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CSKA Pamir Dushanbe

CSKA Pamir Dushanbe (Клуби футболи ЦСКА-Помир Душанбе; ) is a professional football club based in Dushanbe, Tajikistan that currently plays in the Tajikistan Higher League, the country's top division. Since 1997, the club has been under the patronage of the Tajik Army, like its former rivals CSKA Dushanbe.

History
Created in 1970 based on FC Energetik Dushanbe, the new Pamir Dushanbe was the only Tajik club to be promoted to the former Soviet Top League, in which the club played for the last three seasons that the league existed just prior to the dissolution of the USSR: 1989, 1990, and 1991. They made the semi-finals of the last Soviet Cup, losing to CSKA Moscow. Due to the ongoing Tajik Civil War, the club was dissolved and its players moved to Uzbekistan. A couple of Dushanbe-based clubs were removed from the Tajik League after 1996.

Originally, at least since the World War II in Stalinabad (Soviet name for Dushanbe) existed FC Dinamo Stalinabad which in 1950 carried the name of Bolshevik. Sometime in 1956 the local football team was taken over by Tajikistani agrarian sports society of Kolhosci and later until 1969 by a sports society of power generation workers, Energetik.

The club formerly played at the Pamir Stadium, but today plays at the smaller CSKA Stadium.

CSKA Pamir
Sometime in 1997 the club was recreated under aegis of the Ministry of Defense of Tajikistan and was transformed into the Tajikistani CSKA club which was coached by newly retired former Pamir footballer Damir Kamaletdinov.

In July 2016, CSKA fired manager Rahmatullo Fuzailov, replacing him with Tokhirjon Muminov.

On 5 January 2019, Rustam Khojayev was appointed as the new manager of CSKA. On 23 June 2019, Khojayev resigned as manager. On 8 July 2019, Sergey Zhitsky was appointed as CSKA's new manager.

Honours

 * USSR Second Division (2): 1988
 * Ligai Olii Tojikiston (3): 1992, 1995,
 * Tajik Cup (2): 1992

Statistics
The following are statistics on CSKA Pamir Dushanbe's footballers' performance in USSR Top League between 1988 and 1991.

Notable players
Players who had international caps for their respective countries.

 * Tajikistan
 * 🇹🇯 Alier Ashurmamadov
 * 🇹🇯 Arsen Avakov
 * 🇹🇯 Yuri Baturenko
 * 🇹🇯 Igor Cherevchenko
 * 🇹🇯 Khakim Fuzailov
 * 🇹🇯 Rahmatullo Fuzailov
 * 🇹🇯 Shuhrat Mamajonov
 * 🇹🇯 Andrei Manannikov
 * 🇹🇯 Vazgen Manasyan
 * 🇹🇯 🇷🇺 Sergey Mandreko

 * 🇹🇯 🇷🇺 Mukhsin Mukhamadiev
 * 🇹🇯 Tokhirjon Muminov
 * 🇹🇯 Vasili Postnov
 * 🇹🇯 🇷🇺 Rashid Rakhimov
 * 🇹🇯 Valeri Sarychev
 * 🇹🇯 Oleg Shirinbekov
 * 🇹🇯 Georgi Takhokhov
 * 🇹🇯 Anatoli Volovodenko
 * Oleksiy Cherednyk
 * Edgar Gess

 * Former USSR countries
 * 🇹🇲 Charyar Mukhadov
 * 🇹🇲 Röwşen Muhadow
 * 🇺🇿 Azamat Abduraimov
 * 🇺🇿 Ravshan Bozorov
 * 🇺🇿 Rustam Zabirov

 * Africa
 * 🇿🇲 Wisdom Mumba Chansa
 * 🇿🇲 Derby Makinka
 * 🇿🇲 Pearson Mwanza

Managers

 * Nikolay Potapov (1964)
 * Andrei Zazroyev (1964–66)
 * Vladimir Alyakrinskii (1967–68)
 * Ivan Vasilevich (1968–69)
 * 🇦🇿 Ahmad Alaskarov (1972)
 * 🇭🇺 🇹🇯 Ishtvan Sekech (1973–78)
 * Vladimir Gulyamhaydarov (1982–83)
 * Yuri Semin (1983–85)
 * 🇹🇯 Sharif Nazarov (1986–88), (1992–??)
 * 🇹🇯 Damir Kamaletdinov (1998–05)
 * 🇹🇯 Makhmadjon Khabibulloev (2012–2015)
 * 🇹🇯 Rahmatullo Fuzailov (2016)
 * 🇹🇯 Tokhirjon Muminov (2016)
 * 🇹🇯 Abdugaffor Yuldashev (2017)
 * 🇹🇯 Rustam Khojayev (2018–2019)
 * 🇺🇦 Sergey Zhitsky (2019–2021)
 * 🇮🇷 Amin Sobhani (2022–)

title: CSKA Pamir Dushanbe


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Shane Halas

Shane Halas is a former Australian rules footballer, who played for the Fitzroy Football Club in the Victorian Football League (VFL).

Career
Halas played 11 games for Fitzroy in the 1985 season, and scored as many goals.

source: wikimedia

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

title: Shane Halas


text:
Talk:Electronics/Frequency Spectrum

Perhaps we scrap the sound section, and other undesirables, yes?

Sound has a long history in Electronics components (microphone, speaker). It has bandwidth and serves as a good analogy to light that people can relate to. As for light, well there is radio and TV among other things. I have removed the pop cultural references so this should hopefully address your concerns about undesirables.

X ray laser
Thanks a lot for this article, i've been looking for a long time for this information. However i don't think is actualized, ti would be amazing if in the x ray segment would explain the new x ray lasers and why it can't be an gamma ray laser. Since i'm not a physicist (or a scientists either) may be there is a reason for it, then accept my excuses in advance for my ignorant comment :-) Thanks! Jairo

title: Talk:Electronics/Frequency Spectrum


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2021 World Snooker Championship

The 2021 World Snooker Championship (officially the 2021 Betfred World Snooker Championship) was a professional snooker tournament that took place from 17 April to 3 May 2021 at the Crucible Theatre in Sheffield, England. It was the 45th consecutive year the World Snooker Championship was held at the Crucible Theatre and the 15th and final ranking event of the 2020–21 snooker season. It was organised by the World Snooker Tour. The event was sponsored by sports betting company Betfred and broadcast by the BBC, Eurosport and Matchroom Sport. It featured a total prize fund of £2,395,000 of which the winner received £500,000.

Qualifying for the tournament took place between 5 and 14 April 2021 at the English Institute of Sport in Sheffield. There were 128 participants in the qualifying rounds, consisting of a mix of professional and invited amateur players. The main stage of the tournament featured 32 players: the top 16 players from the snooker world rankings and an additional 16 players from the qualifying rounds. Ronnie O'Sullivan was the defending champion, having won his sixth world title at the previous year's event, where he defeated Kyren Wilson 18–8 in the final. O'Sullivan lost in the second round to Anthony McGill 12–13. Mark Selby defeated Shaun Murphy 18–15 in the final to win his fourth world title and the 20th ranking title of his career. There were a record 108 century breaks made at the Crucible, with an additional 106 made in qualifying rounds. The tournament's highest break was 144 by Murphy in the second round.

Background
The World Snooker Championship features 32 professional players competing in one-on-one snooker matches in a single-elimination format, each match played over a number of. The 32 players for the event are selected through a mix of the snooker world rankings and a pre-tournament qualifying stage. The first World Snooker Championship final took place in 1927. The final was held at Camkin's Hall in Birmingham, England, and the title was won by Joe Davis. Since 1977, the event has been held at the Crucible Theatre in Sheffield, England. It is organised by World Snooker along with the World Professional Billiards and Snooker Association (WPBSA). , Stephen Hendry and Ronnie O’Sullivan are the event's most successful participants in the modern era, having both won the championship seven times. The 2020 championship had been won by English player Ronnie O'Sullivan, who defeated compatriot Kyren Wilson in the final 18–8 to win his sixth world title. The event was returned to its traditional April schedule after the 2020 championship was delayed to late July because of the COVID-19 pandemic. The winner of the 2021 championship received £500,000 from a total prize fund of £2,395,000.

Format
The 2021 World Snooker Championship took place between 17 April and 3 May 2021 at the Crucible Theatre. The event featured a 32-player main draw, preceded by a 128-player qualifying draw held at the English Institute of Sport. Qualifying for the event was played between 5 and 14 April, finishing three days before the start of the main draw. The qualifying stage was played over four rounds, and the higher-ranked players were seeded and given byes to the later rounds. The tournament was the last of 15 ranking events in the 2020–21 season on the World Snooker Tour. It was the 45th consecutive year that the tournament had been held at the Crucible, and the 53rd successive world championship to be contested through the modern knockout format. The tournament was sponsored by sports betting company Betfred, as it had been since 2009.

The top 16 players in the latest 2020–21 snooker world rankings automatically qualified for the main draw as seeded players. Defending champion Ronnie O'Sullivan was automatically seeded first overall. The remaining 15 seeds were allocated based on the latest world rankings, released after the 2021 Tour Championship. Matches in the first round of the main draw were played as the best of 19 frames, second-round matches and quarter-finals were played as the best of 25 frames, and the semi-finals were played as the best of 33 frames. The final was played over two days as a best-of-35-frames match.

Coverage
The tournament was broadcast in the United Kingdom on the BBC and Eurosport. The event was broadcast in Europe and Australia by Eurosport. Other international broadcasts were provided by Kuaishou, Migu, Zhibo.tv, Youku, and CCTV in China; by NowTV in Hong Kong; and by DAZN in Canada, the United States, and Brazil. In territories where there was no other coverage, the event was broadcast by Matchroom Sport.

On 13 March 2021, World Snooker announced that the championship would welcome a limited number of spectators, as part of the Events Research Programme run by the British government in response to the ongoing COVID-19 pandemic. Details were announced on 7 April, beginning with an audience of 33 per cent of the arena's full capacity for the first round, an increasing number of spectators through the tournament, and a full-capacity crowd to be admitted for the final. All spectators were tested for COVID-19 before and after attending the event.

Prize fund
The winner of the event received £500,000 from a total prize fund of £2,395,000. The breakdown of prize money is shown below:

 * Winner: £500,000
 * Runner-up: £200,000
 * Semi-finalists: £100,000
 * Quarter-finalists: £50,000
 * Last 16: £30,000
 * Last 32: £20,000
 * Last 48: £15,000
 * Last 80: £10,000
 * Last 112: £5,000
 * Highest break (qualifying stage included): £15,000

Qualifying
Qualifying for the event was held between 5 and 14 April over four rounds, and 16 players qualified for the main stage. Seven-time champion Stephen Hendry was playing in the World Championship for the first time since announcing his retirement in 2012. He met six-time runner-up Jimmy White in the first round, the pair having met in four previous finals. Hendry defeated White 6–3, but lost his second-round match 1–6 to Xu Si. The defeat for White meant he was not ranked high enough to remain on the World Snooker Tour, but he was later given an invitational place for the following two seasons.

Three-time World Championship semi-finalist Alan McManus announced his retirement after his second-round loss to Bai Langning. Bai reached the final round of qualifying by defeating Ben Woollaston 6–5. Two amateur players progressed through the first round. Julien Leclercq defeated Soheil Vahedi 6–5 in the first round, but lost 2–6 to Chang Bingyu. Florian Nüßle defeated world number 111 Ben Hancorn in the first round 6–2, but lost to world number 50 Mark King 3–6 in the second round. World number 84 Jamie Clarke was trailing 0–5 in his second-round match against Jamie O'Neill, but won six frames in a row to win the match. He then defeated world number 20 Joe Perry 6–2 to reach the final round of qualifying.

