text:
User:Rorschach567

heb je msn?

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

title: User:Rorschach567


text:
Zigoitia

Zigoitia (, Cigoitia ) is a municipality in the province of Álava, in the Basque Country, northern Spain. Its capital is the village of Ondategi. In 2013 the largest common grave from the Spanish Civil War in the Basque Country was excavated in the locality.

Toponymy
The name Zigoitia is usually described as consisting of the Basque elements zuhi- (an aspirated variant of zubi, meaning "bridge") and goitia "upper". The toponym Zuffia de suso, meaning "Upper Zuffia", is attested in the medieval Reja de San Millán; while the neighboring municipality of Zuia, located in a valley, corresponds to Zuffia de yuso, meaning "Lower Zuffia".

Zigoitia is the form of the name in standard Basque orthography. It was adopted in 1995 by the municipal council, and published by the Boletín Oficial del Estado on 13 September 1996.

Administrative subdivisions
The municipality contains 17 villages. All of them are organized into concejos with the exception of Larrinoa.

title: Zigoitia


text:
Talk:Needles and Pins (song)

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title: Talk:Needles and Pins (song)


text:
Marco Pereira

Marco Pereira (born 1950) is a Brazilian classical guitarist. He was born in São Paulo and took lessons from Isaias Savio, an important Uruguayan guitarist and teacher who brought Miguel Llobet's technique to Brazil. Pereira obtained his master's degree at the University of Paris-Sorbonne; his thesis was titled Heitor Villa-Lobos and His Work for Guitar. He teaches harmony, composition arranging, and improvisation at the Federal University of Rio de Janeiro (UFRJ). Pereira has released several solo CDs, including Dança dos Quatro Ventos (GHA Belgium), Elegia (Channel Classics - Netherlands),Brasil Musical (Tom Brasil - Brazil), Valsas Brasileiras (Garbolights - Brazil), Luz das Cordas (Garbolights - Brazil), O Samba da Minha Terra (Garbolights - Brazil), Camerístico (Garbolights - Brazil), and Cristal (Garbolights - Brazil), Original (Guitar Solo Publications, San Francisco), "Stella del Matino" (EGEA, Perugia, Italy) and "Essence" (Kind of Blue, Lugano, Switzerland). His compositions were issued by the publishers Éditions Lémoine of Paris and Guitar Solo Publications of San Francisco.

His instructional publications include Ritmos Brasileiros (Brazilian Rhythms), Cadernos de Harmonia(Harmony Method for Guitar), Brazilian Seven String' Guitar - Technique and Style, Cristal and Valsas Brasileiras.

His compositions and books are edited by Éditions Lemoine (Paris), Guitar Solo Publications (San Francisco) Editora Musimed (Brasília), and Garbolights Produções Artísticas Ltda. (Rio de Janeiro),

Awards
He has won important prizes in international guitar competitions such as Concurso Andrés Segóvia (Palma de Mallorca) and Concurso Francisco Tárrega (Valencia). In Brazil he won the Brazilian Sharp Award for Best Soloist and for Best Album of the Year (1994). He also received an award for best arranger for the album Gal, by Gal Costa.

Discography

 * Cristal
 * Cameristico (guitar and orchestra)
 * O Samba da Minha Terra
 * Original
 * Afinidade
 * Valsas Brasileiras
 * Luz das Cordas
 * Violão Popular Brasileiro Contemporaneo
 * Circulo das Cordas
 * Dança dos Quatro Ventos
 * Elegia
 * Bons Encontros
 * Brasil Musical

Books

 * Cadernos de Harmonia
 * Cristal
 * Ritmos Brasileiros (Brazilian Rhythms)
 * Valsas Brasileiras (Brazilian Waltzes)
 * Heitor Villa-Lobos and His Work for Guitar
 * Sete Cordas, Técnica e Estilo (Seven String Guitar, Technique and Style)

title: Marco Pereira


text:
Talk:Transport in Pakistan

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title: Talk:Transport in Pakistan


text:
Bliss (Star Trek: Voyager)

"Bliss" is the 108th episode of the science fiction television series Star Trek: Voyager, the 14th episode of the fifth season. Set in the 24th century, the Federation starship USS Voyager is stranded 50,000 light years from Earth on the other side of the Galaxy.

In this episode, Voyager becomes trapped in an enormous space dwelling "pitcher plant" while most of the crew believe they have discovered a possible way home, a wormhole back to Earth. Unaffected, Seven of Nine (Jeri Ryan) tries to find a way out of the creature.

This show was first aired on February 10, 1999 on the United Paramount Network (UPN).

Plot
Crewmembers Seven of Nine and Ensign Tom Paris return to Voyager from an away mission with young Naomi Wildman. They soon learn that the crew believes they have found a wormhole leading directly back to Earth. Seven is immediately suspicious, and secretly reviews Captain Kathryn Janeway's logs. Janeway's earlier logs indicate finding a wormhole that was giving off deceptive readings; the later logs appear to dismiss those concerns, with Janeway directing the ship towards it without concern, believing to have obtained communications from Starfleet directing them through it.

Seven continues investigating the wormhole, but finds the crew blocking her efforts: the astrometrics lab is taken offline, supposedly to conserve power, and her communications with an alien named Qatai, warning them away from the anomaly, are cut short. Seven realizes she and Naomi are the only ones unenthusiastic about returning to Earth—Seven has no memory of Earth and Naomi has never seen it. The crew report continually receiving unbelievably upbeat and happy messages from Earth; Janeway's former fiancée has ended his engagement to another woman; Neelix is being made an ambassador, and Paris is offered a dream job. The Doctor agrees with Seven's assessment that the crew is being manipulated. The crew take The Doctor offline and attempt to place Seven into stasis, telling her it will prevent attracting the Borg with their passage. Seven evades them and erects a force field in engineering while attempting to halt the ship, but the crew knock Seven out.

Seven wakes to find that Voyager has entered the anomaly that appears to be a massive bio-organism digesting the ship's hull. The remaining crew have been knocked unconscious. Seven makes contact with Qatai, whose ship is also trapped inside the anomaly. Qatai reveals that they are inside a creature that telepathically tricks crews to enter it in order to consume their starships. He has been trying to destroy the creature for years since it killed his wife and family. After reactivating The Doctor, Seven, and Qatai are able to force the creature to eject both ships by igniting some of Voyager's antimatter with Qatai's weapons. The plan appears to be effective, both ships free of the creature, but Qatai asserts they are still inside the creature, and that their escape is what Seven desired and the creature is influencing her mind. They repeat the procedure, and are successfully ejected.

Voyager's crew returns to consciousness and sets course to the Alpha Quadrant, first releasing a line of beacons to warn other vessels away from the creature. Qatai is seen sighing and returning to the creature, presumably having chosen to return to a life of delusional captivity or to continue fighting it.

Production
The story came from a dream experienced by Bill Prady who at the time worked on the situation comedy series Dharma & Greg. The teleplay was written by Robert J. Doherty based on a story by Bill Prady. It was directed by Cliff Bole, who overall directed over two dozen episodes of the Franchise, including "Dark Frontier, Part I" (VOY) and famed episodes such as "Best of Both Worlds" (TNG).

Reception
Jammer's Reviews gave "Bliss" a rating of 3 out of 4 stars and the summation "archetypes done entertainingly." While noting its many clichés and "general derivatives of derivatives" it is still, never-the-less, "'comfort' entertainment done well." Jamahl Epsicokhan sees the inspiration for the creature in "Bliss" coming from the huge "amoeba" in the Star Trek: The Original Series episode, "The Immunity Syndrome".

Releases
On April 25, 2001, this episode was released on LaserDisc in Japan, as part of the half-season collection, 5th Season vol.1. This included episodes from "Night" to "Bliss" on seven double sided 12 inch optical discs, with English and Japanese audio tracks for the episodes.

On November 9, 2004, this episode was released as part of the season 5 DVD box set of Star Trek: Voyager. The box set includes seven DVD optical discs with all the episodes in season 5 with some extra features, and episodes have a Dolby Digital 5.1 surround sound audio track.

title: Bliss (Star Trek: Voyager)


text:
Progressive History X

Progressive History X is a compilation album by British electronica group Fluke, first released in July 2001. It is not to be confused with Progressive History XXX, their next compilation album. The cover artwork is from "Just your Average Second On This Planet" 1997-1998 (Discotheque) by David Bethell. Progressive History X is a compilation spanning their entire ten year producing history.

Track listing

 * 1) "Thumper!" (Original Mix)  – 5:56
 * 2) "Philly" (Jamorphous)  – 7:12
 * 3) "Slid" (Glid)  – 6:57
 * 4) "Electric Guitar" (Humbucker)  – 7:32
 * 5) "Groovy Feeling" (Make Mine A 99)  – 7:51
 * 6) "Bubble" (Speechbubble)  – 6:41
 * 7) "Bullet" (Bullion)  – 7:46
 * 8) "Tosh" (Gosh)  – 6:31
 * 9) "Atom Bomb" (Atomix 1)  – 5:41
 * 10) "Absurd" (Whitewash)  – 5:59
 * 11) "Squirt" (Risotto Vox)  – 6:20

title: Progressive History X


text:
Girolamo Genga

Girolamo Genga (c. 1476 – 11 July 1551) was an Italian painter and architect of the late Renaissance, Mannerist style.

Life and career
Genga was born in a region near Urbino. According mainly to Giorgio Vasari's biography, by age thirteen Genga had gained an apprenticeship in Orvieto under Luca Signorelli. He was afterwards for three years with Pietro Perugino, in company with Raphael. He next worked in Florence and Siena (where he decorated the Petrucci palace c. 1508), along with Timoteo della Vite; and in the latter city he painted various compositions for Pandolfo Petrucci, a leading local statesman, among which The Abduction of Helen, now in the Musée des Beaux-Arts de Strasbourg.

Returning to Urbino, he was employed by Duke Guidobaldo da Montefeltro in the decorations of his palace, and showed extraordinary aptitude for theatrical adornments. He is recorded as having helped design the decorations for the Duke's funeral in 1508. From Urbino, he travelled to Rome and painted one of his masterpieces, The Resurrection, for the church of Santa Caterina da Siena.

Francesco Maria I della Rovere, duke of Urbino, recalled Genga, and commissioned him to execute works in connection with his marriage to Eleonora Gonzaga in 1522. This prince was soon afterwards expelled by Pope Leo X, and Genga followed him to Mantua. When Della Rovere regained Pesaro, he had Genga reconstruct a former castle into a suburban villa, known as the Villa Imperiale This semi-rural retreat was refurbished from c. 1530 onwards. Its sunken court is the direct precedent for the more famous one at Villa Giulia, Rome, For the fresco decoration of the interior, Genga recruited a number of major Mannerist painters, including Francesco Menzocchi, Bronzino, Dosso Dossi, and Raffaellino dal Colle. The duke of Urbino was eventually restored to his dominions; he took Genga with him, and appointed him the ducal architect and decorator. He worked extensively on the Villa Imperiale on Mount Accio.

