able to be more elaborate with certain scenes. Just because it "looks like" to some people that they are advertising doesn't mean they are. The "excessive" ads make sense within the context of the film--they're depicting a world which is heavily corporate-marketing controlled. Anyway, as the statement currently reads (without "Arguable" or "inarguable"), it looks fine to me. DeathQuaker (talk) 18:13, 29 February 2008 (UTC)

Is there some part of this film that mocks the very real idea that MTV is attempting to corner cool culture by way of massive hyperbolic plot?

"The Conquest of Cool" By Thomas Frank might have some relevance to this discussion —Preceding unsigned comment added by 198.174.110.147 (talk) 18:33, 3 July 2008 (UTC)

Cult status
I don't think the supposed "cult status" of this film has been shown properly shown by reliable sources. Despite the section heading only one source actually uses the term "cult film", the other sources in the section do not. That the film has a Legacy and that following many years later doesn't quite add up to the same thing as "cult status" IMO. I think the section would be better if it was retitled and explored the later reviews a bit more instead. -- 109.79.176.51 (talk) 01:52, 2 February 2020 (UTC)

title: Talk:Josie and the Pussycats (film)


text:
Talk:Khanjali

Gladius?
Doesn't this look remarkably like a roman gladius? 65.247.221.122 18:45, 19 December 2005 (UTC)Erskine

Look at many different weapons. You'll find alot of them look alike in many ways. The looks don't matter; the way it's used and it's location does.

 * Thank you for didactically elucidating the obvious. However, THIS tool bears more of a resemblance to another tool than normal; hence, my original comment.  And yes, looks DO matter because with tools - form follows function...65.247.221.122 15:58, 21 February 2006 (UTC)

Dear Erskine Thanks you for your comment. I am going to edit this article with more details and better information about "Khanjali" (this is the way it is spelled in Georgian) and I am going to include your opinion in it. I believe that Khanjali (or Kinjal) is a traditionally Georgian weapon, rather than any other parts of Caucasus. However, the clothing and weapons are also used in some northern caucasian tribes. Georgian weapons tend to have a straight shape, like other European swords, when in the neighbour counrties of Georgia, such as Turkey and Azebaijan the weapons are curly, because of the Persian and Ottoman influence. Ancient Romans did not really conquer Georgia, but Pompeious fought a battle outside Tiflis, the capital of Georgia. Once again, thank you for your comment and I will include that in the article I write about "Khanjali". Sincerely Sosomk

Article Name
15 years with the wrong name! Probably not a record on Wikipedia, but still disappointing. The article began life with the correct name "kindjal" then give a non-standard title for the completely pov reason that the weapon was claimed by the name changer to be "Georgian". Maybe someone with knowledge of how to justify article name changes, something about the number of rs sources that use the term, can produce the evidence to get it back to Kindjal. 92.4.23.2 (talk) 00:11, 19 December 2022 (UTC)

 * Kindjal is a russified form of Khanzhal which is a persian word. Lemabeta (talk) 08:34, 16 February 2024 (UTC)

References to Khanjar and Qama
Given the geographic and linguistic proximity, some discussion going beyond the Caucasus and links to khanjar and qama would be appropriate.

Remove Georgian Centric Edits
The old article was far too Georgian centric and written by people who clearly learned about Caucasian arms through pop history journal articles.

This dagger is not just Georgian, it was used everywhere in the Caucasus. In academic literature and in the collecting world, it goes by the name Kindjal which is what needs to be used. I intend to greatly expand the article in the future detailing all the styles (Including exclusively Georgian ones) of Kindjals, but since the article only deals with the Tbilisi style at the moment the correct information needs to be presented, ie the industry was dominated almost exclusively by Armenians and Dagestanis, with very few Georgians being involved in it (In Tbilisi, Western Georgia was an entirely different story). Wrobeli (talk) 02:51, 12 March 2024 (UTC)