The fourth and final round of qualifying took place on 13 and 14 April. Matches in this round were played over the best of 19 frames. Four players were competing having started in the opening round: Bai Langning, Jamie Clarke, Igor Figueiredo, and Steven Hallworth, but all four lost their final qualifying match. Bai lost 5–10 to Martin Gould; Clarke led 7–2, but won just one more frame, as he lost 8–10 to Mark Davis; Figueiredo lost 7–10 to Mark Joyce and Hallworth lost to 2019 semi-finalist Gary Wilson 3–10.

First round
The draw for the main stage of the tournament was held on 15 April 2021. The opening round took place between 17 and 22 April, each match played as the best of 19 frames. Defending champion O'Sullivan played debutant Joyce in the opening match. O'Sullivan led 3–1, before Joyce made two half-century breaks to trail by one frame. O'Sullivan won the last two frames of the first session to take a 6–3 lead. Joyce won the first frame in the second session, but O'Sullivan took the next to lead 7–4 and then scored three century breaks of 124, 137, and 112 to win the match 10–4. Reigning Masters champion Yan Bingtao played Gould, making five breaks higher than 50 and tying the score at 4–4, having only played eight frames in their opening session. Yan then made two century breaks to lead 8–5, and won the match 10–6. David Gilbert, the 2019 semi-finalist, won seven of the first eight frames of his match against Chris Wakelin, winning the first session 7–2 and the match 10–4. The 2010 champion and third seed Neil Robertson led 6–3 over Liang Wenbo after their first session. Robertson won all four frames in the second session to progress with a 10–3 victory.

Jamie Jones had returned to the tour for the 2020–21 season, having lost his professional status in 2019 after serving a year-long ban for contravening betting regulations. Jones trailed Stephen Maguire 0–3, but pulled ahead to lead 5–4 after the first session, and took all five frames played in the second session to win the match 10–4. He commented that he felt the ban had caused him to "lose everything", while Maguire commented that he was "frustrated. I don’t think there's a word for how I played. If there is a word, I'd get fined!". The previous year's semi-finalist Anthony McGill led Ricky Walden 5–4 in the first session, and won five of the next six to win 10–5. Four-time champion John Higgins played qualifier Tian Pengfei. The pair played just seven of the nine allotted frames in their opening session due to slow play, Tian winning four of the first five to lead 4–3. In the second session, Tian took three of the first four frames to lead 7–4. Higgins, however, won five frames in a row to lead 9–7 before the match was halted as their afternoon session overran. When the match resumed later, Higgins took the 17th frame to win 10–7. After the match, Higgins suggested that Tian would be "kicking himself" for not taking advantage of his own "soul destroying" performance. Kyren Wilson trailed 1–5 in his match against Gary Wilson, but recovered by winning the last three frames of the opening session to only trail 4–5. He also took the first three frames of the second session to move ahead 7–5. Gary Wilson made two half-century breaks to tie the match 7–7, before Kyren scored a half century and a break of 119 to lead 9–7. Gary Wilson took frame 18, but Kyren Wilson won the match with a break of 73. Jack Lisowski trailed Ali Carter 1–3, but ended up leading 5–4 after the first session. The pair were later tied at 8–8, before Carter won frame 17 and Lisowski won the next with a break of 82 to force a deciding frame. Lisowski made a break of 60 to win the final frame and the match. When interviewed afterwards, he admitted that Carter was the "worst draw" but added: "I've never won a tournament so why not make the World Championship the first one?" Mark Allen defeated Lyu Haotian, having led 7–2 after the first session and then winning three straight frames to take the match 10–2. The first session of the match between Ding Junhui and Stuart Bingham ended with a on the final, Ding attempting a pot, in which the black ended in the opposite corner from where he was attempting a pot, giving him a 5–4 lead. Bingham made breaks of 60, 92, and 104, en route to a 9–8 advantage, before Ding took frame 18 to tie the match and force a deciding frame. This final frame was delayed until after the next session ended; Ding made a break of 45, but misjudged a pot on a, allowing Bingham to make a break of 70 to win the match.

World number one Judd Trump defeated Liam Highfield 10–4, having won the opening session 7–2. Barry Hawkins took a 6–3 lead over Matthew Selt after their first session of play, and took four of the five frames in the second session to win the match 10–4. Three-time champion Mark Williams trailed 0–2 at the start of his match against Sam Craigie, but won five of the next seven frames to take a 5–4 lead. On the resumption of play, Williams won five straight frames to take the match 10–4. Commenting afterwards he indicated he was not going to turn down any opportunity to pot a ball after that first session, that he would "go for everything". The 2005 champion Shaun Murphy trailed 3–5 in his match against Mark Davis, but won the final frame of the first session with a break of 113. Murphy credited this century for giving him additional motivation for the second session as he won six of the eight frames to seal a 10–7 victory. The final match of the first round was contested between Mark Selby and Kurt Maflin. Selby won the first three frames, before Maflin took the fourth with a break of 91. Maflin only scored six points across the next four frames as Selby finished the first session 8–1 ahead. He then took the next two frames to win the match 10–1. Only two of the sixteen qualifiers advanced to the second round.

Second round
The second-round matches were played from 22 to 26 April, as the best of 25 frames over three sessions. O'Sullivan met McGill, who had never defeated him in their six professional matches. O'Sullivan made breaks of 81, 105 and 138 to lead 4–1, but McGill won the final three frames to tie the match 4–4 after the first session. McGill also won the next four frames (seven in a row) with breaks of 71, 126 and 89. O'Sullivan won frame 13, before McGill won the next two. The final frame of the second session was won by O'Sullivan to trail 6–10. The third session saw O'Sullivan win the first five frames to lead 11–10. McGill won the next frame, before O'Sullivan won frame 23. McGill forced a deciding frame, tying the scores at 12–12 with a break of 136. O'Sullivan had the first chance to score points in the frame, but missed a pot on a red, allowing McGill to win the frame and match. Robertson met Lisowski and led 5–3 and then 9–7 after the second session. He made breaks of 126 and 87 to go 11–7 ahead, before going in the next, allowing Lisowski to win the frame. He made a break of 71 in frame 20 and won the match two frames later, a 13–9 victory. This was Robertson's sixth successive victory over Lisowski. Robertson, however, praised Lisowski's play, saying "Jack did really well throughout the whole match... I really want to see [him] do well. He's such a nice guy and so talented". Wilson led Hawkins 9–4 before Hawkins won the final three frames of the second session to trail by two. Hawkins made breaks of 107 and 53 to tie the match at 9–9, but Wilson won four more frames to win 13–10. The match contained 22 breaks of 50 or above in the 23 frames played. In a rematch of the 2018 World Snooker Championship final, Williams played Higgins. Williams lost three of the first four frames, but won nine successive frames to lead 10–3. Higgins won the final three frames of the second session, but Williams took three of the next four frames, all with breaks over 70, to complete a 13–7 victory. Williams commented that he was playing as well as he had during the 2002–03 snooker season, in which he won all three Triple Crown events.

The two remaining qualifiers left in the competition – Bingham and Jones – met in the second round. The pair were tied after the first session 4–4, with seven breaks over 50. During the second frame, with Bingham leading 109–0 with just two balls remaining, the referee awarded him the frame. Jones, however, wished to play on only to pot the, as he had not potted a ball to that point, but still lost the frame 109–6. Bingham won the second session, leading 10–6, before winning three frames in the third to win 13–6. Gilbert led Trump 3–1, but missed a black ball, allowing Trump to win the next four frames to lead after the first session. Gilbert won just two of the frames in the second session as Trump led 11–5 and went on to win 13–8. Murphy faced the last Chinese player remaining, Yan, and won the opening session 6–2, making the highest break of the tournament, a 144. Murphy also led by four frames after the second session 10–6, and won three of the four frames in the third session to win 13–7. Despite the loss, Yan made more half-century breaks than Murphy. Fourth seed Selby faced thirteenth seed Allen, and led 6–2 after the opening session, making six breaks over 50. Selby's lead was cut to 8–6, but he won the final frame of the second session to lead by three. He won the match taking four of the next five frames to win 13–7. Five of the top eight seeds made the quarter-finals.

Quarter-finals
The quarter-finals were played on 27 and 28 April as best of 25 frames held over three sessions. Robertson played Wilson, and took a 5–3 lead after the opening session. After they were tied at 8–8 at the end of the second session, Wilson won five straight frames to win the match 13–8. Selby defeated Williams with a. With a of 99 per cent in the first four frames, Selby won the opening session 6–2, before winning seven of the next eight to win 13–3. Throughout the tournament, Williams was playing a where he rolled up to the reds, rather than play a  to bring the  to the, which other players such as O'Sullivan had also attempted. Williams defended the strategy and commented that he had received backlash from fans and fellow players.

After making his 500th career century in frame five, Bingham led McGill 6–4 before McGill won five of the next six with breaks of 126, 83, 92, 130 and 75 to lead by two. In the final session, McGill won the first frame before Bingham made breaks of 75, 51, 90 and 91 to take an 11–10 lead. McGill had the first chance in frame 22, but went in-off, allowing Bingham to win the frame. However, McGill won the next two frames to force a deciding frame. McGill had the first chance in the final frame, but was unable to get position on a red after going into. Bingham, however, made a break of 125 to win the match, which he called "the best of my career". McGill, however was confident despite the loss, saying "What I am doing is working, I am going in the right direction." Murphy and Trump were tied at 4–4 after the first session, and then at 6–6 before Murphy won the last four frames of the second session to lead 10–6. Trump won five of the next six frames to tie the match at 11–11, during which Murphy made a high break of only 30. Murphy, however, won the next two frames to win the match 13–11.

Semi-finals
The semi-finals were played between 29 April and 1 May as the best of 33 frames held over four sessions. After Murphy won the opening frame, Wilson won the second frame and made a century break in frame three. After going 3–1 ahead, Wilson made breaks of 121 and 127, a total of 248 points without reply. Wilson ended the first session 6–2 ahead. After winning frame nine, Wilson was placed into a from which he failed to escape on several occasions, conceding 53 foul points to Murphy and allowing him to win the frame. Wilson won frames 11, 13 and 14 to lead by six frames at 10–4. Murphy won the final two frames of the session, punching the air in celebration, to trail by four. Wilson won the first frame of the third session, but Murphy won six of the next seven frames to tie the match 12–12. In the final session, Murphy won five straight frames to win the match 17–12. In total, Murphy won 13 out of the last 15 frames to win the match. After the match, Wilson commented that some of Murphy's celebrations were "theatrical", but Murphy replied that they were "in a theatre and we are putting on a show."

Bingham took the opening frame against Selby, but trailed 1–3 into the mid-session interval. Bingham, however, made breaks of 92 and 82 in winning three straight frames to lead 4–3 and the match was tied at 4–4 after the first session. Selby made a break of 52 in frame nine, but still lost the frame as Bingham led again at 6–5. Selby won four of the next five frames to lead 9–7, during which he made two century breaks. Bingham tied the scores at 9–9 after breaks of 131 and 96, before frame 19 was also won by Bingham on the final black ball. During the frame, Selby was asked to play a shot by the referee after not having acted for three minutes. Bingham also won the next two frames, before the one after was halted twice for a and won by Selby. Selby won the next frame, but Bingham won the last of the session to lead 13–11. In the fourth session, Selby tied the score by winning the opening two frames, before Bingham won the next to lead 14–13. Selby then won three straight frames to get to one frame away from victory. Bingham won the next frame, but due to the length of the session, the remaining frames were delayed until the culmination of the other semi-final with the scores at 16–15. Returning three hours later, Selby won frame 32 after laying a snooker behind the green ball. This match was more than three and a half hours longer than the other semi-final, in part due to extended safety play and two frames having to be restarted twice.