Among his work in Urbino, was the scenography of plays, for example, Castiglione described the sumptuous decoration (presumably Genga's) of the performance of Bibbiena’s La Calandria in Urbino on 6 February 1513. He also decorated the chapel of San Martino in the cathedral.

Genga was a sculptor as well as a musician. Among his pupils was his own son Bartolommeo (1518–1558), who became a respected architect. There are few extant paintings by Genga. One of his leading works is in the church of Sant'Agostino in Cesena: a triptych in oil, representing the Annunciation, God the Father in Glory, and the Madonna and Child. Among his architectural works are the church of San Giovanni Battista in Pesaro; the bishop's palace at Senigallia; the façade of the Mantua cathedral; and fortifications near Pesaro.

Genga retired to a house in the vicinity of Urbino, continuing still to produce designs in pencil.

title: Girolamo Genga


text:
Talk:Ute Gulch Commissary

Toto
Toto, I don't think we're in Kansas any more. Utah? Colorado? --Wetman 09:41, 13 October 2005 (UTC)

title: Talk:Ute Gulch Commissary


text:
2001 Andorran parliamentary election

Parliamentary elections were held in Andorra on 4 March 2001. The result was a victory for the Liberal Party of Andorra, which won 15 of the 28 seats. Its leader, Marc Forné Molné, remained Prime Minister. Voter turnout was 81.6%.

title: 2001 Andorran parliamentary election


text:
Talk:Camps of Philmont

Philmont?
Philmont where? --Wetman 09:42, 13 October 2005 (UTC)

title: Talk:Camps of Philmont


text:
Bayana

Bayana is a historical town and the headquarters of Bayana tehsil in Bharatpur district of Rajasthan in India. Hindaun City is nearest city of Bayana - 33 km. Bayana is also known as the city of 'Vansasur'. It was the site of famous Important Battle of Bayana in 1527 between Rana Sanga ruler of Mewar and Mughal emperor Babur.

History
The Bayana Fort built by Jadon Rajput ruler Vijaypala in AD 1040. Jadon are Yaduvanshi in lineage. Bayana was also famous for the Nil ki Mandi in the Mughal period. The Muslim community also lives in good numbers in Bayana, even the elderly people of the Muslim community believe that when the pilgrimage of the Muslims was to be chosen, there was a difference of only two and a half graves in Mecca and Bayana. The place would have been a Muslim pilgrimage in Bayana. The mosque here is also known as Usha Mosque. The Usha Temple at Bhinabari is also a very famous temple from where the blessings of the existence of Bayana are received.

The history of earnest is thousands of years old. It is called the city of Banasura, because the premonition of Usha, the daughter of Banasura and Aniruddha, the great-grandson of Lord Krishna, is described in Srimad Bhagwat 10.62 and Puranas. The Bayana Usha Temple here is a proof of this. In the year 322 Gupta dynasty was ruled by Chandragupta. At that time Pushp Gupta was appointed as its governor in the earnest area known as Sripath. In 371-72, the feudatory warlord Kshatriya of Emperor Samudra Gupta erected the Yajna Pillar. Its remains are still present today. It shows that there was a fort here at that time too. Also in 960, the Gurjar Pratihara dynasty ruled. Queen Chitralekha of Fakka dynasty King Laxman San built the Usha Temple under the rule of Emperor Mahipal. Maharaja Vijayapala ruled from 999-1043. Apart from this, the Delhi Sultanate, the Mughal Empire and Bharatpur ruled. The remains and inscriptions of dozens of buildings exist during this period. Some important places of earnest-

2000 years old is the history of Bayana Fort. It is also known as the city of Banasura.

Bhimalat
Bhimlat built in 371. Bhimalat, also called Vijay Pillar. Malwa Samvat 428 means AD 371-72 is engraved on this pillar. This stone pillar was built by King Vishnu Vardhan at the conclusion of the Pundarik Yajna. This pillar is a monolithic pillar made of red sandstone. Which is on the platform 13.6 feet long and 9.2 feet wide. The length of the pillar is 26.3 feet. The first 22.7-foot section is octagonal. After that, it gets diluted. It is clear from the metallography on the top of the pillar that there must have been something on its top too. There is also an article here.

Geography
Bayana is located in a small plain, between two hill ranges running more or less parallel to each other near the left bank of the Gambhir river, at a distance of 45 km from Bharatpur. Bayana is located at 26.9°N, 77.28°W. It has an average elevation of 196 metres (643 feet).

Bayana city has a temple called 'Usha Mandir', which further establishes its link with Banasur. Another interesting aspect of Usha Temple is that temple and mosque are located adjacent to each other and share a common wall.

Bayana junction is a major railway station situated on Delhi Mumbai Railway network. As an junction it serves people to major cities like Delhi, Mathura, Kota and Agra etc. Daily passenger trains also originate from and terminate to bayana jn. Bayana has a large industrial area known as riico Bayana, which mainly consist of stone industries. The city was once known for its magnificent architecture but now has lost its beauty due to the negligence of state govt and local municipality bodies.

title: Bayana


text:
HNLMS Jan van Brakel (F825)

HNLMS Jan van Brakel (F825) (Hr.Ms. Jan van Brakel) was a frigate of the Kortenaer-class frigate in service with the Royal Netherlands Navy from 1983 to 2001. She was renamed HS Kanaris (F464) (Greek: Φ/Γ Κανάρης) on transfer to the Hellenic Navy in 2002.

General characteristics
In the early 1970s the Royal Netherlands Navy developed a 'Standard' frigate design to replace the destroyers of the Holland-class destroyer and Friesland-class destroyeres. The 'Standard' design would have anti-submarine (the Kortenaer-class frigate) and anti-aircraft (the Jacob van Heemskerck-class frigate) variants with different armaments on a common hull design. The first eight Kortenaers were ordered in 1974, with four more ordered in 1976, although two were sold to Greece while being built, and replaced to two of the anti-aircraft variant.

The Kortenaer's were 130.2 m long overall and 121.8 m between perpendiculars, with a beam) of 14.4 m and a draft of 4.4 m. Displacement was 3000 LT standard and 3785 LT full load. The ship was powered by two 25800 shp Rolls-Royce Olympus TM 3B and two 4900 shp Rolls-Royce Tyne TM 1C gas turbines in a combined gas or gas (COGOG) arrangement, driving two propeller shafts. The Olympus engines gave a speed of 30 kn and the Tyne cruise engines gave a speed of 20 kn.

Dutch service history
HNLMS Jan van Brakel was built at the KM de Schelde in Vlissingen. She was named after Jan van Brakel, a Dutch naval commander from the seventeenth century. The keel laying took place on 16 November 1979 and the launching on 16 May 1981. The ship was put into service on 14 April 1983.

In 1988 she made a trip to the Far East and Australia to show the flag and for training, with the frigates HNLMS Kortenaer (F807) and HNLMS Witte de With (F813), and the replenishment ship HNLMS Zuiderkruis (A832). From March until October 1993 she was deployed in the Adriatic Sea, supporting NATO and UN operations in Yugoslavia.

On 12 October 2001 she was decommissioned and sold to the Hellenic Navy.

Greek service history
The ship was commissioned into the Hellenic Navy on 29 November 2002 and renamed HS Kanaris (Greek: Φ/Γ Κανάρης) after Konstantinos Kanaris, a hero of the Greek War of Independence and later Prime Minister of Greece. She was assigned the radio call sign "SZDT".

title: HNLMS Jan van Brakel (F825)


text: User talk:193.1.40.28

title: User talk:193.1.40.28


text:
User:Sicilybridge

Hi everyone. My name is jen. I am going to do another movie in English but after that I deserve to do a movie in French, just for the pleasure. It's very hard doing a film in a foreign language. I hope people will be tolerant because it's my first time. Not my last time, but maybe the one before my last!

title: User:Sicilybridge


text: User talk:80.168.236.112

title: User talk:80.168.236.112


text: User talk:84.12.68.107

title: User talk:84.12.68.107


text:
Praveen

The meaning of "Praveen" in the Sanskrit language is "skilled" or "talented" or "Honest" .It is most often a male name and a given name, and less commonly a surname. A prevalent modern name, it has been adapted into many other languages. In various languages of South Asia, "praveen" is a word which refers to specialty. For example, in the Telugu language, saṅgeetam-lō pravīṇuḍu (సంగీతంలో ప్రవీణుడు) refers to a person who is skilled in music.

The name "Praveen" was first used by royal heirs of the Ancient South-Indian Kingdoms who were born during the "Rudhrodhgaari" (57th year) of the 60-year cycle of the Tamil Calendar derived from ancient astronomical data, known as the "Tirukkanda Panchanga". (cf. The Secret Doctrine, 2:49-51)

Notable people

 * Praveen Chaudhari, Indian American physicist, former director of Brookhaven National Laboratory
 * Praveen Thipsay, Indian chess grandmaster
 * Praveen Swami, Indian security analyst, journalist and author. Former Diplomatic Editor The Daily Telegraph newspaper
 * Yogesh Praveen, Indian author and expert on the history and culture of Avadh
 * Praveen Kumar (cricketer), Indian cricketer
 * Pravin Amre, Indian cricketer
 * Parveen Kumar Bala, the mayor of Ba, Fiji
 * Praveen Togadia, General Secretary of the Vishva Hindu Parishad
 * Praveen Chandra, leading Indian cardiologist
 * Praveen Jordan, Indonesian Badminton Player
 * Praveen (actor), Telugu film actor
 * Pravin Godkhindi, Indian classical Hindustani flute (bansuri) player.

title: Praveen


text: User talk:82.110.42.84

title: User talk:82.110.42.84


text:
World Gathering of Young Friends

The World Gathering of Young Friends is the name of several gatherings of members of the Religious Society of Friends between the ages of 18 and 35. There have been two gatherings by this name; the first in 1985 in Greensboro, North Carolina, United States, and the second in 2005 in Lancaster, England, and Mombasa, Kenya. Though these gatherings are the first that were truly worldwide in scope, they followed many gatherings of a similar sort of Friends from North America and Europe.

1985
The WGYF was held in 1985 in Greensboro, North Carolina, on the campus of Guilford College.

Seen as a defining moment for the Religious Society of Friends worldwide, this gathering is generally considered to be the beginning of the thawing of many of the strained relationships which exist amongst divided theologies of Quakers around the world. Many participants and organisers went on to take up key roles of leadership in their respective Yearly Meetings. The epistle from the 1985 WGYF and the report of the process of its creation get cited in many Quaker contexts and it makes inspiring reading, whatever one's background may be.