 * I am reverting the changes until the sources of each claim are provided. What you are doing is called vandalism, deleting and changing a sourced material. Lemabeta (talk) 12:11, 12 March 2024 (UTC)
 * Your claims sir are the ones that are unsourced or rely on very dubious sources. Everything I added to the article was perfectly referenced to Arms and Armor of Caucasus which is the most modern and best book on Caucasian weaponry. You are adding dubious claims, like calling the Kindjal "A Georgian Dagger" despite it being used everywhere in the Caucasus.
 * The article focuses on the Tbilisi style. It is a fact backed up by all evidence that very very few Georgians worked in Tbilisi as dagger makers, not until the late 19th century anyway. In general Georgians back then were soldiers, nobles, and peasants rather than Artisans. If you want to dispute my claims, please provide evidence for yourself. Wrobeli (talk) 20:47, 14 March 2024 (UTC)
 * @Wrobeli, you seem to be new to Wikipedia. Rules of Wikipedia are to first discuss and then we make changes together. Your claim that Giorgi Elizarashvili was Geurk Eliarov is unsourced, moreover you deleted sourced material once again of a Khanjali found in Georgia dating 3rd century BC. Moreover, the first picture is registered in wikipedia images as Georgian Khanjali so changing it to Ottoman Kindjal is wrong. Please discuss it here what changes you want to make and provide sources. I am not a nationalist of any nation, i am trying to lead you to follow guidelines of Wikipedia. I am reverting changes and please cooperate with me or i will have to report you, which i don't want to do. This is the last warning discuss the issues you have here in the talk page. Lemabeta (talk) 16:49, 15 March 2024 (UTC)
 * Lemabeta, that user has been here as long as you. Please don't shout, in all-caps, in your edit summaries. All the peer-reviewed sources I've seen (and I've seen more than just the two I added) claim it's Caucasian--though the first one says "Georgia and the Caucusus", but that's certainly not enough to call it Georgian. No, rules of Wikipedia don't state an edit has to be discussed first. Wrobeli, the book you mention is not available to me so I can't speak on that. What I can say is that the sourcing I found in this article is atrocious. Both of you will have to come with stronger sourcing than those websites--I know, Wrobeli, you're working on it. Lemabeta, that the description in Wikimedia Commons says "Georgia" really means nothing: that's just what the uploader called it. Drmies (talk) 17:09, 15 March 2024 (UTC)
 * BTW, there is a collection of kindjars in the Metropolitan Museumm of Art and JSTOR has a bunch of those images (for instance https://www.jstor.org/stable/community.18333198 ); I looked at two of them and they're all marked as "Caucasus". So we also have a pretty good argument of changing the name of the article, esp. since JSTOR offers only a few hits for "khanjali", and not in the best of articles. Drmies (talk) 17:14, 15 March 2024 (UTC)
 * I can't tell what this, by Kiziria Vakhtang, is supposed to be. It's not neutrally written, there is no real title (besides "Dashna"), there is no publication information--it seems like something that someone wrote up but never published. Drmies (talk) 17:19, 15 March 2024 (UTC)
 * Geurk Eliarov is his name attested in history and in all non-Georgian academic literature. See Arms and Armor of Caucasus by Rivkin, Oruzhe Narodov Kavkaza by Astvatsaturyan for authoritative academic sources confirming this. There are NO Kindjals from Georgia dating back to the 3rd century BC, this is pure and utter nonsense. There were straight daggers, but these looked different and were not Kindjals. Very similar daggers were being used all around the world in the bronze age. Are we to say the ancient inhabitants of Great Britain used Kindjals? Kindjals only originated in the 18th century, prior to this Caucasians tucked Persian and Ottoman style curved Khanjar daggers into their belts. See my source in the authoritative Arms and Armor of Caucasus by Kirill Rivikin, p. 241. this is confirmed by much study.
 * Wikipedia Images is not immune from inaccuracy. That is an Ottoman style Kindjal, such red coral decoration is typical of the Ottoman empire and seen extensively on Yatagans produced there. That type of decoration was NEVER done on Georgian daggers. If you want to put a Georgian dagger in the lead image ok, I have no issue with that. But please put an actual Georgian dagger.
 * I am more than happy to expand this article to talk about all the regional variations of Georgian daggers, because there are quite a few. But before I can do that, the information here needs to be presented authentically. Namely, Kindjals are a lot newer than nationalist literature assumes, Geurk Eliarovs ethnicity is in dispute which is why the neutral Russian name needs to be used, and that very few Georgians worked in dagger production in Tbilisi or in what is known as the "Tbilisi Style" (Armenian jewelers from other Caucasian cities such as Shemakha, Shushi, Baku, etc worked in the same style). Wrobeli (talk) 21:00, 15 March 2024 (UTC)
 * The ethnicity of Eliarashvili/Elizarashvilo family isnt disputed. They are a noble Aznauri family from Kartli. After Russian Empire had annexed Georgia, Georgian nobility names were changed into Russified forms of their last names. But this article needs better sources i agree with that. Lemabeta (talk) 05:26, 16 March 2024 (UTC)

title: Talk:Khanjali


text:
Talk:Pasqual Ferry

Untitled
Isn't the Grant Morrison / Pasqual Ferry "Mister Miracle" about Shilo Norman? He isn't a "new" version of the character. He was introduced in the early 90s (I think) & was trained by Scott Free to become his replacement.
 * Actually Shilo Norman appeared in the very original version of Mr. Miracle by Jack Kirby.