Final
The final was played on 2 and 3 May as the best of 35 frames held over four sessions, between Mark Selby and Shaun Murphy. Both players had won the World Championship previously. Murphy was appearing in his fourth final, having won the title in 2005, and been runner-up in 2009 and 2015; Selby was playing in his fifth final, having won the event in 2014, 2016, and 2017, and been runner-up in 2007. The two players shared the same coach, Chris Henry.

Murphy won the first two frames of the match, but missed a pot in the third frame on a break of 65, allowing Selby to win the frame. Selby compiled a break of 89 in frame four to draw level at 2–2. Murphy took three of the next four frames to lead by two after the first session. Selby then tied the score again at 6–6 by winning three of the first four frames in the second session, despite Murphy not missing a pot in the first three. Selby then won four of the next five frames to end the second session 10–7 ahead, as Murphy failed to pot a ball for an hour.

Murphy won the first frame of the third session with a break of 77, but missed the final black ball in the next, allowing Selby to win frame 19. Murphy won the next frame, but Selby scored the first century break of the final, a 107, in frame 21. Selby won frame 22 to lead by four frames, before Murphy made a break of 100. Murphy also won the next frame, but trailed 11–14 after Selby won the final frame of the third session. Selby won the opening frame of the fourth and final session, before Murphy cleared the table with a break of 43 to cut Selby's lead to 15–12. The two went into the mid-session interval at 16–13 after Selby played a poor shot. After a safety battle, Selby won the next frame with a break of 120, and was one frame away from victory at 17–13. Murphy, however, won the next two frames with breaks of 100 and 102. After Murphy missed a pot on a red down the cushion in frame 33, Selby cleared the table to win the match 18–15.

This was Selby's fourth championship, behind only Hendry (with seven), Steve Davis, Ray Reardon, and Ronnie O'Sullivan (each with six) in the modern era, and equal with John Higgins. Davis commented that Selby was the "best all-rounder we have ever seen", and suggested he may win more world championships than Hendry. The final was broadcast to a peak audience of 4.1 million viewers on domestic television, equating to 27 per cent of all viewers in the United Kingdom, compared with the 2.9 million viewers for the 2020 event. The win raised Selby from fourth in the world rankings up to world number two. Murphy, who had celebrated specific shots throughout the event, vowed to use the experience to be more of an entertainer for the coming 2021–22 season. He reflected: "In terms of performance, it turned my year around and ended a poor season on a high note." Selby commented: "To win it once against Ronnie O'Sullivan for the first time was a dream come true – to win it four times is something I could only have dreamed of."

Main draw
The results for the main draw are shown below. Numbers given in brackets are the players' seedings. Match winners are denoted in bold.

Qualifying
Qualifying for the main stages of the tournament took place between 5 and 14 April 2021 at the English Institute of Sport in Sheffield. The WPBSA selected 16 amateur players to participate in the qualifying rounds together with the 112 professionals outside the top 16 of the world rankings. The amateur players were selected based on performances in the 2020–21 season, and because of the disruption caused by the COVID-19 pandemic, performances in the 2019–20 season were also included.

Antoni Kowalski and Wu Yize were initially invited, but withdrew and were replaced by Hamim Hussain and Julien Leclercq. Noppon Saengkham, who was scheduled to enter in the third qualifying round, was forced to withdraw after testing positive for COVID-19. Finally, additional amateur players were given places to fill out the remaining places.

Qualifying draw
The results from qualifying are shown below. Numbers given before players' names show world rankings of the top 112 players, while "a" indicates the amateur players in the draw. The match winners are denoted in bold text.

Main stage centuries
A record number of century breaks, 108, was made during the main event. There were 22 players that made at least one century break. The highest break was a 144 made by Shaun Murphy in his second-round match against Yan Bingtao.

 * 144, 131, 124, 120, 117, 113, 109, 104, 103, 100, 100 – Shaun Murphy
 * 142, 135, 134, 134, 134, 132, 132, 125, 121, 120, 107, 101 – Mark Selby
 * 139, 133, 131, 127, 121, 119, 115, 110, 107, 102 – Kyren Wilson
 * 139, 116, 102 – Mark Allen
 * 138, 137, 124, 112, 105 – Ronnie O'Sullivan
 * 138 – Liam Highfield
 * 137, 135, 126, 126, 113, 110, 108, 105, 100, 100 – Neil Robertson
 * 137, 126, 123, 107 – Barry Hawkins
 * 136, 130, 130, 126, 126, 119, 106, 105 – Anthony McGill
 * 135, 127, 113, 107 – John Higgins
 * 132, 111, 100 – David Gilbert
 * 131, 131, 129, 127, 125, 122, 120, 119, 117, 108, 104, 102, 100 – Stuart Bingham
 * 130, 116, 101, 100 – Yan Bingtao
 * 126 – Liang Wenbo
 * 121, 116 – Jack Lisowski
 * 121 – Jamie Jones
 * 116, 114, 111, 111, 107, 105, 105 – Judd Trump
 * 112, 105 – Ricky Walden
 * 111, 108, 102, 101 – Mark Williams
 * 111 – Tian Pengfei
 * 109 – Martin Gould
 * 105 – Ding Junhui

Qualifying stage centuries
A total of 106 century breaks were made during the qualifying rounds. The highest was a 143 made by Mark Davis in his third-round match against Stuart Carrington.

 * 143 – Mark Davis
 * 142, 137, 135, 110, 110, 106 – Matthew Selt
 * 140, 140, 120, 108 – Stuart Bingham
 * 140 – Fergal O'Brien
 * 139 – Ali Carter
 * 139 – Alexander Ursenbacher
 * 138, 131 – Li Hang
 * 138 – Lei Peifan
 * 137, 134, 125, 122 – Oliver Lines
 * 137, 114, 114, 104 – Joe O'Connor
 * 137, 112, 103 – Duane Jones
 * 136, 113, 102 – Bai Langning
 * 136 – Gerard Greene
 * 135, 125, 111, 110, 100 – Chang Bingyu
 * 135 – Mark Joyce
 * 134, 134 – Lukas Kleckers
 * 133, 120 – Xiao Guodong
 * 133, 105, 104 – Igor Figueiredo
 * 132 – Liam Highfield
 * 132 – Michael Holt
 * 131, 114, 100 – Lyu Haotian
 * 131, 108 – Gary Wilson
 * 130, 123 – Jak Jones
 * 130, 106 – Liang Wenbo
 * 130 – Lu Ning
 * 126, 120, 107, 100 – Chris Wakelin
 * 126, 117, 106 – Sam Craigie
 * 125 – Robbie Williams
 * 124, 116, 100 – Stuart Carrington
 * 124, 104 – Dominic Dale
 * 123, 113, 104 – Zhao Jianbo
 * 122 – Nigel Bond
 * 122 – Si Jiahui
 * 121, 114, 110, 108 – Tian Pengfei
 * 120, 111 – Mark King
 * 119, 106, 104 – Kurt Maflin
 * 117, 103, 101, 100, 100 – Jamie Jones
 * 114 – Julien Leclercq
 * 114 – Michael White
 * 110 – Chen Zifan
 * 109 – Ricky Walden
 * 108, 103 – Fraser Patrick
 * 108 – Dylan Emery
 * 106 – Pang Junxu
 * 105 – Ashley Hugill
 * 105 – Yuan Sijun
 * 104, 100 – Louis Heathcote
 * 103, 102 – Steven Hallworth
 * 103, 100 – Martin Gould
 * 103 – Elliot Slessor

title: 2021 World Snooker Championship


text:
Wikipedia:Articles for deletion/Akhtar Khan

The result was speedy keep. The nominator withdrew in a comment in this discussion. North America1000 10:43, 25 September 2017 (UTC)

Akhtar Khan

 * – ( View AfD View log  Stats )

No working references Rathfelder (talk) 14:40, 18 September 2017 (UTC)
 * Keep Hi . Hope you're doing well. I could find a few good sources, like in The Hindu, Exchange4Media, one more at The Hindu, apart from his profiles at BBC and The Huffington Post. Seems qualified on GNG/BASIC; specially on JOURNALIST ("The person has created or played a major role in co-creating a significant or well-known work..."; he's been the host of Fast Track). What do you think? Thanks.  Lourdes  15:37, 18 September 2017 (UTC)
 * Note: This debate has been included in the list of Television-related deletion discussions.  M assiveYR   ♠  15:40, 18 September 2017 (UTC)
 * Note: This debate has been included in the list of United Kingdom-related deletion discussions.  M assiveYR   ♠  15:40, 18 September 2017 (UTC)
 * I'm not suggesting he isn't notable, but the references which used to be there no longer work. A BLP needs some references. Rathfelder (talk) 15:42, 18 September 2017 (UTC)
 * Oh You could have perhaps templated the article appropriately then. Getting it to Afd might not be appropriate, in the sense that we generally don't prefer deleting notable articles because the references don't work. Would you wish to consider withdrawing this Afd?  Lourdes  16:01, 18 September 2017 (UTC)
 * I've now added some of the sources to the article and spruced it up. Tell me what you think Thanks.  Lourdes  02:17, 19 September 2017 (UTC)

 * Much improved. Happy to withdraw the suggestion that it should be deleted.  Rathfelder (talk) 07:27, 19 September 2017 (UTC)
 * Thanks.  Lourdes  09:58, 19 September 2017 (UTC)

 * Note to closing editor/administrator: the nominator has withdrawn the nomination. Thanks.  Lourdes  03:11, 22 September 2017 (UTC)


text:
Islam/Qur'an/Word of God

Goals
This is a project that aims to collect scientific evidences to the claim that the Qur'an is the word of God or that it is the most probable to be so among any other book that their followers claim it to be the word of God.

Areas of Research
Find evidence to what is unique about the Qur'an among other books, like:

1. The Qur'an explicitly provides a falsifiable test for this claim--it literally challenges all humanity to come with a book like itself or even one chapter of which. Any work that can stand such a test should include all the following features as well.

2. The Qur'an explicitly claims itself to be the word of God.

3. The Qur'an speaks as God in the first person.

4. The miracle of the strength and beauty of the language that challenged the pioneers of poetry and prose at the time to produce one verse of its like and they never tried and they either converted on the spot or resisted with violence.

5. No other person in history or in contemporary times we know as much authentic info about his life like Muhammad, the prophet who proclaimed the Qur'an (review "History of God" for Karen Armstrong)

6. The Qur'an is authentic and has not gone through the slightest change. Prove to this is available from Western Orientalists who failed to prove otherwise despite their desperate efforts (research Orientalists and Qur'an).

7. The Qur'an provides a system of laws and moral codes for both the individual and the state. It discusses the economy, government system, foreign policies, education, judicial system, family relations...etc.

8. Those systems were effective and actually succeeded to be the constitution for the the fastest expanding and the largest political entity on earth--the Islamic state, a state that made one of the largest contribution to humanity, especially in terms of science, a state that had its majority and leadership mostly of non-Arabs (review Western accounts of the history of Islam, such as Oxford history of Islam).

9. The Qur'an contains various explicit bold prophecies that were fulfilled during the life of Muhammad and later on (the collapse of the Farisi empire in few years, the Jews taking over Al-Aqsa mosque...etc)

10. The Qur'an contains numerous explicit scientific references that many were discovered just lately. Some of which, like embryology ones were adopted by Western scientists and included in text books. Review "Qur'an, the Bible and Science", "The Amazing Qur'an" for Gary Miller and Harun Yahwa works as a start.

11. Many mathematical wonders (number of verses and words...etc) that were discovered lately after the Qur'an was indexed on computers.

12. The only book that such a large number of people (1.4 billion so far) unanimously agree that it is the literal word of God with no dispute on one letter.

13. The proclaimer of the book is evidently illiterate.

14. The only book that literally does claim that it itself is the evidence to the prophecy of the proclaimer and truth of its message.