2005
The aim of the World Gathering of Young Friends 2005 was to bring together, at Lancaster University, Friends aged 18–35 from around the world to build community within the next generation of Quaker leaders. They studied and learnt from their heritage, shared their present-day expressions of faith, and tried to discern how Christ is guiding them to facilitate understanding within the Quaker family. By sharing experiences of living Quaker testimony from their varied cultures, they sought to ask humbly for guidance and to open themselves to the possibility of transformation. Unfortunately, the British government refused even temporary visas to many attendees from India and Africa. Therefore, a second conference was held in Kanamai, Mombasa, Kenya from 20 to 24 October 2005.

Epistles

 * Epistle from the WGYF in Greensboro, North Carolina, US, in 1985
 * Epistle from the WGYF in Lancaster, UK, in 2005
 * Epistle from the WGYF in Mombasa, Kenya, in 2005

title: World Gathering of Young Friends


text: User talk:69.134.116.91

title: User talk:69.134.116.91


text:
Talk:Folliculitis

note
Could it also be caused in puberty when new hairs are just sprouting and so are short and may curl back? Does it occur like a couple of days after exposure to HIV, or after a long time?

This is the same as the French article and should be linked to it in the "in other languages" section: http://fr.wikipedia.org/wiki/Folliculite —Preceding unsigned comment added by 213.41.86.78 (talk) 12:46, 3 September 2007 (UTC)

Alternative Names

 * Barber's itch,Pseudofolliculitis barbae and Tinea barbae alternative names of folliculitis. Graceconcepcionr (talk) 06:40, 26 October 2010 (UTC)

Treatment

 * Hot, moist compresses may promote drainage of the affected follicles. Treatment may include antibiotics applied to the skin (mupirocin) or taken by mouth (dicloxacillin), or antifungal medications to control the infection. Graceconcepcionr (talk) 06:53, 26 October 2010 (UTC)

Merge Links
Under the Symptoms section, changing genital lesions to one link linking to "genital lesions"; instead of linking to "genital" and "lesions" separately, would increase the usefulness of the bulleted list. AddicusT (talk) 00:23, 25 October 2014 (UTC)

title: Talk:Folliculitis


text:
User:Phoebus Panagopoulos

Welcome
Hello and thanks for visiting my userpage!

Missing Wikipedians
To all those who left the project, thank you for your contributions.

This humble Wikipedian tips his digital hat in recognition of your work and hopes of your return =)

Comments and changes
All are welcome, both here and in my discussion page. Change the layout if you wish, play around but please, do not vandalize.

Thanks and learn a new thing to today!

title: User:Phoebus Panagopoulos


text:
Talk:Mako (Final Fantasy VII)

FFVII Wiki Cleanup
The long and short of what I'm saying here is that Wikipedia looks like a Final Fantasy fansite. Cloud's page looks like a biography, Advent Children's looks like the reports that came out of Venice when the film was first screened there, just yesterday I had to merge Ultima Weapon with Weapons, and then we've got a plethora of unnecessary random pages.

Final Fantasy VII and Final Fantasy X are the worst about the whole thing. Head over to the Final Fantasy X Talk Page to see what I'm talking about in regards to it.

Final Fantasy VII's problem is that some pages are down right unnecessary. Until recently, there was even a page for the damn Sister Ray. Here's what needs to be addressed:

 * Midgar (there's nothing that warrants it not being in the List of Final Fantasy VII Locations page; there's hardly so much to say about it that a general interest venue can't keep it sounding interesting without writing about everything from its newspapers to its schools).
 * Materia (crystalized form of Mako; same attributes apply to both).
 * Mako (condensed form of Lifestream which can crystalize into Materia; same attributes apply to both).

This is what I propose:

 * Midgar is merged with List of Final Fantasy VII Locations.
 * Materia is merged into Mako (as Lifestream was).

There's no reason for all this stuff to be scattered across Wikipedia when it can conveniently and reasonably fit on shared pages. Thoughts? (Please direct all comments on this matter to the Final Fantasy VII Talk Page) Ryu Kaze 09:22, 17 February 2006 (UTC)

title: Talk:Mako (Final Fantasy VII)


text: File:Wgyf-logo.jpg

title: File:Wgyf-logo.jpg


text: Category:Irish modernist poets

title: Category:Irish modernist poets


text:
User:Danielhetfield

Fav. Sport on T.V.-Wrestling

Fav. Song-Down 4 U!

Fav. artist-Aaliyah(R.I.P)You will never be forgotten and you will aways be in my memories and prayers. See you when it is my time to come.

Fav. Food-Pasta

Fav. Drink-Water

Fav. Movie-Save the Last Dance

Fav. Actor/Actress-The Rock,Aaliyah(R.I.P)

Best Friends-Helen, Afsha, Paula, Quant, Torie,Buddy, Steven, Brandon H., Tory, Saesha

Sorry if I didn't put you on the list.But I know who you are.

To the ones that I didn't mintchen- Dustin, Carson, Will, Britney, Janet, Amy, Jessica, Micheal, Josh, Shayla, Luis, Nicole W., Brandon, Ashley B., Jeremaih, Matt, James, Jim, Shakey, Sarah, Justin, Jordan, Johnathan, Alex, Courtney, Sasha, Quanenihia, Tonya, Caleb, Ann, Todd, Ashley, Aaron, Bradly, Moncia, Tori, Brandon T., Marlin, Prandaron, J.B, Jay, Holden

title: User:Danielhetfield


text: User talk:61.68.97.222

title: User talk:61.68.97.222


text:
User talk:Nguyen tuan tieuyeu

Thanks for experimenting with Wikipedia. Your test worked, and has been removed or reverted. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. - ulayiti (talk)  09:56, 13 October 2005 (UTC)

title: User talk:Nguyen tuan tieuyeu


text:
LNER Class J38

The London and North Eastern Railway Class J38 was a class of steam locomotive designed for freight transport. They were designed by Nigel Gresley and introduced in 1926. A total of 35 were built at the LNER's Darlington Works in 1926 and they were used in Scotland. All passed into British Railways ownership in 1948 and they were renumbered from 5900–5934 to 65900–65934.

The far more numerous J39 class was a later development, exchanging the J38's 4 ft driving wheels with larger 5 ft. Some of the J38s were later rebuilt with J39 boilers.

Dimensions

 * BR Power classification: 6F
 * Locomotive weight:
 * Tender weight:
 * Boiler pressure: 180 psi
 * Superheater: Yes
 * Cylinders: 20 x
 * Driving wheel diameter: 4 ft
 * Tractive effort: 28,415 lbf
 * Valve gear: Stephenson
 * piston valves

Withdrawal
All J38s were withdrawn between 1962 and 1967, with the last two in service being No. 65901 and No. 65929. These two engines were the last Gresley-designed steam locomotives in service, and all were scrapped.

title: LNER Class J38


text:
Sequence dance

Sequence dancing is a form of dance in which a preset pattern of movements is followed, usually to music which is also predetermined. Sequence dancing may include dances of many different styles. The term may include ballroom dances which move round the floor as well as line, square and circle dances.

Sequence dancing in general is much older than modern ballroom dances. With the exception of the waltz, invented around 1800, all dances in ballrooms were sequence dances until the early 20th century. After modern ballroom dancing developed, in England, sequence dancing continued. It included so-called 'Old Time' dances and also adapted versions of the new ballroom dances, and then versions of Latin dances. Sequence dancing is a competitive sport as well as a social pastime.

The British Sequence Championships is the most famous annual sequence dance competition and is part of the Blackpool Sequence Dance Festival. This is held in the Empress Ballroom, Winter Gardens, Blackpool, England, since 1949.

Sequence dancing today
Modern sequence dancing has a repeat of the steps at every sixteenth bar, typically going on for five or six sequences in all. Specially performed sequence dance music in strict tempo is usually needed, although some 'ordinary' music may suffice provided it is played in 16 bar sections or sequences throughout. Ideally, sequence music will have a four bar introduction at the correct tempo and in the correct rhythm, followed by 5 or 6 sixteen bar sequences allowing all dancers to progress around the room and ending when the music finishes.

There are many different tempo types for sequence dancing, based on the classification of each dance. Each has an accepted speed of playing so that a typical programme of sequence dancing has a wide variety of activity. Sequence dances are split into 3 different sections; 'Old Time' – also occasionally seen as 'Old Tyme' – (now referred to as 'Classical'), 'Modern' or 'Latin' with the dividing line being somewhere in the early 20th century. New sequences are being devised all the time and the number which have been published as scripts is currently (in 2010) standing at over four thousand.

Old-time (Classical) dances: Old-time Waltz, Country dance, Quadrille, Galop, Polka; Saunter, Gavotte, Two Step, Mazurka, Schottische, Cakewalk.

Modern dances: Waltz, Tango, Foxtrot, Quickstep

Latin-American dances: Rumba, Cha-cha-cha, Samba, Jive, Paso Doble, Bossa Nova, Salsa, Mambo.

Regular competitions are held between dance teachers to decide which newly created sequence dances shall be 'officially' adopted and scripted for wider distribution. Most of these are tried for a short while and then disappear into the archives. Some, just a few, find great popularity and join the select group of dances which last for several years round the dance halls. Such popular dances are the basis of practically every 'Tea Dance'. Moreover, most now consider that the best dances are the older dances, and although a few clubs still teach them, interest in the new dances now seems to be rapidly diminishing.

Most people who attend these functions will recognise Saunter Together, Mayfair Quickstep, Waltz Cathrine, Rumba One and many others. An alternative to the tea dance is the 'Dance Club'. These are devoted to the teaching and learning of all the approved new sequence dances.

New Vogue
New Vogue is a set of sequence dances which use modern ballroom technique. It was developed in Australia in the 1930s and is a danced socially and competitively across Australia and New Zealand. There are fifteen competition dances which cover March, Foxtrot, Tango and Viennese Waltz rhythms.

Sequence dance scripts
These are written in a shorthand form similar to phone texting or knitting patterns. The jargon is easily learned and the shorthand can be understood. Ultra keen sequence dancers subscribe to script services that distribute the scripts immediately they are issued by the competition organisers. A short example of this dance scripting is as follows:

 * 1. RF Fwd in CBMP (OP) comm to tn R * Side LF * Cls RF to LF to end bkng LOD. S Q Q.
 * 2. LF bk dn LOD *RF Bk, R shldr ldg * Crs LF in front of RF S Q Q.

title: Sequence dance


text:
Douglas Rae (businessman)

Duncan Douglas Foulds Rae (14 June 1931 – 23 June 2018), commonly known as Douglas Rae, was a Scottish businessman. He was chairman of the Golden Casket confectionery corporation (best known for Buchanan's Toffees and Millions), as well as chairman of Greenock Morton. He was appointed OBE in the 2016 Birthday Honours.