Pasqual is spanish
How comes it is credited as "American comic book artist"? Carlos Pacheco is credited as "Spanish comic book artist" because is spanish despite de fact that now is working for the USA. Why isn't the same with Pasqual? In fact, if I'm not mistaken, Ferry did a lot of work in Spain, before coming to work to USA.

Biography assessment rating comment
The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- KenWalker | Talk 05:29, 17 July 2007 (UTC)

Fair use rationale for Image:Adamstrange2005.JPG
Image:Adamstrange2005.JPG is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:43, 2 January 2008 (UTC)

title: Talk:Pasqual Ferry


text: Talk:List of NHL players (T)

title: Talk:List of NHL players (T)


text: Category:Magic words

title: Category:Magic words


text: Category:Belgian screenwriters

title: Category:Belgian screenwriters


text:
Talk:Do-si-do

Most common name, misspellings, mispronounciations
There appears to be some disagreement here as to how to approach the naming of this article, and how to put the right emphasis on the different spellings of what (I believe) amounts to the same dance move. It started as article name "Do-Sa-Do" and then was moved to "Dos-a-dos" (without discussion, and without explanation). I thought that was wrong, and I think the current name is wrong.

If these names refer to the same step, then based on Naming conventions (common names) this article should be called "Dosado".

I did some Google searches. I restricted the results to English only as "dos-a-dos" has a widespread use in Spanish and possibly French that literally mean "back-to-back" (and not in a dance context). As is shown on the Dos-a-dos disamibguation page, the term "dos-a-dos" has quite a few meanings (and not in a dance context). Therefore I qualitifed the Google search results with a random sampling of the results to see how many of them were dance-related. I did this quick sampling by checking the hits 1-10 on pages 1, 4, and 7 of the results. My results are as follows:

Search on "dos-a-dos" (English only) - 3,890:hits c. 20% dance = 78 qualified hits

Search on "Dos-a-dos" "dance" (English only) - 1,170 hits unqualified

Search on "dosado" (English only) 8,320 c. 100% dance = 8,320 qualitifed hits

Search on "dosado" "dance" (English only) - 6,740 unqualified

Search on "Dos-a-dos" "polka": 138 hits

Search on "Dos-a-dos" "reel": 179 hits

Search on "Dosado" "polka": 80 hits

Search on "Dosado" "reel": 99 hits

I think this overwhelming shows that Dosado is the most commonly used term for this dance move. If no one has a compelling reason against it I will move this article (and redirect links to it) very shortly to the new name "Dosado". I would like to suggest that "dos-a-dos" remain in the article but as a secondary spelling used (perhaps) in contexts other than western square dancing, such as (perhaps) contradance, historical dances (I am not an expert on the use of dos-a-dos, so I prefer that others take that lead), etc. I would prefer that we did not end up with two articles "Dos-a-dos" and "Dosado" when we refer to the same move. I hope that we can have some discussion around this issue. Sfdan 17:37, 2 September 2005 (UTC)

 * The name is often mispronounced and misspelled as "dosey-do", "do-ce-do", "docey-do" or "do-si-do".

 * I believe that "do-si-do" is a common enough misspelling that it shouldn't be called a misspelling. It tops all of the other variant spellings listed in Sfdan's comment with 24.900 hits for "do-si-do" (English only) and 13,200 hits for "do-si-do" "dance" (also English only). "Do-si-do" also has on its side the OED (which actually prefers "do-se-do", and thinks "dos a dos" is a carriage or book binding) and Answers.com. Is there a reason this variant wasn't considered for the title? Loggie 21:14, September 3, 2005 (UTC)

 * You make some good points, Loggie, and I'd like to look a bit deeper into the Google counts before suggesting a solution. I'll do that a bit later today.  Hope that's OK. Sfdan 06:35, 4 September 2005 (UTC)

 * Hi Loggie, I went and checked the Goodle counts and you are right about "Do-si-do" getting significantly more hits than either of the two other spellings. Since I do not have an OED (and not likely to find one easily here in Denmark), I checked my old The American Heritage Dictionary of the English Language, and it listed "dos-a-dos" as the primary with "do-si-do" as a secondary spelling.