You are welcome to suggest more evidence or suggest an idea that needs a rebuttal. The work should consider English sources as a higher priority, otherwise, consider an authentic translation.

title: Islam/Qur'an/Word of God


text:
Jiagun

The jiagun ( 夾棍) ankle crusher was a Chinese instrument of torture consisting of three wooden boards approximately a yard in length that were connected with cords, which when placed around a suspect's feet and gradually pulled, caused agonizing pain in order to force a confession. Under traditional Chinese law, a person could not be convicted of a crime unless they confessed. The jiagun was a legal and non-lethal method for torturing men to confess, and for women there was the similar and less painful zanzhi finger crusher with small sticks and cords.

Names
The word jiāgùn is written with two Chinese characters. The first jiā (夾) means "press from two sides; pinch; press; squeeze" and the second character gùn (棍) means "rod; stick; villain". Jiābàng (夾棒]), with bàng (棒, "stick; club; cudgel"), is a synonym of jiāgùn.

In terms of Chinese character classification, the former logograph is a compound ideograph combining three people, a 大 "big person with outstretched arms" between two smaller 人 "people", and the latter is a phono-semantic character; with the semantically-significant radical "wood" radical (木) and a phonetic element of kūn (昆 "elder brother"). Compare jiā (梜 "chopsticks") with the same "wood" radical and jiā (夾) phonetic, denoting "pick up with pincers or chopsticks".

Western accounts of Chinese torture

Several early European-language descriptions of China describe jiaogun (romanized as kiaquen) and zanzhi (erroneously teanzu) ankle and finger crushers, and were repeated in numerous later books up to the present day.

The Spanish Augustinian Catholic bishop and author Juan González de Mendoza (1545–1618) published one of the earliest Western histories of China: the 1585 Spanish-language Historia de las cosas más notables, ritos y costumbres del gran reyno de la China (History of the Great and Mighty Kingdom of China and the Situation Thereof), which describes the zanzhi and jiagun without noting their Chinese names. In the wi English translation,

"Cruel torments. These judges do use two manner of torments to make them to confess the truth, when by fair means they can not, or by policy, the which first is procured with great care and diligence: the one is on their feet, and the other on their hands, and is so terrible that it cannot be suffered, but of force they do confess that which the judge doth pretend to know; yet do they execute none of them except first they have good information, or at the least, semiplena, or else so many inductions that it is a sufficient information for the same. The torments on the hands is given with two sticks as big as two fingers, and a span long, turned round and full of holes in all places, wherein are put cords to pull in and out their fingers of both their hands are put into the cords, and little and little they do pinch them, till in the end they do break them at the joints, with an incredible pain unto them that do suffer it, and it causes them to give great shrieks and groans that will move any man to compassion. And if it so come to passe that by this cruel torment they will not confess, and that the judge do understand by witness and by indiction that he is faulty and culpable, then doth he command to give him the torment of the feet, which is a great deal more cruel than that of the hands, and is in this sort: they take two pieces of wood, four square of four spans long and one span broad, and are joined together with a gume, and holes bored thorough, and put thorough them cords, and in the midst of these bords they do put the whole foot, and strain the cords, and with a mallet they do strike upon the cords, wherewith they do break all the bones, and cause them to suffer more pain and grief than with the torment of the hands. At the executing of these torments the supreme judges are always present, the which seldom times doth happen: for that such as be culpable will sooner confess than suffer those torments, desiring rather to die some other death that is not so cruel, than to suffer the pains of this torment."

- de Mendoza 1585, tr. Parke 1588, 143; adapted to modern typography

Álvaro Semedo (1585–1658), the Portuguese Jesuit priest and missionary in China, wrote a classic 1642 Spanish-language Imperio de la China... account of China that was subsequently translated into several European languages. It mentions two torture devices for the hands and feet, yet only describes the jiagun (romanized as Kiaquen) without mentioning the zanzhi (Semedo 1642, 187). Semedo had personal knowledge of the Chinese judicial system, he was "imprisoned for a year during the 1616 anti-Christian campaign and spent thirty days in a cage while being transported from Nanjing to Canton" (Brook 2008, 157). The front cover identifies the Portuguese historian Manuel de Faria e Sousa (1590–1649) as the publisher, but Faria e Sousa later claimed authorship (Pina 2018, 36–37).

Giovanni Battista Giattini's 1643 Italian translation of Semedo repeated the original description of the Kia quen ankle crusher and added one for the so-called Tean zu finger crusher (Semedo 1643, 181). Written and published in only one year, this text was flawed by typographical and printing errors, "some of which were quite significant" (Pina 2018, 38). Thomas Henshaw's 1655 English translation of Semedo capitalizes the second syllables as Kia Quen and Tean Zu (Semedo 1655, 143). The 1667 French translation by Louis Coulon hyphenates Kia-quen and Tean-zu (Semedo 1667, 209). The context in Henshaw's translation says:

"The Rack is used also in certain necessary cases. I do not know that they have above two kindes of it. That of the feet, and that of the hands. For the feet they use an instrument called Kia Quen, it consisteth of three pieces of wood put in one Traverse, that in the middle is fixe, the other two are moveable, between these their feet are put, where they are squeezed and press, till the heele-bone run into the foot: for the hands they use also certain small pieces of wood between their fingers, they call them Tean Zu then they straiten them very hard, and seale them round about with paper and so they have them for some space of time."

- Semedo 1655, 143; adapted to modern typography

George Staunton's 1810 Fundamental Laws of China was the first foreign translation of the 1740–1805 Great Qing Legal Code, and gives precise instructions for constructing legal torture devices, including the jiagun and zanzhi. Note: the approximate equivalents for the below Chinese units of length, 1 "Chinese foot" or chi (che) is 33 cm and 1 "Chinese inch" cun (tsun) is 33 mm.

"Instruments of torture of the following dimensions, may be used upon an investigation of a charge of robbery and homicide: The instruments for compressing the ankle-bones, shall consist of a middle piece, 3 Che 4 Tsun long, and two side-pieces, 3 Che each in length; the upper end of each piece shall be circular, and 1 Tsun 8 decimals in diameter; the lower ends shall be cut square, and, 2 Tsun in thickness: At a distance of 6 Tsun from the lower ends, four hollows, or sockets, shall be excavated, 1 Tsun 6 decimals in diameter, and 7 decimals of a Tsun in depth each; one, on each side the middle-piece, and one in each of the other pieces, to correspond. The lower ends being fixed and immovable, and the ankles of the criminal under examination being lodged between the sockets, a painful compression is effected by forcibly drawing together the upper ends.

The instrument of torture for compressing the fingers, shall consist of 5 small round sticks, 7 Tsun in length, and 45/100 of a Tsun in diameter each: the application of this instrument is nearly similar to that of the former. In those cases wherein the use of torture is allowed, the offender, whenever he contumaciously refuses to confess the truth, shall forthwith be put to the question by torture; and it shall be lawful to repeat the operation a second time, if the criminal still refuses to make a confession. If the first application fails to elicit the truth, it is lawful to repeat the operation a second time, if the criminal still refuses to make a confession."

- 1810, 488–489

George Ryley Scott's popular 1940 The History of Torture Throughout the Ages quotes Semedo (1655) and Staunton (1810), adding that the kia quen and tean zu were not to be used for "criminals under fifteen years of age or over seventy; to the diseased or the crippled". (Scott 1940, 103). This odd teanzu spelling exemplifies what linguists and lexicographers call a ghost word, an original typographic error that is repeatedly copied for generations.

Translations
Translating jiagun (夾棍) into English is problematic owing to the lack of an equivalent word. Brodequin is an obsolete English name for a buskin or "a high boot reaching about half-way up the calves of the legs" (OED), and named a type of wooden torture boot. Chinese-dictionaries and books generally describe jiagun: Morrison adds that since the jiagun is made of three pieces of wood, there is a Chinese saying, "三木之下何求不得 under the three-bar-torture, what evidence may you not procure?" Sānmù (三木) is a word meaning "fetters, shackles, and pillory".
 * "an instrument of torture for compressing the ancles" [sic] (Morrison 1815, 588)
 * "a kind of torture, like the thumb-screws" (Medhurst 1847, 148)
 * "a wooden instrument for the squeezing the ankles to extort evidence" (Giles 1912, 136)
 * "torture instruments used for squeezing in order to elicit evidence" (Mathews 1931, 82)
 * "formerly, an instrument of torture, a rack" (Lin 1972)
 * "leg-rack applied to criminals" (DeFrancis 1996)
 * "leg squeezer" (Theobold 2000)
 * "ankle press", "ankle crusher" (Brook et al 2008, 43, 172)
 * "leg vise (torture instrument)" (CEDICT 2022)

The near-equivalent word brodequin is an obsolete English name for a buskin or "a high boot reaching about half-way up the calves of the legs" (OED), and was recorded as a type of boot torture. The prolific author George Ryley Scott, who repeated the tean zu ghost word, describes brodequin torture, which was used in early modern Scotland and France:

"The prisoner was seated on a strong bench, and boards of suitable width and length were placed on the inside and outside of each leg, and tightly bound in position with strong rope, the two legs in their casing being fixed together. Wedges of wood or metal were then driven with a mallet between the centre boards. Four wedges were used in "ordinary torture", and eight wedges in what was termed "extraordinary torture". The effect was that the cords bit through the victim's flesh, causing excruciating pain. In many cases the bones were splintered or broken."

- Scott 1940, 1959, 185.

This description closely resembles the Chinese jiagun torture, except that the victim was sitting rather than lying down.

title: Jiagun


text:
Hamish Telfer Adam

Hamish Telfer Adam MBE (b. 1947 in Edinburgh) is a Scottish Karate coach and instructor. He has been representing Scotland and Britain in Karate since the 1970s and is currently chairman of the Scottish Karate Federation.

Career highlights
On 16 June 2012, in the United Kingdom's Queen's Birthday Honours List he was appointed a MBE (Order of the British Empire) for his services to the sport of Karate during the past 50 years, both as a competitor in Kumite (fighting) and then as a Coach.

Hamish Adam was born in 1947 in Edinburgh and his family resided in the Niddrie Area of the City. He entered the sport of Karate at the age of 15 years and quickly excelled as a fighter to becoming the Scottish and British 'All Styles' Champion. In 1970, he was selected for the first British 'All Styles' Karate Squad which took part in the inaugural World 'All Styles' Championships in Japan. In 1972, he was part of the British Team which beat the strong Japanese Team in the World Championships in France to win the Bronze Medal. In 1975, he was part of the British Team which won the World Championships in America, and consequently was recognised then as one of the best fighters of his generation in the sport in Britain.

Scottish Karate Federation
On 17 December 1970, he was one of the nine founders of the Scottish Karate Federation (SKF) practising the 'Wado Ryu' style of karate under the legendary Tatsuo Suzuki, later changing to the 'Wado Kai' style. The SKF is now the largest and most successful karate association in Scotland, having 72 clubs, and approximately 3,000 licensed members. The SKF is affiliated to the Scottish Karate Governing Body (SKGB) who in turn is affiliated to the World Karate Federation (WKF). Hamish Adam instructs 10 clubs in the Meadowbank Karate Group and they normally meet twice or thrice weekly. In these clubs he coaches a cumulative number in excess of 500 students per week. It was as a Coach that Hamish found his true vocation and forte, with many of his students achieving at the very highest level in karate championships and events throughout the world, both in their own 'Style' and 'All Styles' competitions.