In April 2018, Rae stood down as chairman of Morton and handed the reins to his son Crawford, who also runs Golden Casket.

He died on 23 June 2018 at the age of 87.

title: Douglas Rae (businessman)


text:
John Duncan Fergusson

John Duncan Fergusson (9 March 1874 – 30 January 1961) was a Scottish artist and sculptor, regarded as one of the major artists of the Scottish Colourists school of painting.

Early life
Fergusson was born in Leith, Edinburgh, the first of four children. Although he briefly trained as a naval surgeon, Fergusson soon realised that his vocation was painting and he enrolled at the Trustees Academy, an Edinburgh-based art school. He rapidly became disenchanted with the rigid teaching style, however, and elected to teach himself to paint. To this end, he began to travel to Morocco, Spain and France, where he became acquainted with other artists of the day. Amongst them was Samuel Peploe, another of the group of artists who would later become identified as the Scottish Colourists.

Paris
In 1898, Fergusson took his first trip to Paris to study at the Louvre. He was highly influenced by the impressionist paintings at the Salle Caillebotte and these were an important influence on his developing style. Later he would also be influenced by Fauvism and the fauvist principles of using colour would become a strong feature of his art. Andre Dunoyer de Segonzac wrote in his foreword to Fergusson's memorial exhibition of 1961: "His art is a deep and pure expression of his immense love of life. Endowed with a rare plastic feeling, almost sculptural in its quality. He joined with it an exceptional sense of colour, outspoken, ringing colours, rich and splendid in their very substance."

Fergusson became part of the enormous growth in artistic talent that Paris was home to at the beginning of the twentieth century. There he mingled with artists like Matisse and Picasso in the café society for which the city was renowned. In addition, he and his friend Samuel Peploe regularly painted together at Paris Plage (Le Touquet) and other places along the coast between 1904–9. It was at this period too that he began his relationship with the American illustrator Anne Estelle Rice (1879–1959), whom he encouraged to take up painting. She had been sent to Paris to provide drawings for articles on theatre, ballet, opera and race meetings published in the North American magazine and was to figure in many of Fergusson's canvases.

He had his first one-man-show in the Baillie Gallery in London, immediately before going to Paris. He did have his second show until 1923.

Post WWI career
By the outbreak of World War I, Fergusson was considered to be at the forefront of modern British painting. During the war years, however, he achieved little artistically and it was only towards the end of the war that he regained the momentum in his work.

In the 1920s Fergusson was settled in a studio in London. His first solo exhibition was organised by Alexander Reid in September 1923 at La Societe des Beaux Artes in Glasgow, reshown at Aitken & Dott's Gallery in Edinburgh (also through Reid) in October 1923. Reid also organised a four man exhibition including Fergusson at the Galerie Barbazanges in Paris in February 1924. In 1928 he and his partner, the dancer Margaret Morris, moved to Paris, where they lived until the spectre of war once again loomed over Europe, prompting the couple to move to Glasgow in 1939 where they were to remain for the rest of their lives. A member of Glasgow Art Club, Fergusson exhibited a portrait in the club's exhibition, April 1939.

In 1940 Fergusson founded the New Art Club, out of which emerged the New Scottish Group of painters of which he was the first president. In 1943 he published his book on "Modern Scottish Painting". On his death, his widow, Margaret Morris, presented fourteen of his paintings to the University of Stirling when it was founded in 1968. His work remains popular, and in 1992 a permanent gallery, The Fergusson Gallery, was founded in Perth to house it.

title: John Duncan Fergusson


text:
Talk:Am730

Untitled
Dear group mate:

I understand anyone can change anything in Wikipedia, however please don’t delete all other people’s work and just type your own work. (But the work is just similar with the original version). Because this project is everyone’s “baby”, it is a joint effort’s product. If anyone wants to correct other’s ideas and add something, that’s ok. Please remember that, this is a group project, not an individual homework. Please forgive me if you don’t agree my viewpoint. —The preceding unsigned comment was added by 0101WONGol (talk • contribs) 13 October 10:00 UTC.

Am730 group members

 * Add links throughout the entry
 * Section on content can be expanded
 * Improve your subheading titles
 * See more comments on WebCT discussion section 0101TA 16:57, 14 October 2005 (UTC)

Dear 0101 group member,

Please observe the correct method of editing on Wikipedia. Just simply click the "edit the page" tab and make changes by adding your words to the existing writings in the box. If you delete everything on the page and just replace it with your own writing, everyone else's work will be gone. Also, it is helpful to preview the page first before you save the page.

Up to this date, there had been 7 deletion of the original content. It is simply unfair to keep reverting the contents again and again.

Thank you for your kind consideration. (0101WONGsy 14:35, 15 October 2005 (UTC))

Fair use rationale for Image:Am730 on Oct 12, 2005.jpg
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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) 06:55, 2 January 2008 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Am730. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20060330000623/http://www.asiamedia.ucla.edu/article-eastasia.asp?parentid=30287 to http://www.asiamedia.ucla.edu/article-eastasia.asp?parentid=30287

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title: Talk:Am730


text:
Charles William Peach

Charles William Peach ALS (30 September 1800 – 28 February 1886) was a British naturalist and geologist. He discovered fossils in Cornwall, after it had been stated by the geologists William Conybeare, that there were no fossil-bearing rocks in Cornwall.

Charles William Peach resided at a house in Fowey, a pretty house (then Victoria cottage)  overlooking the English Channel, where he was visited by Alfred Lord Tennyson and Charles Darwin, they would take regular boat trips to Mevagissey. Tennyson would be a regular visitor and convalesced at Victoria cottage during illness

Biography
He was born at Wansford, then in Northamptonshire; his father at the time was a Yeoman farmer, saddler and harness-maker, and innkeeper, farming about eighty acres (0.32 km2) of land. He received an elementary education at Wansford and at Folkingham in Lincolnshire; and assisted for several years in the inn and farm. Peach did not like the drunken behviour he saw in the inn, and abstained from alcohol all his life.

Unhappy with his situation at home, Peach applied for the position of riding officer in the Revenue Coastguard. He was appointed in January 1824, and took up his station at Weybourne in Norfolk. He had never seen the sea and as he walked along the shore seaweeds and other marine organisms attracted his attention, and these he zealously collected. His duties during the next few years led him to remove successively to Sheringham, Hasboro (Happisburgh), Cromer, and Cley, all in Norfolk.

In the course of his rambles he met the Rev. James Layton, curate at Catfield, who lent him books and assisted in laying the foundations of accurate knowledge. About the year 1830 he was transferred to Charmouth in Dorset, thence to Beer, and Paignton in Devon, and to Gorran Haven near Mevagissey in Cornwall.

Here he continued to pursue his zoological studies and supplied many specimens to George Johnston, who was preparing his History of the British Zoophytes (1838). It was in Gorran Haven that he started to study fossils and found fossils in some of the older rocks previously regarded as not fossil-bearing; the discovery of which proved the presence of Bala Beds (Ordovician or Lower Silurian) in the neighbourhood of Gorran Haven.

In 1841 he read a paper before the British Association at Plymouth On the Fossil Organic Remains found on the south-east coast of Cornwall, and in 1843 he brought before the Royal Geological Society of Cornwall an account of his discovery of fish remains in the Devonian slates near Polperro. Peach was transferred for a time to Fowey, where he nursed Alfred Lord Tennyson who had fallen on the moors. Tennyson became a firm friend, Peach gets a mention in Tennyson's poem "Maud", (Peach's daughter). Posted in 1849 to Scotland, he went first to Peterhead in 1849 where he befriended fellow customs officer and geologist, David Grieve, and went from there to Wick (1853), where he made acquaintance with Robert Dick of Thurso. During his stay in Peterhead, where he was Comptroller of Customs, he met with Hugh Miller and collected "Buchan Flints". He collected the old red sandstone fishes; and during a sojourn at Durness he first found fossils in the Cambrian limestone (1854). Peach was honoured with medals from the Royal Cornwall Polytechnic Society.

Mrs Peach was presented a specially printed book, (from Queen Victoria), by the Prince Consort.

He supplied Charles Darwin with cirripede (barnacle) specimens collected on the Cornish coast, and the hulls of oceangoing ships in dry-dock (which it was his duty, as a Customs Officer, to license); thus barnacles from all over the world, these formed the earliest calibration point for Darwin's work on the origin of species. Peach was moved to Peterhead in Scotland and thence to Wick in the rank of Comptroller of Customs. Here he also acted as Consul for Norway.

Personal life
Peach married and was the father of seven children. He retired from the government service in 1861 due to a customs treaty with France requiring a reduction of officers. He moved to Edinburgh in May 1865 whereupon he commenced a new field of research and study into the plant fossils of the Carboniferous rocks of the area. 1870-1874 President RGS Edinburgh. He died at Edinburgh on 28 February 1886.

One of his sons was the geologist Benjamin Neeve Peach, ASRM, LL.D etc. Director the Royal Geological Survey Scotland. BNP's geological map is still used in Universities around the world. it was Ben Peach that discovered how older rocks could be found above younger rocks.

title: Charles William Peach


text: User talk:82.152.10.35

title: User talk:82.152.10.35


text:
Kōjō no Tsuki

"Kōjō no Tsuki" (荒城の月) is a Japanese song written in the Meiji period.

Japanese pianist and composer Rentarō Taki composed the music as a music lesson song without instrumental accompaniment in 1901. The song was included in the songbook for Junior High School students. The music of the song was inspired by the ruins of Oka Castle whereas the lyrics, written by Bansui Doi, were inspired by the ruins of Aoba Castle and Aizuwakamatsu Castle.

Taki's original version of the song is a B minor song, but Kosaku Yamada's slow-paced nostalgic D minor version is also popular as an accompanied song. Taki's original version of the song uses E♯ on the second bar, but the modern version usually uses E probably because the original version did not fit the traditional Japanese music.

Japanese tenor singer Yoshie Fujiwara put his singing of the song on a record in 1925. He was the first Japanese singer to popularize the song throughout the world.

A jazz arrangement was recorded by Thelonious Monk under the title "Japanese Folk Song" on his 1967 album Straight, No Chaser. This version can be heard in the 2016 American movie La La Land, as one of the main characters tries to memorize and play it.

The song was sung and recorded live in the form of a power ballad by the German heavy metal band Scorpions, during a concert at the Nakano Sun Plaza in Tokyo. It was released on their 1978 live album Tokyo Tapes. The band's version was one of the rare renditions following Taki's original version quite well. This song was also performed as an instrumental by Yngwie Malmsteen during the 1984 Alcatrazz Japan Tour. A live recording of his performance at the Sun Plaza Tokyo was released on the "Metallic Live" DVD of Alcatrazz. Takeshi Terauchi & Blue Jeans, a Japanese band, recorded an instrumental rock cover of "Kōjō no Tsuki" on their album Let's Go Blue Jeans.