 * In my opinion (and I will do this now), at the minimum we should move "do-si-do" out of the misspelled section up to the list of variant names, and remove all reference to mispronounciations.

 * As to what the article should be called-- following the most common name rule, I am persuaded that it should be "do-si-do" (even though with my background in modern western square dance I am personally bristling with the thought). I think it would be appropriate in the various dances where they use different spellings to use the spelling of their choice; the important thing is that they link to this article (whatever it ends up being called), and that we are clear at the top that all these different name variants are for the same dance step.

 * How do others feel about this? Sfdan 12:31, 4 September 2005 (UTC)

 * I'm happy now. I do contra dancing, and have always assumed, based off the pronunciation, that it was spelled "do-si-do". Thus I was surprised to see the different spellings.

 * If we don't rename this page "do-si-do", I think we should make "do-si-do" a redirect page to here, since it is such a common spelling. The fact that this article has more redirect pages than actual articles linking to it might be a problem.

 * I really don't have a preference as to what happens now, since if I were to come to this page I would be able to quickly identify the Dosado to be what I know as a do-si-so. Loggie 14:03, September 4, 2005 (UTC)

 * Redirects are set up now for Do-si-do and Dosido.Sfdan 14:10, 4 September 2005 (UTC)

 * Great! Loggie 14:43, September 4, 2005 (UTC)

I think in this particular case making google cout to judge the correct name is ridiculous. However many people misspell the word unknown to them does not make it right. I can reluctantly agree for "dosado", since americans always have upper head however ignorant and arrogant it is, but to say that "do-si-do" is the most correct name is outrageous. Obviously, ignoramuses who rule the internet now thought that this word is somehow related to notes do and si. Now let us go ahead and rename "epaulement" into "a-pullman",  chasse into chase or shassey, chaînés into chains, and especially I am eager to see battement turned into batman. mikka (t) 19:28, 4 September 2005 (UTC)

 * However many people misspell the word may not make it right, but over time does not a language evolve? If everyone in a certain area uses the word 'duck' to mean someone a little odd, doesn't the word take on that connotation as well as the meaning of an animal that quacks? The word 'awful' has completely changed meanings over the years. It used to mean some thing magnificent, awe inspiring, something full of awe. Now it means something that is horrible, something that is bad. Does that mean that one definition only should be mentioned? I think, if it were in the Wikipedia, the progression of the word should be mentioned. Thus why shouldn't some of the variations in pronunciation and spelling be included?

 * I had never known that what I knew as a "do-si-do" or a "back to back" originally came from French and was originally called a "dos a dos". If the reason for my lack of knowledge stems from years of people progressively changing the pronunciation, is that my fault? Does that make me ignorant? Simply because I do not look up the etymology of each and every word I use is no reason to call me, or people like me who also misspell and mispronounce this word, ignorant.
 * You were pointed to the word and to the history of its long usage. Yet you prefer your ways. I am aware this is kind of potayto-potato thing. But the article is about a generic term, and I would expect some respect to other dancers who have precendence in usage. mikka (t) 03:31, 5 September 2005 (UTC)

 * Because there will be people like me, and people like those ignoramuses who rule the internet now, I think it is useful to have the "do-si-do" variation mentioned, and have it be a re-direct page. (Especially since there seem to be a lot of us.) I did question why this version was not included in the discussion of possible titles, but I am not advocating yet another move of the page.
 * I am not against mentioning the usage. I am gainst making it main term. For hundreds of years in numerous dances it was dos-a-dos and lo! suddenly american square dancers rule. Well, that's life. mikka (t) 03:31, 5 September 2005 (UTC)

 * One last thing: I object to being called ignorant and arrogant simply because I was born in America. The OED was not born in America, and prefers yet another spelling that has not been discussed "Do-se-do", with "do-si-do" as an acceptable alternative. Loggie 02:54, September 5, 2005 (UTC)
 * Don't take it personally. Disrespect to language is widespread, and not only among anglophones or americans. The same happens in French, Russian, etc. Some people really dislike this. I dislike it only mildly. mikka (t) 03:31, 5 September 2005 (UTC)