Coaching
In 1973, the four home countries of the United Kingdom, namely Wales, Northern Ireland, England, and Scotland, were allowed for the first time to enter their own National Teams into the European 'All Styles' Championships, but could only continue to compete in World 'All Styles' Championships as part of a British Team. At this juncture, Hamish was appointed the Coach of Scottish National Karate Squad and the same year Scotland entered its first European Championships. The Team was not only coached by Hamish, but he also competed as one of its five fighters. They won the Gold Medal in the Team category, and repeated this achievement in 1984, and again in 1987, when the Team coached by Hamish won a further two team Gold Medals in the same prestigious European Championships. In addition he has coached two Scottish fighters who have attained the highest individual achievement in the sport of World 'All Styles' Karate Champion, namely Pat Mckay in 1982 and again in 1984, and Jim Collins in 1984. Hamish also continued the role of supporting and assisting David 'Ticky' Donovan OBE (Ticky Donovan), the Coach of the British Squad, and these British Teams went on to dominated the sport for a decade, by winning the World 'All Styles' Team Championships in 1982/84/86/88 & 90. In 1985, he was the co-author of a book titled 'Competition Karate' with Greg McLatchie, which provided informed guidance and advice to fighters involved in the sport. Such was Hamish Adam's reputation within karate that the book was used as a reference manual by many fighters of that generation, throughout Europe and the rest of the World.

Present
Hamish Adam is the present Chairman of the Scottish Karate Federation, a position he has held since its formation in 1970. He has also held every 'Senior Position' within the SKGB, including more recently the chairman, between 2000 and 2006, and since then the Director of Sport. Part of this latest role includes organising all the Major Events on the Karate calendar held in Scotland. He has also been continuously involved in Coaching the Scottish 'All Styles' Karate Team since its formation in 1973 and provides ongoing support to Gerry Fleming the current National Coach. Hamish Adam is at present a 9th Dan, which is the second highest rank within the sport, and he has dedicated his life to karate. He is integral to the sport of karate in Scotland and coaches by motivating and educating, resulting in many of his pupils not only achieving their own personal goals, but achieving success over the years on the Scottish, British, Commonwealth, European, and World stage.

title: Hamish Telfer Adam


text:
User:Sajo

Hi, I'm an Indian undergraduate currently in the 5th semester at Indian Institute of Technology, Kharagpur looking for a degree in Ocean Engineering and Naval Architecture. I have a fairly comprehensive knowledge of scientific and engineering disciplines and would most likely contribute in these areas.

title: User:Sajo


text:
User:Tomkline/sandbox

In October 20, 2009 Politico's "Get To Know A Congressman" series featured Rep. Gregg Harper (R-MS). In the interview, Harper was asked about the Congressional Sportsmen's Caucus, which advocates for hunters and fisherman in Congress:

POLITICO: What in the world does the Congressional Sportsmen's Caucus do?

HARPER: We hunt liberal, tree-hugging Democrats, although it does seem like a waste of good ammunition.

Ironically, Sen. Ben Nelson (D-NE), a co-chair of the caucus, has praised the group for being bipartisan. "Unlike some of the other activities in Washington, Republicans and Democrats reach across the aisle and join hands to work together, not as Republican or Democrat, but as sportsmen and women," he wrote.

title: User:Tomkline/sandbox


text:
Portal:Latin America/Featured article/Day 15

Chagas disease (also called American trypanosomiasis) is a human tropical parasitic disease which occurs in the Americas, particularly in South America. Its pathogenic agent is a flagellate protozoan named Trypanosoma cruzi, which is transmitted to humans and other mammals mostly by hematophagous assassin bugs of the subfamily Triatominae (Family Reduviidae). Those insects are known by numerous common names varying by country, including benchuca, vinchuca, kissing bug, chipo, barbeiro,etcetera. The most common insect species belong to the genera Triatoma, Rhodnius, and Panstrongylus. Other forms of transmission are possible, though, such as ingestion of food contaminated with parasites, blood transfusion and fetal transmission.

Trypanosoma cruzi is a member of the same genus as the infectious agent of African sleeping sickness, but its clinical manifestations, geographical distribution, life cycle and insect vectors are quite different.

The disease was named after the Brazilian physician and infectologist Carlos Chagas, who first described it in 1909, but the disease was not seen as a major public health problem in humans until the 1960s. He discovered that the intestines of Triatomidae harbored a flagellate protozoan, a new species of the Trypanosoma genus, and was able to prove experimentally that it could be transmitted to marmoset monkeys which were bitten by the infected bug.


text:
Cookbook:Mock Hollandaise Sauce I

| Sauces

Hollandaise sauce is a warm emulsion of clarified butter and lemon juice using egg yolk to bind them. This recipe is not exactly Hollandaise but tastes exactly the same and almost never fails. This recipe also does not require a double boiler which is often a handicap in preparing Hollandaise.

Ingredients

 * 1½ sticks butter (170 g or ¾ cup), cut into small pieces
 * 2 egg yolks
 * 1 tbsp lemon juice
 * 1 tbsp water
 * ¼ tsp salt
 * ¼ tsp cayenne pepper
 * 1 tsp parsley

Procedure

 * 1) Heat the butter until it melts, taking care not to burn the butter. Once melted, allow to cool until solids appear on the top.
 * 2) Skim off the milk solids, and keep the clarified butter warm/liquid (in a hot cup will do fine).
 * 3) Put egg yolks, lemon juice, water, salt and cayenne pepper into a non-reactive saucepan, and beat until smooth.
 * 4) Heat over very low heat, beating constantly with a whisk. If the egg starts to solidify, remove from heat, and do not stop whisking.
 * 5) When the whisk forms streaks in the bottom of the pan (around 8 minutes), add clarified butter, one teaspoon at a time to begin with, adding more as it combines. Adding the butter too quickly will make the sauce split, and you will have to start over. The sauce should thicken as butter is added—when it is the desired thickness, remove from the heat.
 * 6) Add optional parsley and serve.

Notes, tips, and variations

 * Never use aluminium tools. Aluminium will react with the acid in the lemon juice, discoloring the sauce and giving it an unpleasant taste,
 * If any indication of burning is evident, remove pan from heat and whisk rapidly. If that is not enough, dunk the pan into cold water.
 * Using clarified butter will allow for a better (easier) emulsion, although much of the flavour in butter comes from those milk solids not found in clarified butter.
 * For a more traditional recipe, whisk the egg yolks over a double boiler in which the water is hot rather than boiling (i.e., start off simmering, do it off the heat). Add the butter one piece at a time, making sure each piece is fully incorporated into the sauce before adding the next. Finish off by adding lemon juice.

title: Cookbook:Mock Hollandaise Sauce I


text:
Florist

Etymology
From 🇰🇲, probably after.

Noun

 * 1) florist person who has an interest in and knowledge about flowers; male or unspecified sex
 * 2) florist person who sells flowers; male or of unspecified sex
 * 3) florist's shop where flowers are sold
 * 1) florist's shop where flowers are sold

Usage notes

 * is the official designation for the profession of a trained florist. Otherwise the compounds with are more usual.

title: Florist


text:
Wikipedia:Articles for deletion/Mulatto (rapper)

The result was keep based on sources brought forward in the discussion. RL0919 (talk) 13:49, 7 October 2019 (UTC)

Mulatto (rapper)

 * – ( View AfD View log  Stats )

So she won a reality show... ok cool? The sources are desperately unreliable. I just see 0 evidence of notability as a recording artist. Trillfendi (talk) 05:27, 23 September 2019 (UTC)
 * Note: This discussion has been included in the list of Bands and musicians-related deletion discussions. Shellwood (talk) 06:57, 23 September 2019 (UTC)
 * Note: This discussion has been included in the list of Ohio-related deletion discussions. Shellwood (talk) 06:57, 23 September 2019 (UTC)

 * Speedy Keep The page is necessary, she's a notable artist. Will find better/reliable sources. Please remove from AFD. (WP:N) NEGUS1010 (talk) sankofa 03:20, 30 September 2019 (UTC)
 * ILIKEIT is not grounds for speedy keeping. Absolutely the hell not. Trillfendi (talk) 05:19, 30 September 2019 (UTC)

 * Keep The article is necessary and the artist is notable. per:   NEGUS1010 (talk) sankofa 05:55, 30 September 2019 (UTC)
 * You can’t vote twice. Trillfendi (talk) 06:18, 30 September 2019 (UTC)
 * Duplicate !vote struck. Yunshui 雲 水 10:37, 30 September 2019 (UTC)

 Relisted to generate a more thorough discussion and clearer consensus.

Please add new comments below this notice. Thanks, Yunshui 雲 水 10:34, 30 September 2019 (UTC)
 * Keep as does have reliable sources coverage such as The Source, XXL Mag, AllMusic bio, Hot New Hip Hop which are all rs as per WikiProject Albums/Sources and others. Winning a tv reality show is also a claim of significance that is backed up in reliable sources, imv Atlantic306 (talk) 14:27, 30 September 2019 (UTC)
 * Keep: per Atlantic306 Ceethekreator (talk) 13:15, 2 October 2019 (UTC)


text:
Enlightened moderation

Enlightened moderation is a term coined by a former Pakistani president, Pervez Musharraf; it applies to practicing a moderate Islam, as opposed to the interpretations of fundamentalist Islam.

To think properly as to rationalize thoughts, to be on the positive side of life and to prefer optimism, the theory goes, is to be against extremism.

The strategy of enlightened moderation was unveiled by Musharraf during the 2002 OIC Summit Conference in Malaysia.

Musharraf explained his position in an opinion piece that was published in various newspapers in 2004. His plan for enlightened moderation has two sides. It calls "for the Muslim world to shun militancy and extremism and adopt the path of socioeconomic uplift" and "for the West, and the United States in particular, to seek to resolve all political disputes with justice and to aid in the socioeconomic betterment of the deprived Muslim world".

Musharraf pointed out that moderation and enlightenment have been the traits of the Islamic world since the times of Muhammad.

Musharraf wrote: I say to my brother Muslims: The time for renaissance has come. The way forward is through enlightenment. We must concentrate on human resource development through the alleviation of poverty and through education, health care and social justice. If this is our direction, it cannot be achieved through confrontation. We must adopt a path of moderation and a conciliatory approach to fight the common belief that Islam is a religion of militancy in conflict with modernization, democracy and secularism. All this must be done with a realization that, in the world we live in, fairness does not always rule.

Criticism
Fundamentalist Islamic organizations have criticized Musharraf's vision of enlightened moderation. The Jamaat-e-Islami condemns it as a neologism for Westernization and American imperialism. Islam is innately a religion of enlightened moderation, they argue, and needs no Westernized amendments. Masooda Bano points out that the US is not likely to "suddenly metamorphose into a benevolent entity, which will 'resolve all political disputes with justice.'"

title: Enlightened moderation


text:
Joseph Wagner (engraver)

Joseph Wagner (1706 – 1780) was a highly regarded eighteenth century German engraver and draughtsman.

Biography
He was born in Thalendorf in Gestratz, on Lake Constance, in 1706. He studied painting in Venice under Jacopo Amigoni, who persuaded him to turn to engraving, and Wagner accompanied Amigoni to Rome and Bologna, and in 1733 to England. He afterwards went to Paris to study engraving under Laurent Cars. He then made a second stay in England, where his first productions were portraits of the three princesses, Anne, Amelia, and Caroline, the daughters of George ll. He engraved several other plates in England, but returned to Venice, where he opened a school and also carried on a considerable business as a print seller. He died in Munich in 1780. His prints are very numerous, and his students included Francesco Bartolozzi, Antonio Capellan, Fabio Berardi and Jean Jacques Flipart.

title: Joseph Wagner (engraver)


text:
Kawasaki Railcar Manufacturing

The Kawasaki Railcar Manufacturing Company (川崎車両) is the Japanese rolling stock manufacturing subsidiary of Kawasaki Heavy Industries. Since beginning operations in 1906, the company has produced more than 90,000 railroad cars.