New Age pianist George Winston arranged and included this piece in his 2004 album Montana: A Love Story. The song was also sung live by Japanese enka singer Kiyoshi Hikawa in 2008.

In August 2012, Jackie Evancho recorded the song in Japanese as a bonus track to the Japanese release of the album Songs from the Silver Screen.

The 2020 video game Cyberpunk 2077 features the character Hanako Arasaka singing a version of "Kōjō no Tsuki" whilst on a parade float. The player is afforded an opportunity to pause the mission and listen.

Legacy
In 1998 the asteroid 8957 Koujounotsuki was named after the song.

title: Kōjō no Tsuki


text:
Janet Dawson

Janet Dawson MBE (born 1935) is an Australian artist who was a pioneer of abstract painting in Australia in the 1960s, having been introduced to abstraction during studies in England while she lived in Europe 1957–1960 She was also an accomplished lithographic printer of her own works as well as those of other renowned Australian artists, a theatre-set and furniture designer. She studied in England and Italy on scholarships before returning to Australia in 1960. She won the Art Gallery of New South Wales Archibald Prize in 1973 with the portrait of her husband, Michael Boddy Reading. She has exhibited across Australia and overseas, and her work is held in major Australian and English collections. In 1977 she was awarded an MBE for services to art.

Career
Dawson was born in Sydney in 1935 and spent her early years in Forbes. She started to take a keen interest in art at age 11 beginning her formal art tuition in Saturday morning classes at H. Septimus Power’s private art school from 1946 to 1949, before living in Clarence Street, East Malvern working as a doctor's receptionist while she studied (1952 to 1956) at the National Gallery of Victoria Art School in Melbourne first under William Dargie, who was then replaced by Alan Sumner as head of school. Art critic Robert Hughes in 1962 after Sumner's resignation wrote complaining that "since his appointment as the school's head in 1947, Mr Sumner seems to have produced no young painter whose work is of any significance whatever — except Janet Dawson, whose unquestionable talent comes, in part, from a revolt against the flaccid academism Mr Sumner has preached."

In 1955 Dawson won Gallery Art School Prizes including the Grace Joel Scholarship (Nude), Hugh Ramsey Portrait Prize, one for an ‘Abstract Painting’, another for 'A Panel of Three Drawings from Life', a 2nd prize for a 'Head study', and the 'National Gallery Society Scholarship for best subject drawing or panel of drawings in exhibition.'

A 1955 newspaper article reports that as an art student "she concentrates mainly on semi-abstracts and enjoys working on large canvases. Murals are her particular interest" and that "her highest ambition is to win the school’s travelling scholarship" of £900 for three years study abroad, then held by West Australian painter Frances Woolley (b.1930). Indeed, the following year she was the joint winner, with friend Kathleen Boyle, of the award; the National Gallery of Victoria Travelling Scholarship, for a painting of three figures on the Gallery steps, reporting that she; "made a model of plasticine and painted the picture from that." Aged 22, she embarked on the SS Roma.

International study and travel
Landing in Genoa in mid July 1957, and stopping at Milan, Bern and Paris, Dawson arrived in London. There she studied at the Slade School of Fine Art between late 1957 and mid-1959. In London, Janet attended an exhibition New American Art at the Tate in 1959 and was impressed by the simplicity and glowing colours of paintings by Rothko, Still, and Motherwell. In Paris she saw the work of Dubuffet and Miro which also had a decisive influence.

Deborah Clark notes; "The influence of European surrealism can be seen in Dawson's use of particular marks and symbols, and her admiration for the warmth and openness of American abstract painters like Jackson Pollock and Mark Rothko (whose work she saw at the Tate Gallery in 1959) also emerges, but her use of formal devices of abstraction is embedded in a genuine response to the sensations of the landscape itself."

She loved to draw, so she studied lithography, which allows an artist to draw directly on a printing stone. In 1959 she won the Slade School lithography prize which included a Boise scholarship that enabled her to travel to Italy. There, from late 1959 to early 1960, she took up residence in the hilltop village of Anticoli Corrado where the British School at Rome retained workspaces for artists. During her three months there, Dawson made drawings of the landscape which are held by the National Gallery of Victoria, the Art Gallery of New South Wales and the NGA. Abstraction, which she had once found disturbing, in her Italian landscape drawings appears in "sensual renderings," broad strokes; waves, marks and symbols that covered the paper so that hills and valleys were transformed into sensual lines and motifs. Her art became almost exclusively abstract.

From Italy, Dawson travelled to Paris early in 1960. At the Dutch Tachiste Nono Reinhold's Atelier Patris that ran 1957–61 at 26 rue Boulard, where she was the only woman amongst five printers, she worked printing for School of Paris artists in Paris, proof printing lithographs by artists Pierre Soulages, Fritz Hundertwasser and Kumi Sugai and others, and translated her Italian drawings into lithographs with bold colours, lines and strokes  The five lithographs she made at the Atelier Patris in Paris during 1960 are in the collections of the NGV, the AGNSW and the NGA. Dawson returned to Melbourne in late 1960.

Gallery A
Returning after nearly four years to Australia in late November 1960 Rather than any of the range of fine art galleries in Melbourne, Dawson chose Gallery A, a design and furniture retail space that included an art gallery in Flinders St. for her first solo show  opening 18 May 1961, then was employed by the gallery with responsibilities that included collaborating with dealer Max Hutchinson and furniture designer and sculptor, Clement Meadmore on the gallery's major 1961 exhibition The Bauhaus: Aspects and Influence.  Dawson also founded the Gallery A Print Workshop,   working at the studio as a lithographic proof printer for visiting artists, described by James Gleeson as 'pioneering' Australian graphic arts. In this role she introduced Australian artists including John Brack, John Olsen and Fred Williams to lithography. Among her students were Graeme Cohen, Richard Havyatt and Winston Thomas. Also in 1961, in November she issued a call amongst Australian printmakers for works, 10 of which were to be chosen to represent the country in Prints of the World being organised by collector and curator Robert Erskine in London. A special September 1963 edition of Meanjin devoted to French writing featured her work on its cover and as illustrations throughout.

Working as the gallery manager and technical assistant, Dawson's abstraction developed through her adoption of acrylic paint and shaped composition boards. Related to, and influential on her art, was her design of furniture for the gallery, one item of which is in the Queensland Art Gallery Collection from her ‘Living Art’ table top series of 1964 made at the invitation of the Australian Laminex company and fabricated by Steven Davis in Melbourne. Angela Goddard describes Dawson's tables as;

"'singular in Australian art: they oscillate between design and art, uniting function and aesthetics. Her use of Laminex’s strong flat colours echoes contemporary American abstraction, particularly Jasper Johns’s late 1950s Target paintings and Frank Stella’s Protractor series of the 1960s. But in the form of coffee tables, these table tops become both arresting abstract works as well as musings on the reductive methodology of abstraction, indeed even suggesting playful criticism of the use-value of abstract painting.'"

Having shown prints and drawings at Gallery A, she held her first painting solo there in 1964.

Colour field painting
Robert Lindsay notes that; "It was through a group of artists returning to Australia in the early and mid 1960s that the new international style became established. Janet Dawson returned in 1961, Dick Watkins in 1962, Sydney Ball from New York in 1965, and also in 1965 Tony McGillick..."

Artists from this group, including Dawson, were represented 21 August–28 September 1968 in The Field, the exhibition inaugurating the new venue of the NGV on St. Kilda Road Melbourne. Curators of the exhibition John Stringer, Exhibitions Officer, and Brian Finemore, Curator of Australian Art selected two works by Dawson. One of only three women invited, beside Wendy Paramour and Normana Wright, she showed her large-scale recent works; Wall 11, 1968–69, synthetic polymer paint on canvas, 184.3 x 184.4 cm., which was soon purchased by the National Gallery of Australia in 1969; and Rollascape 2, 1968, synthetic polymer paint on an irregularly-shaped composition board, 150.0 x 275.0 cm. The latter was purchased by the Art Gallery of Ballarat with assistance of the Visual Arts/Craft Board of the Australia Council, in 1988.

During the 1970s Dawson moved away from such Hard Edge abstraction to a more 'painterly' style, but maintained her formal vocabulary; at the time of her 1979 survey show Mary Eagle noted "she sees everything in nature blending, flowing together..."

Style and reception
James Gleeson, comparing works of Dawson, Rapotec and Coburn in a group show at Hungry Horse Gallery in August 1964, notes "the serenity of spirit that lies behind the vivacious conversation of Janet Dawson’s colours," and goes on to predict that; "“Janet Dawson and John Coburn have enough in common to make one feel that they are probably travelling in the same direction though on different but parallel paths. Both are fascinated by the way colours react under different circumstances and they love to exploit the ambivalent nature of colours…Dawson is less bound to a linear treatment. She sometimes allows her colours to waver, overlap and blend.”"

Dawson was involved in the Colour Field movement; abstraction that used flat, solid and graduated hues to make colour its own subject. Art historian Bernard Smith writes that "Colour painting first began to appear rather hesitantly upon the Australian scene around 1963. Two artists are of special importance for its appearance, Dick Watkins in Sydney and Janet Dawson in Melbourne." She was among the artists exhibited in The Field at the National Gallery of Victoria in 1968. The exhibition opened too much controversy, but launched the careers of many of the young artists. Dawson was one of only three women artists in the exhibition, (re-staged in 2018). Donald Brook, in year of The Field, reviewed a May exhibition Paintings by Janet Dawson at Gallery A, and described her approach at the time to the painting as an object; "'She is a non-figurative painter who has quite recently turned away from painting shapes within pictures as Miro might have done, to painting strictly on the surface of picture, in the sense in which biscuit tins and barbers’ poles are painted on. A hint to encourage this reading of what is done — of seeing a coloured object rather than an illusionistic picture — is the by now familiar device of using irregular, un-picture-like shapes. Janet Dawson constructs many of her supports with an unusual profile in two, and sometimes in three dimensions. She divides and colours them in a wry way, so that the line and boundaries pluck and tug at each other with awkward optical stress.'"

In 1970 Brook expands on this assessment: "'Janet Dawson…uses oval supports and refers back a little to early Mondrian, to Kandinsky, and perhaps to the dynamism of Wyndham Lewis, or maybe to Rayonnism. The blend is so smooth that one cannot say precisely. She contrives, with thick, very physical paint in dense and muted hues, an effect of flowing or oscillating liquids or filaments of irregularly stranded rope. The movements are diverted, arrested and slipped over and behind each other by fixed barriers working like breakwaters or baffles. There is a little implied depth, but no implication that what confronts the viewer is anything other than tangible brushed pigment on a vertically mounted support attached to the wall of a room.'"

Mary Eagle identifies in Dawson's early painting "themes of architectural and atmospheric space and light and images of clouds, moons and rainbows" that continue into her abstract work.