 * In Square Dancing it is Dosado in other things it is other spellings/pronounciations maybe somewhere in the article we can list which spellings are what activity because it is wrong to call it dosido in some places but just as wrong as dosado in others--Shimonnyman 03:13, 5 September 2005 (UTC)
 * There already is such section. It may be expanded. mikka (t) 03:31, 5 September 2005 (UTC)

 * In contra dancing in central Illinois, and in Cincinnati (the two places I have danced) it is called a "do-si-do". In English Country dancing in the same places it is called a "back to back". Loggie 03:21, September 5, 2005 (UTC)

And speaking of pronunciation, the article only gives do si do and variant do zi do (which I've never heard) but by far the most common pronunciation (the most heard in media at least) is do tsi do, possibly a garbled mishearing of a line from 'Mairzy Doats and Dozy Doats'

Revert folk dancing --> square dancing
I am reverting "It is probably the most well-known call in folk dancing" back to "It is probably the most well-known call in square dancing". Even though I am not a folk dancer (and that probably makes me a good judge of what "most people" would think of as a well-known dance move in folk dancing), I probably think that people who don't really know much about folk dancing would think first of a grapevine step, or a step-kick, or a hop-kick, or a run, indeed many other steps... I doubt that a back-to-back would be high on the list. Besides I didn't believe most folk dances are called!

If you want to include other dances in this sentence, for example, "It is probably the most well-known call in square dancing and contredance" or "It is probably the most well-known call in square dancing, contredanse and historical dancing", then I suggest be specific and say what you mean. I can't speak for these other dances, so I wrote it as square dancing, because the general public has a vague notion of the dance and has some ideas of some dance moves, and this is one that they know (at least in the USA and Canada). I have been to enough beginner classes that I can tell you many, many can (or at least think they can) Dosado without any instructions. And that is why there is a section on Dosado misconceptions also. Sfdan 14:03, 5 September 2005 (UTC)

I see your point I just didn't want to be exclusionary as Dosado can be more than just Squares and this article reflects it later on though I suppose its probably most famous for squares anyways.--Shimonnyman 02:44, 6 September 2005 (UTC)

Description - common to make one or more clockwise turns during dosado in contra dances
Does this belong in the basic description of the dosado, or does this belong in the styling section? I suppose for me the difference would be, does the basic description of the step in contra dancing (if there is such a thing) also include some statement that the person could make one or more clockwise turns if they wish. Or is this something that has developed on its own, is not standardised (if there is such a notion in contra dancing), and may or may not be more popular in this year, or in this area, or among certain dancers. I'm no expert on contra dancing (obviously!), so please help me out. Thanks. --SFDan 15:48, 1 November 2006 (UTC)

 * The contra dance article seemed to answer my question by stating in the "Do-si-do" section, "As an embellishment, experienced dancers will often add a spin while performing this move." Therefore, I went ahead and moved the sentence with minor editing (and removal of an excessive link) from the "Description" section into the "Styling" section of this article.  If there is any difference of opinion on this matter lets discuss it here.  --SFDan 05:51, 2 November 2006 (UTC)

If one looks at various contra dances recorded on youtube, one sees that the common spinnin during a dosado are COUNTERclockwise. — Preceding unsigned comment added by 108.35.45.33 (talk) 19:54, 30 March 2012 (UTC)

Do-si-do as an Rescue technique
Do-si-do is also an rescue diving technique teached at most rescue diving classes. It is an technique that enables the rescue diver to do perform rescuebreaths while swimming. There might be a need to differentate this. Bio page of the inventorApneist 16:35, 8 August 2007 (UTC)

Misconceptions
I am new to this so forgive me if i am doing this incorectly !

Misconceptions In a popular Bugs Bunny episode entitled "Hillbilly Hare," a square dance caller starts the dance with the following parody of square dance calling:

"Bow to your corner, bow to your own. Three hands up and 'round you go, Break it up with a dosey-do. Chicken in the bread pan kickin' out dough." This animated satire has helped popularize the commonly held and mistaken notions that one should hold one's arms crossed over the chest while executing the step.

The crossed-arm do-si-do also may come from the fact that the early teachers of square dance and contra dance revival were recruited from the International Folk Dance movement, according to an article in the Old Time Herald.