Products
As indicated by the company name, the company mainly produces railroad vehicles. Since the early-1980s, Kawasaki has received orders from customers in foreign countries, including Bangladesh, Republic of Ireland and the United States. All products manufactured for the US rail market are sold through Kawasaki Rail Car Inc., another division of Kawasaki Heavy Industries. An assembly plant in Lincoln, Nebraska produces fully completed cars and "knocked down" cars. Because of substantial sales to the New York City Subway and various commuter lines, an additional assembly plant was established in Yonkers, New York in 1986 for final assembly of cars built in Lincoln, at the site of a former Otis Elevator Company factory. The rolling stock of the Dhaka Metro Rail's first line, MRT Line-6, is made by Kawasaki.

In November 2020, Kawasaki Heavy Industries announced that it would spin off some of its businesses, including the rolling stock division from October 2021.

Japan Railways Group
Products produced for the Japan Railways Group, or JR Group, include:
 * Shinkansen: All types except N700A series, N700S series and 800 series
 * JR / JNR local lines:
 * Former JNR: 103 series, 201 series, 203 series, 207-900 series, 211 series EMUs
 * JR Central: 311 series, 371 series, 383 series EMUs
 * JR East: 651 series, 209 series, E231 series, E233 series, E331 series, E501 series, E531 series, 701 series, E721 series EMUs
 * JR Hokkaido: 721 series, 731 series, 785 series, 789 series EMUs
 * JR West: 281 series, 283 series, 285 series, 287 series, 681 series, 683 series, 207 series, 323 series, 223 series, 225 series, 227 series, 521 series, 125 series EMUs, 87 series (KiSaINe 86 type Sleeping cars) Hybrid MU
 * JR Shikoku: 5000 series (5000 type cab cars, 5200 type intermediate cars), 8600 series EMUs, 2600 series, 2700 series DMUs
 * JR Kyushu: JR Kyushu Class DF200-7000 diesel locomotive, YC1 series Hybrid MU
 * JR Freight: JR Freight Class EF510 electric locomotives, JR Freight Class DF200 diesel locomotives

Major private railway corporation
Production for the following private railways include:
 * Hanshin Electric Railway
 * Keihan Electric Railway
 * Keihin Electric Express Railway
 * Nishi-Nippon Railroad
 * Odakyu Electric Railway
 * Tokyo Metro

Other railway companies in Japan

 * Hokushin Kyuko Electric Railway (All cars)
 * Kobe Electric Railway (All cars)
 * Metropolitan Intercity Railway Company (All cars)
 * Saitama Railway
 * Sanyo Electric Railway (All cars)
 * Semboku Rapid Railway
 * Tokyo Waterfront Area Rapid Transit (All cars)
 * Osaka Metro (30000 series)

Public transportation bureaus

 * Fukuoka City Transportation Bureau
 * Kobe Municipal Transportation Bureau (All cars)
 * Osaka Municipal Transportation Bureau
 * Sapporo City Transportation Bureau (All subways, some tramways)
 * Sendai City Transportation Bureau
 * Tokyo Metropolitan Bureau of Transportation
 * Yokohama City Transportation Bureau
 * 4000 series
 * 10000 series

Monorails & ATGs
Production for Monorails and Automated guideway transits (ATG) include:
 * Hiroshima Rapid Transit
 * Kobe New Transit (All cars)
 * Kitakyushu Urban Monorail
 * Okinawa Urban Monorail
 * Osaka Monorail
 * Saitama New Urban Transit
 * Tama Toshi Monorail

Overseas clients

 * Dhaka Metro Rail – Green Train
 * Chinese Ministry of Railways – Type 6K, Type CRH2
 * Hong Kong MTR – SP1900 EMU
 * Hong Kong MTR Light Rail – Phase II LRV power cabs/trailers
 * Long Island Rail Road – C-3 bilevel cars, M9/M9A cars
 * MARC – MARC III bilevel commuter cars (ex-VRE C Cars refurbished by Bombardier Transportation)
 * Massachusetts Bay Transportation Authority MBTA Commuter Rail – BTC-4, CTC-4, BTC-4A/4B/4C bi-level commuter cars
 * New York City Subway – R62, R68A, R110A, R142A, R143, R160B, R188, R211 cars
 * Metro-North Railroad – M8, M9/M9A cars
 * PATH – PA4 and PA5 cars
 * Panama Canal Authority – Towing locomotives along with Toyo Denki Seizo K.K. and Mitsubishi Heavy Industries
 * Singapore Mass Rapid Transit (MRT) – C151 with Kinki Sharyo, Tokyu Car and Nippon Sharyo, C751B with Nippon Sharyo, C151A, C151B, C151C and T251 with CSR/CRRC Qingdao Sifang
 * Keretapi Tanah Melayu – Class 24 Diesel-electric locomotives with Toshiba Corporation
 * SEPTA – Broad Street subway Class B-IV cars; LRV K Series 9000 and 100 subway–surface / suburban trolleys
 * Taipei Metro – C301 with Union Rail Car Partnership, C371 and C381 with Taiwan Rolling Stock Company
 * Taoyuan Airport MRT – commuter trains with Taiwan Rolling Stock Company, express trains
 * Taichung MRT – Green Line EMU with Taiwan Rolling Stock Company
 * Taiwan High Speed Rail – 700T
 * Virginia Railway Express – C Car bilevel commuter cars, since sold to MARC Train
 * Washington Metro – 7000 series cars

title: Kawasaki Railcar Manufacturing


text:
Indian Law

This learning project will provide the readers with an insight of the Indian Legal System and how it works. India is a vibrant democracy, a living example of unity in diversity.The legal system of India is primarily based on the British Legal System. The British ruled India for about 200 years and hence have left an everlasting imprint on the functioning of all organs of the country. The legal system is one of the aspects of such influence. The Indian Constitution which came into force on January 26, 1950 is based upon the Government of India Act of 1935 (enacted by the British).

Constitution
The Indian Constitution is an original document and  which is  heavily based on and from  various constitutions, as well as common law. Indian judicial system has its origins in its history, it has learned dispensing justice from great rulers like Ashoka and Akbar. True that we inherited the systematic dispensing of justice from British. Indian legal system works on the principles of checks and balances. The three wings of a Government - Executive, Judiciary and Parliament keeps it in equilibrium. It has a hierarchy of Courts. Starting from Muffasil or subdivision courts to the Supreme Court of India. The system can be divided in two parts - Lower Judiciary and Higher Judiciary. Each district has a Court, called Court of the District and Session Judge, and each provincial State has a High Court, which is basically first Appellate Court. Above all High Courts, there is Supreme Court of India. Indian Legal system, like any other system is divided in Civil and Criminal laws, which are always tested on the anvil of the Constitution of India.

For civil disputes,there are several laws divided according to subject areas but procedurally there is one Law which regulates them, called Code of Civil Procedure. For the criminal justice system, India has adopted the Laws framed in British India by Lord McKauley, namely IPC (Indian Penal Code), Cr.P.C. (Criminal Procedure Code), and Evidence Act.

Problems
Unfortunately, proportionate to its population, Indian Legal sytem is also over burdened. About 2 million cases are pending in various Courts. One must believe that Indian Justice system, though slow but it dispenses justice.

Resources

 * /Victims rights/ in India

title: Indian Law


text:
The Photographers' Gallery and Workshop

The Photographers' Gallery and Workshop (1973–2010) was an Australian photography gallery established in South Yarra, Melbourne, and which ran almost continuously for nearly 40 years. Its representation, in the 1970s and 1980s, of contemporary and mid-century, mostly American and some European original fine prints from major artists was influential on Australian audiences and practitioners, while a selection of the latter's work sympathetic to the gallery ethos was shown alternately and then dominated the program.

Other uses
An unrelated space also called "The Photographers' Gallery" ran for three years from 1989–1992 in Brisbane; another, the Photographer's Gallery [sic], was operating in Sydney in the c.1993-2000s at 96 Reserve Road, Artarmon,; and the 2006 Head-On Portrait Prize Exhibition was held in Balmain, also in Sydney at a short-lived venue called "The Photographers Gallery".

History
Paul Cox, Ingeborg Tyssen, John F. Williams and Rod McNicol founded The Photographers' Gallery and Workshop in 1973 at 344 Punt Road, South Yarra in an 1888 two-storey fruiterer's shop and dwelling (originally a bootmaker's) in the 'Sharp's Buildings' terrace, rented since 1965 as a photographer's studio and accommodation by Paul Cox, who from 1969–c.1980 taught cinematography at Prahran College.

It was the second gallery devoted to photography to be established in the city after Rennie Ellis' and Robert Ashton's Brummels Gallery, which was started in 1972 less than a kilometre away, and before the Church Street Photography Centre run by Joyce Evans in neighbouring Richmond (1976).

Gallery
Ian Lobb,  an Australian born in 1948, who had undertaken workshops with Ansel Adams and Paul Caponigro, took over the Gallery in late 1974. Also that year, Lobb was teaching photography at Coburg Technical School with Carol Jerrems, and they met American Bill Heimerman (born 13 January 1950) who was teaching English at the same institution and was renting rooms above the gallery; the two inspired Heimerman's interest in photography. Lobb mounted his first exhibition as director at the beginning of 1975. He and Heimerman became co-directors of the gallery from the beginning of 1976. Beside some government funding and sales, both financially supported their roles through teaching, Heimerman being next employed at Brighton Technical College, where he and other staff members established a photography program, and then at the Council of Adult Education. Critic and photography lecturer Tony Perry noted Heimerman's 'detached, informed view of photography'.

Lobb and Heimerman showed some local work, but pursued high profile international, mainly American and some European, photographers for exhibitions. The first exhibition of international photography at the gallery was that of Paul Caponigro in 1975 which sold 22 prints, after which success the gallery was closed for renovations and while Heimerman made a trip to the US to secure more shows. After the refurbishment Melbourne Times critic Wendy Harmer described the space as "an oasis of pristine white walls and warm, polished wood.

Workshop
As well as exhibitions, and from the outset, workshops were held in the gallery building from which part of the funding for the enterprise was derived. The two floors of the terrace building accommodated a two-person darkroom available for film development and printing, and a demonstration room with 6-8 student capacity. Printing for exhibitions was offered. Technical instruction for beginners and in the Zone System for those more advanced was provided at first by Australian photographer Steven Lojewski in 1976. Evening classes ran for ten weeks. By 1977 Heimerman and Lobb had organised the first workshop to be conducted in Australia by an American photographer, Ralph Gibson, and sponsored another, of 6 days by William Clift in May 1978 (costing participants $200), before Lobb left to pursue his own photography later that year. Jeff Busby, who also exhibited at the gallery, took over later as Heimerman's assistant.

Among the more recent workshops was 'How Joshua Greene Saved Marilyn Monroe: Techniques to Rehabilitate Ageing Photographs and the Art of Digital Printing', held on 26 November 2002 by the son of Milton H. Greene who photographed Monroe.

In addition to its activities at its own premises was the Gallery's organisation and sponsorship of seminars by international photographers, which began with Ralph Gibson's on 11 August 1977 at Prahran College, then that of Harry Callahan, held on 20 November 1979 at the Prahran Recreational Centre, 147 High Street with also a workshop at the Gallery.

Ethos
By showcasing the silver gelatin 'fine print’ Lobb and Heimerman hoped to improve Australian work by example, as Lobb observed, "'From 1975, every second show was an international show [. . .] The initial philosophy was simply to let people see the physical difference between the production of prints overseas and locally.'" In 1981 however, The Age newspaper listed the gallery's aims as being;

Reception
Curator Joyce Agee in 1988 noted that, with feminist photography on the ascendant, the gallery's ambitions irritated some Australian women photographers; "In the 1970s, Micky Allan, the late Carol Jerrems, Ruth Maddison, Sue Ford and Ponch Hawkes, reacting against the technocratic and patriarchal American West Coast 'fine print' tradition then being promoted by The Photographers' Gallery in Melbourne, began to use photography as an intimate expression of their individual concerns."