Of Dawson's winning the Archibald Prize which marks a point in her career of departure from pure abstraction, art historian Patrick McCaughey praised the "loose painterly treatment of figure and supports" and considered her success "surprising and deserving" because "Miss Dawson is better known as a sophisticated abstract painter. To find her venturing into the staid area of the Archibald and then carrying all before her is a marvellous reversal of the expected..."

Remarking on work Dawson produced after moving to country Binalong, Daniel Thomas in a 1974 review declared her "one of Australia's very best artists", but "now 'modern' only in the sense that she knows all about colour and form and surface; she can clamp forms to the edge of her canvas, secure in the knowledge that all is masterfully under control." He considers the show evidence of "her perhaps reluctant return to the 'old-fashioned'. The exhibition is not only about pink and yellow singing together...It is also about agriculture and being cold, and needing rain, and about how the gum trees at the bottom of the paddock are primeval, grey, hairy monsters. If anyone does an exhibition of gum-tree painting, Janet Dawson now has to be included, along with Lister Lister, Hans Heysen and Sidney Nolan." In an August 1977 Gallery A show she augmented such imagery, though on a macro scale, without the gum trees, with collage, as Nancy Borlase notes in her review; "'This time there are no gum trees. She is showing three series: Foxy Night, Practical House Designs, and Traditional Portrait Drawings. As well there is a panel of Featherscapes, tiny painted sunsets to which she collages the most fragile of natural objects — feathers, twigs, grass. pods, a crushed eggshell. She is using collage for the first time - painting with torn paper, feathers, a crumpled rag crushed behind the glass in Big Rising Moon 2.'"

Gary Catalano writing in 1988 about her solo show in Richmond, questions, then reluctantly concurs with, Eagle's comparison of Dawson's metaphysics with Blake's, and highlights the artist's surrealism: "'Dawson's metaphysic, it must be stressed, is not Blakean in Its constituents. Blake housed everything in the human body and thereby magnified its transformational energies; Dawson's vision, which ls neither anthropomorphic in its character nor politically radical in its thrust, reduces the world to the workings of water. There are, of course. many things in these paintings that defy common sense. A hemispherical bowl brimming with water hovers in space at the top of the T-shaped 'Spirit Level I'; a cup tilts itself and water spills down the edge of the same palntlng, its flow arrested not by rocks but, rather, by a fictional fold in the canvas.  But this playfulness has a serious intent. Quite simply, Dawson believes that  literal and imaginative truths are by no means incompatible.'"

Catalano's 1997 interview with the artist allowed Dawson to give her own response to the question of metaphysics:

"'Naturalism and symbolism are fully reconcilable. Of course. you don't name styes or techniques to yourself as you work; it would be a rotten job if you did. But...the arrangement of the petals of a Fool dahlia employs the same spiral structure as a galaxy or other cosmic conglomerate. So, from that point of view there's not much difference between a dahlia and a galaxy. and there's no need to play magic realism tricks. The dahlia is under my nose, so it's more useful to study and draw. The big in the little. There has to be that interest - textural, tactile, detailed interest - to take you further. Most of the works that sing in your mind have those qualities embedded, not 'explained'.'"

On the occasion of Dawson's 1996 drawing survey at the National Gallery of Australia, John McDonald of The Sydney Morning Herald remarked that the exhibition was;"'a revelation in its lucid intertwining of close observation and formal invention. The dividing line between abstract and figurative and is crossed and recrossed until one recognises only a single continuum, defined by the touch and personality of the artist. Nothing, in this respect, is better than a 1995 series of 13 drawings of a red cabbage that charts the entire life-cycle of the vegetable from first sprouting to decomposition. By using this single motif, Dawson is able to explore a full range of tone, lines and textures, in the same way that Monet painted Rouen Cathedral, haystack or poplars, over and over again, to capture the fugitive effects of light.'" Considering later work McDonald remarks that; "'By the end of the [1970s], she is working on the Foxy Night paintings, which turn moon and landscape into a series of geometric declensions, softened by feathery, gestural brushwork. I have alway found these paintings to be a slightly awkward attempt at forging a synthesis between Iyrical and geometric abstraction: and the lead-up drawings show Dawson plotting with the deliberateness of a cartographer. This raises a niggling question about the balance between drawing and painting in Dawson's career. In this survey, she emerges as such a natural and complete draftsperson that one wonders if there is anything in her paintings that she has not already accomplished as a graphic artist. To know what is added, or perhaps lost, in a different medium. we may have to wait for a painting retrospective.'"

Partnership
In 1968 Dawson married Michael Boddy (1934–2014), a British-born playwright and actor, educated at Cambridge, who migrated to Australia in 1960 and whom she met in 1963 in Melbourne while she was designing for the Emerald Hill Theatre and on the set of his play You'll Come to Love Your Sperm Test. At that time she was working 1969–1971 full-time in the display department of the Australian Museum, Sydney, which she credits, because of the 'natural history' to which it exposed her, as an influence on her painting.

In 1973 she produced sets for productions of Boddy's plays The Legend of King O'Malley and Cash, illustrations for a collection of essays on O'Malley and Boddy's "The Last Supper Show" at the Nimrod Theatre where he was playwright-in-residence. They partnered in a program in schools on the production and staging of plays before moving from Waverley to the village of Binalong, New South Wales, and with a paining of her husband surrounded by gardening implements Dawson became the third woman to win the Archibald Prize for her Michael Boddy Reading,   her first and only entry in the Prize.

In 1977 they lived at 'Scribble Rock', a small property just outside the settlement, and there, from 22 December 1994 to May 1995 she produced the Scribble Rock Red Cabbage series purchased in its entirety by the National Gallery of Australia. In 1981 Dawson and her husband relocated to Canberra to help establish Theatre ACT, returning to Binalong in 1985. That year, the Australia Council awarded Dawson the A$19,250 full standard artist's grant.

Boddy died in 2014 and Dawson moved to Ocean Grove, Victoria. Michael had three children, including a son who pre-deceased Boddy.

Exhibitions

 * 1961: solo show, paintings, lithographs, drawings, Gallery A, Melbourne.
 * 1963: Prints '63, Studio One Printmakers. Skinner Galleries (1963 – 1963); Newcastle Region Art Gallery (1 September 1963 – 1 September 1963); Castlemaine Art Gallery And Historical Museum (1 September 1963 – 1 September 1963); Rudy Komon Art Gallery (1 September 1963 – 1 September 1963); Douglas Gallery (1 September 1963 – 1 September 1963); National Gallery Of Victoria (11 September 1963 – 6 October 1963); Bonython Art Gallery, Adelaide (1 October 1963 – 1 October 1963); Yosheido Gallery, Tokyo (1964 – 1964)
 * 1964, August: group show, Hungry Horse Gallery, Sydney
 * 1965: Introduction '65, Janet Dawson, Leonard Hessing, Robert Klippel, Colin Lanceley, John Olsen, Charles Reddington. Gallery A, Melbourne
 * 1966: included in an exhibition of contemporary Australian painting in Los Angeles and San Francisco
 * 1966/7: Gallery A. Summer exhibition 66, Australian paintings drawings watercolours sculpture. Artists exhibiting were Sydney Ball, Jennifer Barwell, Henry Bastin, Charles Blackman, Arthur Boyd, John Brack, Donald Brook, Mike Brown, Judy Cassab, Peter Clarke, John Coburn, Martin Collocott, Jack Courier, Ray Crooke, Robert Dickerson, Russell Drysdale, Peggy Fauser, Maximilian Feuerring, John Firth-Smith, William Frater, Peter Freeman, Leonard French, Donald Friend, Marjorie Gillespie, James Gleeson, Thomas Gleghorn, Anne Hall, Pro Hart, Elaine Haxton, John Henshaw, Daryl Hill, Ludwig Hirschfeld-Mack, Leonard Hessing, Perle Hessing, Robert Hughes, Robert Klippel, Michael Kmit, Colin Lanceley, Richard Larter, Francis Lymburner, Elwyn Lynn, Mary MacQueen, Marsha Morgan, Sydney Nolan, Alan Oldfield, John Olsen, Stan Ostoja-Kotkowski, William Peascod, John Perceval, Carl Plate, Peter Powditch, Clifton Pugh, Emanuel Raft, Stanislaus Rapotec, Charles Reddington, Stephen Reed, John Rigby, Jan Riske, William Rose, Rosemary Ryan, Gareth Sansom, Michael Shannon, Imre Szigeti, Michael Taylor, Stan De Teliga, Peter Upward, David Warren, Guy Warren, Richard Weight, Robert Williams, Les Willis, Ken Whisson, Peter Wright. Shown in both Melbourne and Sydney branches of Gallery A and continued until 24 February 1967
 * 1968:The Field exhibition. Two paintings included amongst 74 abstract works by 40 artists working in hard edge abstraction, colour field painting, using shaped canvases, and conceptual art. National Gallery of Victoria
 * 1979: survey exhibition, National Gallery of Victoria
 * 1988, Feb-Mar: solo show, 312 Lennox St., Richmond
 * 1996, 22 June–11 August: The Drawings of Janet Dawson; survey show, National Gallery of Australia
 * 1998–2019: Six solo shows at Stella Downer Fine Art, Sydney
 * 2000: Challenge and Response in Australian Art, 1955–65, National Gallery of Australia 2002 Intimate Portraits, National Portrait Gallery, Canberra
 * 2002–2019: Ten group shows at Charles Nodrum Gallery, Melbourne
 * 2006: Survey Exhibition, Bathurst Gallery, NSW; S.H. Ervin Gallery, Sydney; University of Queensland Art Museum; Tasmanian Museum and Art Gallery; Mornington Peninsula Regional Art Gallery, Vic.
 * 2007–2019: Group shows at Stella Downer Fine Art, Sydney
 * 2008: Modern Times, Powerhouse Museum, Sydney
 * 2012: Janet Dawson: A Personal View, Goulburn Regional Art Gallery, NSW
 * 2015/19: Two solo shows at Nancy Sever Gallery, Canberra
 * 2017: Abstraction: Celebrating Australian Women Abstract Artists, Geelong Art Gallery, Vic. and travelling
 * 2018: The Field Revisited, National Gallery of Victoria
 * 2019: Trying to find comfort in an uncomfortable chair - Paintings from the Cruthers Collection of Australian Women’s Art, University of Western Australia, Perth
 * 2019: Cloud Comics, Nancy Sever Gallery, Canberra
 * 2020: Know My Name featuring 150 female Australian artists from 1900 to the 21st century, National Gallery of Australia

Awards and recognition

 * 1956: National Gallery of Victoria Travelling Scholarship
 * 1959: Boise Scholarship
 * 1973: Archibald Prize
 * 1977: MBE for service to art
 * 1985: Australia Council for the Arts grant

Collections

 * Royal Society, London
 * Art Gallery of New South Wales
 * National Gallery of Australia
 * National Gallery of Victoria
 * Art Gallery of South Australia

title: Janet Dawson


text:
Hemopexin

Hemopexin (or haemopexin; Hpx; Hx), also known as beta-1B-glycoprotein, is a glycoprotein that in humans is encoded by the HPX gene  and belongs to the hemopexin family of proteins. Hemopexin is the plasma protein with the highest binding affinity for heme.