In a popular Bugs Bunny episode entitled "Hillbilly Hare," the two Martins  Punkinhead and tart don't cross their arms across their chest when thay "Break it up with a dosey-do." rather thay place there hands behind them on the small of there back  see cartoon  video.aol.com/video/tv-hillbilly-hare/1789259  —The preceding unsigned comment was added by Chessophile (talk • contribs).

MISCONCEPTION Do-si-do being a "French" term
The wiki text states: "The term is a corruption of the original French term dos-à-dos..."

I don't agree that term being French. Pronounced and written it is definitively Spanish. "Dos-a-dos" where French would be "Deux à deux". Might have to re-think that one and change it to Spanish for a correct correlation of the text and reference to the language.

5th Grade
Version I heard in 5th grade in 1990/1991 schoolyear:

"Swing your partner do-si-do. Throw him in a ditch and watch him go!"

Japanimation station (talk) 16:31, 18 May 2010 (UTC)

Spelling
I read the above discussion, which it seems was never really resolved, so I was bold and moved the article to "do-si-do" for the following reasons: I'm going to update the section on spellings and etymology and check that there are redirects. Lesgles (talk) 17:13, 31 May 2013 (UTC)
 * It is the main spelling given in most dictionaries, both British and American (M-W, Oxford, Longman, AHD).
 * Judging from Google Ngrams, it has been the dominant form since at least 1950
 * It is generally known from contra/country/square dancing, where it is pronounced doh-see-doh (and that's the context that this article focuses on)
 * WP:COMMONNAME: "Article titles should be neither vulgar nor pedantic. The term most typically used in reliable sources is preferred to technically correct but rarer forms, whether the official name, the scientific name, the birth name, the original name, or the trademarked name."

Please explain…
Please explain the term ‘contra dance’. 110.175.183.9 (talk) 08:00, 13 May 2024 (UTC)

title: Talk:Do-si-do


text: Talk:List of NHL players (U–V)

title: Talk:List of NHL players (U–V)


text:
Perpetual bond

A perpetual bond, also known colloquially as a perpetual or perp, is a bond with no maturity date, therefore allowing it to be treated as equity, not as debt. Issuers pay coupons on perpetual bonds forever, and they do not have to redeem the principal. Perpetual bond cash flows are, therefore, those of a perpetuity.

Perpetual bonds vs. equity

 * Although similar to equity, perpetual bonds do not have attached votes and, therefore, provide no means of control over the issuer.
 * Perpetual bonds are still fixed-income securities; therefore, paying coupons is mandatory whereas paying dividends on equity is discretionary.

Examples

 * Consols that were issued by the United States and the UK governments.
 * War bonds issued by a number of governments to finance war efforts in the first and second world wars.
 * The oldest example of a perpetual bond was issued on 15 May 1624 by the Dutch water board of Lekdijk Bovendams. Only about five such bonds from the Dutch Golden Age are known to survive by 2023. Another of these bonds, issued in 1648, is currently in the possession of Yale University.  Yale bought the document for its history of finance archive at auction in 2003, at which time no interest had been paid on it since 1977.  Yale Professor Geert Rouwenhorst travelled in person to the Netherlands to collect the interest due. Interest continues to accumulate on this bond, and was most recently paid in 2015 by the eventual successor of Lekdijk Bovendams (Hoogheemraadschap De Stichtse Rijnlanden). Originally issued with a principal of "1000 silver Carolusgulden of 20 Stuivers a piece", as of 2004 the yearly interest payment to the bondholder is set at €11.35. According to its original terms, the bond would pay 5% interest in perpetuity, although the interest rate was reduced to 3.5% and then 2.5% during the 18th century.
 * Some undated gilt-edged securities issued by the Bank of England
 * Most perpetual bonds issued in the present day are deeply subordinated bonds issued by banks. The bonds are counted as Tier 1 capital and help the banks fulfill their capital requirements. Most of these bonds are callable, but the first call date is never less than five years from the date of issue—a call protection period.

Pricing
Perpetual bonds are valued using the formula:

 * $$\text{Price} = \frac{I}{y}$$

where:
 * $$I$$ is an annual coupon interest on a bond.
 * $$y$$ is an expected yield for maximum term available.

title: Perpetual bond


text: Talk:List of NHL players (V)

title: Talk:List of NHL players (V)


text: User talk:70.51.175.4

title: User talk:70.51.175.4