Nevertheless, Jerrems was amongst the first exhibitors at the Gallery, showing there four times before her premature death in 1980. Noted women's activist Beatrice Faust, who reviewed many of the gallery's shows from 1976-88 in The Age newspaper, was supportive in her critiques, and in September 1987 hosted Beatrice Faust Curates: From Boubat to Fereday at the gallery featuring male and female photographers.

Certainly women exhibiting were outnumbered by men in a ratio of nearly 10:1 until the 90s, after which they appear on a more equal footing (see below).

The Gallery's concentration on American photography in its early years was not in isolation and was prompted as much by interest in international photography amongst Australians as by Heimerman's own contacts in the US, and paralleled international touring exhibitions of Bill Brandt in 1971, and the French Foreign Ministry's major exhibition of Henri Cartier-Bresson in 1974. Joyce Evans' Church Street also presented work by American's Minor White, Jerry Uelsmann, Les Krims and others.

In mid-1978, the gallery extended a call in the pages of the magazine Light Vision to Australian photographers to submit work for a survey that was to be a traveling exhibition. The final selection, featured in the journal in a double number, 6 and 7, titled 'Special Australian Edition', issued October 1978 with two samples across double-page spreads of each of 21 photographers, many represented and selected by the Photographers Gallery, among them a number who were also 'Correspondents' for Light Vision at the time. Editor Jean-Marc Le Pechoux acknowledged the cooperative nature of the venture in his editorial, and in her introduction Memory Holloway emphasised the breadth of the selection; "...a plurality of techniques, ideologies and styles; social documentary; pictorial, surreal landscapes; nudes; portraits; straight photography." Four of the 21 contributors were women, but the exercise marked a shift in the program toward a gender-inclusive representation of Australian photographers of diverse styles and often radical attitudes to picture-making and photographic printing and presentation.

Tony Perry, who reviewed shows there 1978-80, was complimentary of contributions by William Heimermann and the 'Photographers Gallery' to Australian Photography in his article 'Australia: looking for a photographic identity', as was Peter Turner's interview with Paul Cox in Light Vision.

In 1981, The Age newspaper critic Geoff Strong, in reporting on the imminent closure of Joyce Evans' Church Street gallery, noted that The Photographers' Gallery was also facing tough times during a recession, rising unemployment and a general downturn in the fortunes of art galleries;

The status and purpose of the Photographers' Gallery over its long tenure continued to evolve. Critic Beatrice Faust, a supporter of the gallery since its inception, in The Age in January 1990 observed;

Nevertheless, the Gallery was to survive for another twenty years.

Closure
The gallery was closed in 2010 and sold in 2015, and after a period of failing health, Bill Heimerman died on 1 October 2017.

Legacy
In the 1970s, with the decline of the pictorial magazines and a consequent crisis in photojournalism and documentary photography, a revival of the pre-WW2 interest in photography as a fine art was a world-wide phenomenon, as it was in Australia. In 1972, Beatrice Faust, in reviewing Two Views of Erotica: Henry Talbot/Carol Jerrems at Brummels Gallery in Nation Review urged;

The Photographers' Gallery and Workshop, because of its policy of sourcing and promoting established international work of a high standard, was well placed when percipient private collectors were entering the market in fine photographic prints, and major Australian institutions were initiating collections of photography.

The inaugural curator of the new photography department Jennie Boddington at the newly (1968) re-housed National Gallery of Victoria; Alison Carroll and Ian North of the Art Gallery of South Australia (which had begun to collect photography as a distinct discipline from the mid-1920s, its building expanded in 1962, refurbished 1979); and David Moore and Wes Stacey at the Australian Centre for Photography (est. 1973); all purchased from the Photographers' Gallery, with special interest in American and European works, along with the National Gallery of Australia, which though not built and opened until 1982, had started a photography collection in 1972. Its director James Mollison turned the sponsorship of the tobacco company Philip Morris International to the acquisition of Australian photography. These sales contributed significantly to the standing and survival of the Gallery, particularly in its early years of the 1970s and 1980s. An archive of The Photographers' Gallery and Workshop is maintained by Heimerman's partner, Barbara Derrick.

Exhibitions
• 2006, 24 November – 1 December: Tom Putt Photographic Workshops Annual Exhibition

• 2006, 21 October – 19 November: Rotation II

• 2005, 24 August – 9 September: Lynton Crabb, The Boy From PNG

• 2005: Defining the Fine Print

• 2004, 15 June – 2 July: Greg Sims, Up the Road

• 2004, 13–28 May: Najda Sue Macdermid, Karen Rawady, Gina Milicia, Jacquie Winder, Gaynor Manning. Presented as part of the Next Wave Festival

• 2004, January–February: Peter Leiss, War Fever: 50 Images of Urban America, 1992–1994

• 2003, 3–20 April: Neil Howe: Bodyscapes II

• 2003, 13–23 March: Serendipity

• 2002, 2–22 December: Derrick Lee and Ray Moles The Rainforest and Beyond

• 2002, 31 October – 1 December: Marilyn Monroe: Sixty images by Milton Green

• 2002, 10–27 October: Protection: combined works by Francesca Golotta and Maurizio Golotta

• 2002, July; Joel Meyerowitz: After 11 September: Images from Ground Zero

• 2002, 23 April – 12 May: Craig Roberts, Foundations

• 2002, 4–21 April: Rob Love, Water Sky and Flowers

• 2002, 7–24 March: David Tatnall, Himalaya

• 2002: The Salon Show

• 2001, 6–23 December: Works In Transition Artists: Steve Petrov, Diane Kitanowski, Roland Lawrence, Zoran Vasileveski, Robin Rosenfeldt

• 2001, 20 November – 2 December: Tulsi Jones, Gujarat: Stories from the Earthquake

• 2001: 19 July – 5 August: Robyn Rosenfeldt, Cuba

• 2001, 3–20 May: Konrad Winkler and Julie Goodwin: Baby Blues and Housewife Hues: Photographs and Drawings

• 2001, 7–31 March: Still Moments

• 2000 Neil Howe: Bodyscapes

• 2000, 12–29 October: The Nature of Things. Artists: Nigel Clements, Myer Bloom, Mick Sirianni, Gayle Slater, Gay Clarke, Kevin Birks, Stuart Murdoch, John Muller, Virginia Stobart, Chris Manteris, Gillian Martin, Gavin Liddle

• 2000, 28 September – 8 October: Jeremy Angerson presents Dreamasaurus. Photographers: Allison Adamson, Kata Bayer, Chris Beck, Eric Blaiche, Bournou Photography Designs, Andrew Chapman, Andy Dunbar, Josh Ellis, Rennie Ellis, John Gollings, Vanessa Hall, Grant Hancock, David Johns, Tard Johnston, Stuart Kerne, Ian Lawrence, Jason Lucas, Katherine Mandie, David Marks, Mercury Megaloudis, Ned Meldrum, Pru Miller, Gerard O'Conner, Lesley O'Donnell, James Pepino, Peter Rozetsky, Marco Sacchi, Jason South, Rod Stewart, Leanne Temme, Serge Thomann, Andy Vuksova, Dale Wright, Taek Yang, Yatzek, Jack Zarafian

• 2000, 14–24 September: Circles of Confusion: a photographic exhibition Artists: Evan Collins, John Muller, Chloe Holder, Livia Milazzo, Mirjana Josik, Hedy Ritterman, Virginia Stobart

• 2000, 3–20 August: Melissa McVeigh, Kashgar Market

• 2000, 13–30 July: Juan Carlos D'Abrera Syncytium

• 2000, 26 May – 11 June: Chelsea Anne Fitzgerald, Night Queens

• 2000, 12–29 April: Nathan Miller, Here, There and Everywhere

• 2000, 23 March – 9 April: Lisa Saad: Ex: the Exhibition

• 2000: 10–27 February: Millennium.com: Thirty Contemporary Australian Photographic Artists Point and Shoot at the New Millennium

• 1999, 4–21 November: Zoe Ali, Mozambique

• 1999, 24 September – 10 October: Ellie Young, For Lylee

• 1999 Stuart Murdoch: Sight Insight Site

• 1999, 12–29 August: Mary Fennessy, Julie Marchant, Suzanne Neale and Pamela Young, Transitions

• 1999, 22 July – 8 August: Nudes, incl. photographers Gordon Bunyan and Martin Barrie

• 1999, 10–27 June: Roxanne Oakley Scratching the Surface

• 1999, 20 May – 6 June: La Trobe University, Bendigo, Photography and Photojournalism. Irene Brereton, Jodie Clough, Jade Denton, Harry Palmer, Matthew Wickham, Ron Brown, Tom Campbell, Glenda Hooper, Name Salmon, Brad Wileman, Michael Harkin, Amanda Parker

• 1999, 29 April – 16 May: Gayle Slater, Continuum

• 1999, 8–25 April: Debra Pleuckhahn

• 1999, 18 March – 4 April: Andrea Paton, The Red Tent

• 1999, 25 February – 14 March: Synergy. Artists: Chris Lim, Deanna Ross, Susan Grdunac, Ellie Young, Bronwen Hyde, Marryanne Christodoulou, Kalli Karvelas, Berenger Marin Dubuard, Roxanne Oakley

• 1998, 1—20 December: Deanna Ross The Street is a Stage

• 1998, 12–29 November: Matthew Sleeth Roaring Days exhibition and book Launch

• 1998, 22 October – 8 November: Contemporary Australian Artists, The William Heimerman Collection. Artists: Amy Barker, Peter Barker, Robert Besanko, John Billan, Tiffany Bishop, Warren Brenninger, Marcus Bunyan, Francis Busby, Jeff Busby, Kerry Clark, Christine Cornish, Daniella Donate, Rennie Ellis, Greg Elms, Francesca Golotta, Fiona Hall, Kylie Hamill, William Heimerman, Bill Henson, Carol Jerrems, Christopher Koller, Peter Leiss, Jean Marc Lepechoux, Ian Lobb, Rosemary Mckeoun, Denise Moore, Paul Nadalin, Harry Nankin, Susan Purdy, Karen Rawady, Katherine Reeves, Kaye Rentil, Allison Ross, Mic Siranni, Gayle Slater, Anke Stacker, Virginia Stobart, Colin Vickery, Les Walkling, Konrad Winkler

• 1998, 1–19 October: G.A.S.: La Trobe University, Bendigo Media Arts students

• 1998, 17–27 September: Photographic Imaging Centre Annual Staff Exhibition.