Hemoglobin itself circulating alone in the blood plasma (called free hemoglobin, as opposed to the hemoglobin situated in and circulating with the red blood cell.) will soon be oxidized into met-hemoglobin which then further disassociates into free heme along with globin chain. The free heme will then be oxidized into free met-heme and sooner or later the hemopexin will come to bind free met-heme together, forming a complex of met-heme and hemopexin, continuing their journey in the circulation until reaching a receptor, such as LRP1, on hepatocytes or macrophages within the spleen, liver and bone marrow.

Hemopexin's arrival and subsequent binding to the free heme not only prevent heme's pro-oxidant and pro-inflammatory effects but also promotes free heme's detoxification.

Hemopexin is different from haptoglobin, the latter always binds to free hemoglobin. (See Haptoglobin § Differentiation with hemopexin)

Cloning, expression, and discovery
Takahashi et al. (1985) determined that human plasma hemopexin consists of a single polypeptide chain of 439 amino acids residues with six intrachain disulfide bridges and has a molecular mass of approximately 63 kD. The amino-terminal threonine residue is modified by a mucin-type O-linked galactosamine oligosaccharide, and the protein has five N-linked glycan modifications. The 18 tryptophan residues are arranged in four clusters, and 12 of the tryptophans are conserved in homologous positions. Computer-assisted analysis of the internal homology in amino acid sequence suggested duplication of an ancestral gene thus indicating that hemopexin consists of two similar halves.

Altruda et al. (1988) demonstrated that the HPX gene spans approximately 12 kb and is interrupted by 9 exons. The demonstration shows direct correspondence between exons and the 10 repeating units in the protein. The introns were not placed randomly; they fell in the center of the region of amino acid sequence homology in strikingly similar locations in 6 of the 10 units and in a symmetric position in each half of the coding sequence. From these observations, Altruda et al. (1988) concluded that the gene evolved through intron-mediated duplications of a primordial sequence to a 5-exon cluster.

Mapping of hemopexin gene
Cai and Law (1986) prepared a cDNA clone for hemopexin, by Southern blot analysis of human/hamster hybrids containing different combinations of human chromosomes, assigned the HPX gene to human chromosome 11. Law et al. (1988) assigned the HPX gene to 11p15.5-p15.4, the same location as that of the beta-globin gene complex by in situ hybridization.

Differential transcriptional pattern of hemopexin gene
In 1986, the expression of the human HPX gene in different human tissues and cell lines was carried out by using a specific cDNA probe. From the results obtained it was concluded that this gene was expressed in the liver and it was below the level of detection in other tissues or cell lines examined. By S1 mapping, the transcription initiation site in hepatic cells was located 28 base pairs upstream from the AUG initiation codon of the hemopexin gene.

Function
Hemopexin binds heme with the highest affinity of any known protein. Its main function is scavenging the heme released or lost by the turnover of heme proteins such as hemoglobin and thus protects the body from the oxidative damage that free heme can cause. In addition, hemopexin releases its bound ligand for internalisation upon interacting with CD91. Hemopexin preserves the body's iron. Hemopexin -dependent uptake of extracellular heme can lead to the deactivation of Bach1 repression which leads to the transcriptional activation of antioxidant heme oxygenase-1 gene. Hemoglobin, haptoglobin (Hp) and Hx associate with high density lipoprotein (HDL) and influence the inflammatory properties of HDL. Hemopexin can downregulate the angiotensin II Type 1 receptor (AT1-R) in vitro.

Clinical significance
The predominant source of circulating hemopexin is the liver with a plasma concentration of 1–2 mg/ml. Serum hemopexin level reflects how much heme is present in the blood. Therefore, a low hemopexin level indicates that there has been significant degradation of heme containing compounds. A low hemopexin level is one of the diagnostic features of an intravascular hemolytic anemia. Hemopexin has been implicated in cardiovascular disease, septic shock, cerebral ischemic injury, and experimental autoimmune encephalomyelitis. The circulating level of hemopexin is associated with prognosis in patients with septic shock.

HPX is produced in the brain. Deletion of the HPX gene can aggravate brain injury followed by stroma-free hemoglobin-induced intracerebral haemorrhage. High hemopexin level in the cerebrospinal fluid is associated with poor outcome after subarachnoid hemorrhage.

Circulating hemopexin can modulate in patients and in mice anthracycline-induced cardiotoxicity (e.g. heart failure).

Relation to haptoglobin
In past there have been reports showing that in patients with sickle cell disease, spherocytosis, autoimmune hemolytic anemia, erythropoietic protoporphyria and pyruvate kinase deficiency, a decline in hemopexin concentration occurs in situations when haptoglobin (Hp) concentrations are low or depleted as a result of severe or prolonged hemolysis. Both haptoglobin and hemopexin are acute-phase proteins, the synthesis of which are induced during infection and after inflammatory states to minimize tissue injury and facilitate tissue repair. Hp and hemopexin prevent heme toxicity by binding themselves to heme prior to monocyte or macrophage's arrivals and ensuing clearances, which may explain their effects on outcome in several diseases, and underlies the rationale for exogenous haptoglobin and hemopexin as therapeutic proteins in hemolytic or hemorrhagic conditions. Hemopexin is the major vehicle for the transportation of heme in the plasma.

title: Hemopexin


text: User talk:70.173.58.118

title: User talk:70.173.58.118


text:
Talk:Nicktoons

Why is this a disambiguation page, not a redirect
Hi, per the result of an AfD in 2013 consensus was for this article to be converted to a redirect to List of programs broadcast by Nickelodeon. That isn't to say that consensus cannot be changed, but we should probably discuss this. Please see: Articles for deletion/Nicktoons for background. Cyphoidbomb (talk) 01:51, 4 October 2014 (UTC)

"Ollie's Pack"
As people have pointed out before me, the show "Ollie's Pack" doesn't belong here because Viacom isn't in the copyright line. It keeps being added a few times without any reasoning, so please do not keep doing this. TheFallenPower (talk) 20:46, 2 April 2020 (UTC)

Bchtunxqgylu I'll hoarse vVata
I s 2603:8080:7102:B793:7ED5:66FF:FE9B:842 (talk) 19:14, 15 March 2022 (UTC)

/* Precursors */ Count Duckula was co-produced and conceived of by nick so it definitely counts
Someone reverted my edit to include Duckula as a precursor to Nicktoons, citing Nickelodeon's "criteria". I highly doubt Nick has a criteria of what regards a precursor. Plus given Nick's heavy involvement in its production with the express goal of it airing on Nickelodeon, it's exclusion as a frankly bizarre. Nick doesn't consider it a Nicktoon, but neither does it consider the other precursors and Nicktoons. It belongs.

James (talk) 03:22, 18 May 2022 (UTC)

Error
A template of their creators must return and was ruined all the time. — Preceding unsigned comment added by 174.141.204.89 (talk) 00:06, 30 October 2023 (UTC)

Change the logo
Paramount no longer owns Rainbow SPA, it has been spun off last year. I want a new image of the Nickelodeon Animation Studio logo, because Winx Club is a licensed Nicktoon, just like three DreamWorks shows, Tak, Monster High, and Transformers. 2601:195:C081:250:DDAB:89D:63AA:F70D (talk) 19:35, 6 April 2024 (UTC)
 * It was produced by Nick Animation Studio at that time, since that picture is from 2013. And Nick still owns the copyright to the Winx Club seasons they produced. The image is still a good image to illustrate the varied newer shows they've made under the Nicktoons banner. 71.184.192.66 (talk) 22:47, 15 April 2024 (UTC)

title: Talk:Nicktoons


text:
User talk:Funkadeli guy

Hi. Please don't blank a page that's being considered for deletion. It says that in the header you blanked. Thanks, brenneman (t) (c)  10:06, 13 October 2005 (UTC)

title: User talk:Funkadeli guy


text: User talk:61.94.40.69

title: User talk:61.94.40.69


text:
Parochial Union of Independents Group

The Parochial Union of Independents Group (Grup d'Unió Parroquial Independents, GUPI) was a local progressive political party in Ordino, Andorra.

History
In the local elections in 2003 GUPI won two of the ten seats in Ordino. For the 2005 parliamentary elections the party was part of an alliance with the Social Democratic Party and Democratic Renewal named L'Alternativa. The alliance won twelve seats.

GUPI retained its alliance with the Social Democratic Party for the 2009 elections, with the coalition emerging victorious after winning 14 of the 28 seats.

title: Parochial Union of Independents Group


text:
File:Perfect 10 Single Cover.jpg

Fair use in Perfect 10 (single)
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

Source

 * 1) Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

title: File:Perfect 10 Single Cover.jpg


text:
Roberto Abbondanzieri

Roberto Carlos Abbondanzieri (also spelled Abbondancieri, born 19 August 1972), nicknamed El Pato (The Duck), is a former Argentine professional footballer who played as a goalkeeper.

He spent most of his career for the Boca Juniors in his homeland, as well as Getafe of La Liga and Internacional of Brazil. After his retirement, he took up coaching.

Abbondanzieri earned 49 caps for the Argentina national football team from 2004 to 2008, playing at two Copa America tournaments and the 2006 FIFA World Cup.

Early career
Born in Bouquet, Santa Fe, Abbondanzieri's professional debut took place on 6 December 1994 at Santa Fe's Rosario Central, with whom he would soon after winning the 1995 CONMEBOL Cup. He played with the club until 1997, when he moved to Boca Juniors to be the reserve goalkeeper.

Abbondanzieri trained in the shadow of Óscar Córdoba until the Colombian goalie suffered an injury during the Clausura tournament of 1999. However, Abbondanzieri himself then suffered a shoulder injury during a match against River Plate, and the club's third-choice goalkeeper, Cristian Muñoz, took his place. When he recovered from his injury Abbondanzieri was once again Córdoba's understudy until February 2002, when Córdoba moved to Italian club Perugia.

Abbondanzieri changed his name in July 2002 from Abbondancieri, a misspelling that arose at Argentinian customs when his grandfather immigrated there, to the original spelling that he uses today. The name change was prompted by Italian citizenship concerns in the case of his transfer to the European football leagues. He was named South American Goalkeeper of the Year in 2003.

Until September 2006, when Boca achieved their third Recopa Sudamericana, he held the Boca Juniors record of 14 titles, surpassed later by Guillermo Barros Schelotto.

Getafe
In June 2006, after weeks of speculation, Abbondanzieri signed a three-year contract with Spanish first division Getafe CF, claiming that "it's the right time for me to go to Europe". In his debut season in the Spanish league, he won the Ricardo Zamora Trophy to the best goalkeeper, after conceding only 30 goals in 37 matches.

On 10 April 2008, in a UEFA Cup quarterfinal second-leg match against Bayern Munich, Abbondanzieri made a vital error in extra time, failing to hold a routine ball from a distant free kick. The ball slipped under his legs while in the six-yard box, allowing Bayern striker Luca Toni to tap the ball into the back of the net. Bayern was still in deficit of goals on aggregate, as the score was 2–3 after the goal (3–4 on aggregate), but only five minutes later, Bayern would level the score at 3–3 (4–4 on aggregate) and allow themselves passage to the UEFA Cup semifinals via the away goals rule.

Return to South America
Abbondanzieri continued with Getafe for the first half of the 2008–2009 season, but at his request was transferred back to Boca Juniors for the 2009 Clausura tournament. "El Pato" was again Boca's number one and competed in the Clausura, although Boca only finished in 14th. He also participated in the Copa Libertadores, where Boca fell to Defensor Sporting of Uruguay in the round of 16.

On 16 February 2010, Internacional signed the Argentine goalkeeper "Pato" from Boca Juniors. Abbondanzieri retired on 18 December after the match against Seongnam for the third place of FIFA Club World Cup. Internacional won 4–2.

International career
As a youth, Abbondanzieri represented Argentina in the 1989 FIFA U-17 World Championship.

Since then, he became a continuous presence in Boca's goal and, in June 2004, he became the goalkeeper for the Argentina national team and has since played in the Copa América 2004 and the South American Qualification for the 2006 FIFA World Cup.

On 6 May 2006, he was named as a definite squad member for the 2006 World Cup by coach José Pekerman.

On 30 June 2006, he was injured in the World Cup quarter-finals against hosts Germany, after Argentina had taken a 1–0 lead. German striker Miroslav Klose jumped up high for a header while running and collided with Abbondanzieri, with Klose's right leg hitting the Argentinian keeper in the chest. Klose, who had looked sideways to watch for the ball in the moments leading up to the collision and thus may not have seen Abbondanzieri, received no penalty. Abbondanzieri continued at first but had to be carried off on a stretcher some minutes later, to be replaced by Leo Franco, who later failed to save Klose's equalizing strike in the 80th minute, and the four penalty kicks in the ensuing penalty shootout, which Argentina lost 2–4.

He continued to be Argentina's first choice goalkeeper under Alfio Basile following the 2006 World Cup. He played all six games at the 2007 Copa América in Venezuela as Argentina reached the final, only to lose to Brazil 3–0. He remained Basile's goalkeeper through the early stages of qualifying for the 2010 World Cup in South Africa but was forced out injured during a 1–1 draw at home to Paraguay. After recovering from his injury, Basile had been replaced by Diego Maradona, who left Abbondanzieri off the squad.

Coaching career
In November 2012, Abbondanzieri was named as assistant to his former Boca teammate Martín Palermo when he was hired by Godoy Cruz. In April 2014, the pair and Rolando Schiavi took the same job at Arsenal de Sarandí.

Abbondanzieri and Palermo moved to Chile to manage Unión Española in May 2016.

On 28 November 2020, Abbondanzieri was appointed as assistant coach at Chilean club Curicó Unido, once again under Martín Palermo. However, at the end of May 2021, Abbondanzieri announced that he would step back from football to spend more time with his family.

Personal life
Abbondanzieri shares his nickname with another renowned Argentine goalkeeper, Ubaldo Fillol.

International
Appearances and goals by national team and year

Honours
Rosario Central
 * Copa CONMEBOL: 1995

Boca Juniors
 * Primera División: 1998 Apertura, 1999 Clausura, 2000 Apertura, 2003 Apertura, 2005 Apertura, 2006 Clausura
 * Copa Libertadores: 2000, 2001, 2003
 * Copa Sudamericana: 2004, 2005
 * Recopa Sudamericana: 2005
 * Intercontinental Cup: 2000, 2003

Internacional
 * Copa Libertadores: 2010

Individual
 * South America Best goalkeeper in South America 2003
 * Copa Sudamericana Best goalkeeper 2005
 * Copa Sudamericana Best Player of the Final 2005
 * Ricardo Zamora Trophy, best goalkeeper of La Liga: 2006–07
 * Top 10 Goalkeeper of the 21st Century (IFFHS): 2001–2011

title: Roberto Abbondanzieri


text: User talk:222.117.134.8

title: User talk:222.117.134.8


text:
Eduardo Carrasco

Eduardo Guillermo Carrasco Pirard (born July 2, 1940, in Santiago) is a Chilean musician, university professor of philosophy, author, and one of the founders of the Chilean folk music group Quilapayún - and the group's musical director from 1969 to 1989.

Biography
Carraco studied at the elite José Victorino Lastarria Lyceum in Santiago and then entered the Pontificia Universidad Católica de Chile to study philosophy; he subsequently travelled to Germany to study at the Ruprecht Karl Universitat of Heidelberg. In 1964 he returned to Chile to continue his study of philosophy at the University of Chile and in 1965 he forms the musical ensemble Quilapayun with his brother Julio Carrasco and his friend Julio Numhauser.

Carrasco completed his formal study of philosophy in April 1970 when he submitted a thesis on Friedrich Nietzsche and the Jews: Reflections on the misrepresentation of a thought; he then commenced to study music at the National Conservatorium of the University of Chile until the Chilean military coup of September 11, 1973.

The years following the military coup saw Carrasco involved primarily in artistic and political projects. After the coup Quilapayún becomes the voice of the Chilean resistance and Carrasco tours with the ensemble which performs in the venues in the world, including, Carnegie Hall, Royal Albert Hall, the Olympia in Paris and in the Tokio Centre.

A virtuoso of the quena and wind instruments and a distinctive bass vocalist of the group. He appeared as solo vocalist in many of the group's recordings, among them “Pregon Inicial”   of the Cantata Santa María de Iquique;  “Con el alma llena de Banderas”   of the El pueblo unido jamás sera vencido album; and "Canción para Víctor Jara". From the beginning he proved himself as a composer with pieces such as  “El canto del cuculi”  and “La cueca triste”  - co-jointly with Víctor Jara – and later after acquiring formal training in the field of music he created some of the most significant work of the group, such as “Vals de Colombes”,  “Elegia al Che Guevara”,  “Ausencia”  with Rodolfo Parada, ”Canción de la esperanza” and “Luz negra”. Carrasco forged the concept of “La revolucion y las estrellas”/(The revolution and the stars) which signified an evolution in the alignment of Quilapayún.

Carrasco has written numerous books including two book about Quilapayún; the first (under the pseudonym of Ignacio Santander) and the second “Quilapayún, la Revolución y Las Estrellas.”   He has also publishing numerous works of poetry, philosophy and his conversations with the Chilean painter Roberto Matta, and with the Chilean philosopher Roberto Torretti. Once Quilapayún was able to return to Chile from exile in 1988, Carrasco maintained that the true place for the group was Chile, since other group members needed to return to France, he decided to remain in Chile and leave the group.

In Chile he has held numerous posts: as professor of philosophy at the Universidad de Chile; as director in the School of Music of the "Sociedad Chilena del Derecho de Author" and in the cultural division of the Chilean Ministry of Education. In 2003 Carrasco formed a Chilean based Quilapayun named Quilapayún Histórico (despite the fact that in France Quilapayún were still releasing new albums and touring as the group had always done whilst in exile) which included some of the original members and Ismael Oddo (the son of Willy Oddo who was assassinated in 1991). Carrasco toured extensively with Quilapayún Histórico and one of their concerts held on September 11, 2003 to commemorate 30th Anniversary of the death of Salvador Allende was released as a DVD titled ‘El Reencuentro’ (The Re-encounter).

Awards
Carrasco has earned numerous award from Chile and from international organizations, including:
 * Orden al Mérito Docente y Cultural Gabriela Mistral
 * Premio de la Academia "Charles le Gros"
 * Diploma of Honor with the highest distinctions awarded by the OAS and the Interamerican Council of Music of Washington DC
 * Ordre des Arts et des Lettres awarded by the Ministry of Culture of the French Government

Selected bibliography

 * Campanaas del mar, lectura filosófica de Pablo Neruda (1995)
 * Quilapayún, la revolución y las estrellas (2003)
 * Autorretrato, Nuevas conversaciones con Matta (2002)
 * Para leer “Así habló Zaratustra de F. Nietzsche (2002)
 * Palabra de hombre, Tractatus philosophiae chilensis (2002)
 * Conversaciones con Matta (2002)
 * En el cielo las estrellas. Conversaciones con Roberto Torretti (2006)
 * Heidegger y la historia del ser (2007)
 * El Hombre y lo Otro (2008)
 * Conversaciones con José Antonio Camacho (2008)
 * Nietzsche y los judíos (2008)

Studio albums

 * Quilapayún (1966)
 * Canciones folklóricas de América (1967) (Quilapayún & Víctor Jara)
 * X Vietnam (1968)
 * Quilapayún Tres (1968)
 * Basta (1969)
 * Quilapayún Cuatro (1970)
 * Cantata Santa María de Iquique (1970) (Quilapayún & Héctor Duvauchelle)
 * Vivir como él (1971)
 * Quilapayún Cinco (1972)
 * La Fragua (1973)(Texto & Músic by Sergio Ortega)
 * El pueblo unido jamás será vencido (Yhtenäistä Kansaa Ei Voi  (1974)
 * El Pueblo Unido Jamás Será Vencido (1975)
 * Adelante (1975)
 * Patria (1976)
 * La marche et le drapeau (1977)
 * Cantata Santa María de Iquique (Nueva versión) (1978) (Quilapayún & Jean-Louis Barrault)
 * Umbral (1979)
 * Darle al otoño un golpe de ventana... (1980)
 * La revolución y las estrellas (1982)
 * Sandino (1983)
 * Tralalí Tralalá (1984)
 * Survarío (1987)
 * Carrasco (1996)
 * Siempre (2007)

Live albums

 * Enregistrement public (1977)
 * Alentours (1980)
 * Quilapayún en Argentina (1983) (Live in Argentina)
 * Quilapayún en Argentina Vol II (1985) (Live in Argentina Vol. II)
 * Quilapayún en Chile (1989) (Live in Chile)
 * El Reencuentro (2004)
 * Musica en la Memoria - Juntos en Chile (2005) (with Inti-Illimani)

Compilations

 * Quilapayún Chante Neruda (1983)
 * Antología 1968-1992 (1998)

title: Eduardo Carrasco


text: User talk:203.48.234.20

title: User talk:203.48.234.20