• 1998, 20 August – 6 September: Second Series: Photographs by Konrad Winkler

• 1998: 30 July – 16 August: Three Suites: Colin Vickery, Susan Purdy, John Billan

• 1998: 13–29 July, the Gallery was closed for renovations

• 1998: 12, 1 July:00pm–5:00pm: Photographs by graduates of the 1998 M.33 Linden Documentary Workshop: The Blue Tak Show

• 1998, 28 May – 14 June: Carolyn Cliff, Natures

• 1998, 7–24 May: Virginia Stobart

• 1998, 20 April – 3 May: Marcus Bunyan, Kim Lawler, Andrew McLaughlin, Jane McLennan, Darkness/Colour

• 1998: 28 March – 16 April: Cassandra Tombs, 365

• 1998, February–1 March: Charmaine Hardy and Tanya Sarkies She's Lovely

• 1997, 27 November – 14 December: Denise Moore, Journey From Antiquity, Italy, 1997, A folio of Impressions

• 1997, 25 September – 13 October: Photographic Imaging College staff show

• 1997, 21 August – 7 September: Essence: Transcendental Works by Colin Vickery

• 1997, 31 July – 17 August: Kay Rintel, Flowerings

• 1997, 28 May – 15 June: Philip Quirk

• 1997, 29 May – 15 June, Kerry Clarke, Yemen: Images of the Middle East

• 1997  8–25 May, Konrad Winkler, Family and Friends

• 1997, 17 April – 4 May, Peter Leiss, Prague: Identification by Blood

• 1997, 27 March – 13 April, John Cato Retrospective

• 1997, 6–23 March Konfir Kabo, Ordinary Dreams

• 1996, 28 November – 15 December: Stuart Murdoch: ‘...as a log book stands to a journey’

• 1996, 7–24 November: 20th Anniversary Exhibition Ralph Gibson, Ian Lobb, Marcus Bunyan, Harry Callahan, Christopher Koller, Aaron Siskind, Gayle Slater, Paul Caponigro, Francis Busby, Hans Namuth, Les Walkling, Lisette Model, Greg Elms, Larry Clark, Kylie Hamill, Wyn Bullock, Rosemary McKeoun, William Clift, Jeff Busby, Duane Michals, Rennie Ellis, Karen Rawady, Edouard Boubat, Carol Jerrems, Eikoh Hosoe, John Cato, Peter Leiss, William Eggleston, Robert Besanko, Paul Nadalin, John Divola, Colin Vickery, Eliot Porter, Warren Brenninger, Emmet Gowin, Bill Henson.

• 1996, 5–22 September, Marcus Bunyan, All Natural Fibres

• 1996, 2–19 September: The Big Picture: a photographic exhibition by the staff of Photographic Imaging College. Artists; Daniel Bacon, Peter Barker, Kevin Birks, Myer Bloom, Gay Clarke, Nigel Dements, Chris Manteris, Stuart Murdoch, Mick Siranni, Gayle Slater

• 1996, 15 August – 1 September: Salon '96: a collection of photographers showing trends from the 70s, 80s and 90s

• 1996, 25 July – 11 August, Allison Ross, The Union of Psyche and Eros

• 1996, 4–21 July, Photographs by David Showler and Glenn Sloggett, co-curator: Louisa Ragas.

• 1996, 23 May – 9 June, Maxienne Young, Experiences in Time

• 1996, 9–19 May, Moses Tan, Journey to Jerusalem

• 1996, 11–28 April, Lyn Pool, Bloom

• 1996,  21 March – 7 April, Colin Vickery: Presence

• 1996, 29 February – 17 March, Rennie Ellis: Further Observations

• 1996, 8–28 February: Marion E. Hill, Bearing the breast: photographic images of breast cancer * 1996, 8–25 February, Marion Hill

• 1995, 30 November – 17 December: Glenn Guy, Ancient Images

• 1995, 2–12 November: Kylie Hamill, Into the Looking Glass

• 1995, 8–22 October: The public Bar: Three photographers' documentation of the public bar in North Melbourne

• 1995, 7 September – 1 October; Jeff Busby

• 1995, 17 August – 3 September: Harry Nankin: Acts of Ritual

• 1995, 20 July – 6 August: Francis Busby

• 1995, 29 June – 16 July: Sandra Taylor, Labyrinth

• 1995, 8–25 June : Kathryn Reeves Reeves 95

• 1995, 18 May – 4 June: Daniela Donati, Restoration

• 1995, 27 April – 14 May: A Collector's Choice

• 1995, 30 March – 23 April: Peter Leiss

• 1994, 27 October – 13 November: Marcus Bunyan, Inevolution

• 1994, 7–24 July: Michael Goldsmith 6,7,8,

• 1994, 21 April – 8 May: Francesca Golotta, In Bocca Al Lupo: In Good Faith

• 1994, 31 March – 17 April: Paul Nadalin Platinum Prints

• 1994: The Collection

• 1993 Greg Wayn, In Industrial Light

• 1993, 21 October – 28 November: Christopher Groenhout

• 1993, 7–17 October, Marcus Bunyan: The naked man fears no pickpockets.

• 1993, August: Brighton Bay graduate exhibition, Separate Distractions Pt.1

• 1992, 4–19 December: Peter Leiss, The Romper Stomper Series

• 1992: First year photography, RMIT Bundoora, Points Of Departure

• 1991, 27 September – 6 October: Myopia: The Photographic Imaging Centre's Staff Exhibition Artists;  Peter Barker, Kevin Birks, Myer Bloom, Gay Clarke, Werner Hammerstingl, Carolyn Deutsher, Chris Manteris, Stuart Murdoch, Mick Siranni, Gayle Slater

• 1991, 16 May – 9 June: John Werrett

• 1990: Next Wave Festival show

• 1989, November: Unconscious Collective: works by graduates of Melbourne University Institute of Education

• 1989, 20 July – 27 August: Jacqueline Mitelman, Jeff Busby, Greg Elms, Peter Leiss, Resurgence

• 1989, 25 May – 24 June: Benefit Exhibition

• 1988, December: Peter Leiss, Regression

• 1988, 11–19 November: Dean Petti, Landscapes of the Lancefield Region

• 1988 Rod McNicol

• 1987, 5–15 November: M.C.A.E Final Year Photography Students Peter McDougall, Celina Loren-Rymaszewska, Barbara Syme, Rosemary Connors, Marina Grubelich, Parallax

• 1987 Warren Breninger

• 1987, 13 September – 4 October: Beatrice Faust Curates: Boubat to Fereday

• 1987, 9 July – 1 August: Francis Busby

• 1986, 31 July – 24 August: Nicholas Nixon

• 1986, 3–27 July, Australian group show

• 1986, 5–29 June: Reece Vogel

• 1986, 1–25 May: John Gollings

• 1986, 3–27 April: Emmet Gowin

• 1986, 7–28 February: Three Views, Grant Matthews, Paul Murphy, Paul Torcello

• 1984, 28 November – 16 December: Christopher Köller, Zen Zen Chigau

• 1984, 13 October – 4 November: Jeff Busby, Dance Photographs

• 1984, 10 May – 3 June: Jeff Busby, Photographs

• 1984, April: Francis Busby * 1984 Tim Handfield: Australian Colour Photographs

• 1983 Warren Breninger There is No Escape 1971–1983

• 1983, 15 September – 16 October: Ian Lobb, Photographs 1979-1983

• 1983, July; David Blount

• 1983, 24 March – 24 April: Steven Lojewski, Sydney Photographs 1981–1983

• 1983: Peter Leiss, Metropolis

• 1982, 15 October – 7 November: Tony Perry

• 1982, 17 September – 9 October: Tim Handfield

• 1982, 6–29 August: Jeff Busby

• 1982, to 23 May: Les Walkling

• 1982, 12 March – 13 April: Hans Namuth, Jackson Pollock

• 1981, to 13 December: Paul De Nooijer

• 1981, 25 September – 1 November: August Sander

• 1981, 24 July – 13 September: Duane Michals

• 1981, July: Lin Bender

• 1981, 16 April – 13 May: American Photographers: Lisette Model, William Eggleston, Ralph Gibson, Larry Clark

• 1981, 5–29 March: Christopher Köller

• 1980, 28 November – 14 December: Don Sharpe, Vietnam Revisited

• 1980, 31 October – 23 November: Graham Howe

• 1980, 15 October – 7 November: Tony Perry

• 1980, August: Lisette Model

• 1980 John Divola

• 1980, 10 July – 8 August: Tim Handfield, Colour Photographs

• 1980, 6 June – 6 July: Lee Friedlander

• 1980, 25 April – 25 May: John Divola, Zuma

• 1980, 21 March – 20 April: Édouard Boubat

• 1980, 7 February – 8 March: Tony Perry

• 1979 Greg Wayn

• 1979, 16 November – 16 December: Eikoh Hosoe, Ordeal by Roses

• 1979, 12 October – 11 November: Ian Lobb

• 1979, September–October: Larry Clark

• 1979, August: William Eggleston

• 1979 Tim Handfield: Recent Work

• 1979, 25 May – 24 June: Benefit Exhibition. Photographers: Greg Wayn, Brett Weston, Les Walkling, Paul Caponigro, Edna Bullock, Wynn Bullock, Aaron Siskind, John Cato, Ralph Gibson, Robert Besanko, Boone Morrison.

• 1979, 13 April – 20 May: Franco Fontana

• 1979, 9 March – 8 April: Paul Caponigro

• 1979, 8 February – 4 March: Nigel Clark

• 1978, 16 November – 17 December: Jerry Uelsmann

• 1978, 19 October – 12 November: Robert Cumming

• 1978, 21 September – 15 October: Les Walkling

• 1978, 17 August – 17 September: Harry Callahan

• 1978, 20 July – 13 August:  New Australian Work. Artists: Gerard Groenveld, Bill Henson, Vivienne Hale, David Ellis, Fiona Hall, Ian Cerchi, Stephen Roach, Penny Malone, Peter Charuk, John Adair, Rod McNicol, Jon Macmichael, Christine Cornish, Frank Busby, Greg Wayn, Rod Trinca, Paul Krieg, Geoff Strong, Wayne Fimeri, Sandy Edwards

• 1978, 15 June – 16 July: Ralph Gibson: Colour Work

• 1978, 18 May – 11 June: Four Australian Women: Carol Jerrems, Christine Godden, Christine Cornish and Jenny Aitken

• 1978, 13 April – 14 May: Emmet Gowin

• 1978, 9 March – 9 April: Eliot Porter

• 1978, 2 February – 6 March: Robert Besanko

• 1978 Carol Jerrems

• 1978 Christine Godden

• 1977, 17 November – 12 December: Aaron Siskind

• 1977, 20 October – 13 November: Oliver Gagliani

• 1977, 22 September – 16 October: William Clift

• 1977, 25 August – 18 September John Cato

• 1977, 29 July – 22 August: Ralph Gibson

• 1977, 1–25 July: Boone Morrison

• 1977, June: Paul Hill

• 1977 Wynn Bullock (1977),

• 1976, August: Paul Caponigro

• 1976/7, December–January Rennie Ellis and Carol Jerrems: Heroes and Anti-Heroes

• 1976, November: Brett Weston

• 1976 Marion Hardman

• 1976: Jon Rhodes and Peter Leiss, Images of India

• 1975 Carol Jerrems

• 1975, March: Human Still Lives, Paul Cox

• 1973, October: Gerard Groeneveld Other solo or group exhibitions at the Gallery presented photographers Paul Hopper and Ingeborg Tyssen. In 1982 The Photographers' Gallery presented Aaron Siskind at Reconnaissance in Fitzroy in a joint venture.

title: The Photographers' Gallery and Workshop


text:
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text:
Louisiana Highway 425

Louisiana Highway 425 (LA 425) was a state highway in Louisiana that served East Baton Rouge Parish. It spanned 2.02 mi in a south to north direction, and was located completely within the city limits of Baton Rouge. It is known as Staring Lane.

Route description
LA 425 provided access from Highland Road to Perkins Road. It met LA 30, which used Highland Road at the time, and continued north to LA 427, known as Perkins Road. It met the now-defunct LA 949, which used Hyacinth Avenue. Hyacinth Avenue was once a portion of Perkins Road.

It was an undivided, two-lane highway for its entire length.

Staring Lane continue to exist today as a locally maintained road, but extensions were later added its southern end. Staring Lane currently ends at LA 42 (Burbank Drive) since an extension was built in 2011. Construction is currently going on to widen Staring Lane to four lanes; this project is slated for completion in September 2013. Other plans in the works include extending Staring Lane to LA 30 (Nicholson Drive).

History
The state highway was established in the 1955 renumbering. The road was turned over to city control in 1961. The number for LA 425 was reused for the extension of US 425.

title: Louisiana Highway 425