text:
Perfidia

"Perfidia" (Spanish for "perfidy", meaning faithlessness, treachery or betrayal) is a 1939 Spanish-language song written by Mexican composer and arranger Alberto Domínguez (1906–1975). The song is sung from the perspective of a man whose lover has left him. The song has also been recorded in English (with lyrics by Milton Leeds) and as an instrumental.

Recordings

 * The song became a hit for Xavier Cugat on the Victor label in 1940.
 * In late 1960, a rock instrumental version of "Perfidia" was released by the Ventures, which rose to number 15 on the Billboard chart. The record was a Top 10 hit on a number of popular music radio stations, including KYA in San Francisco, KLIF Dallas, KOL Seattle, KDWB Minneapolis, WHK Cleveland, KIMN Denver, and KISN Portland. The record topped out at number 11 on the charts of WLS Chicago, and WIBG Philadelphia.

Other recordings
"Perfidia" has been recorded by many artists, including:
 * Laurel Aitken
 * Dave Apollon
 * Dave Brubeck
 * Juan Arvizu
 * Andrea Bocelli
 * Brave Combo
 * Ray Conniff
 * Café Tacuba
 * Chico Che
 * Nat King Cole
 * Crveni Koralji
 * Xavier Cugat
 * Issac Delgado
 * Phyllis Dillon
 * Arielle Dombasle
 * Freddy Fender
 * Ibrahim Ferrer
 * The Four Aces
 * Carlos García. A one-armed Mexican street performer, originally from Michoacán, who makes music by blowing on the side of an ivy leaf. Recorded on a sidewalk, and featured on a CD, Sinfonia Urbana. It was overdubbed with strings by the Kronos Quartet for their 2002 album Nuevo.
 * Benny Goodman
 * Ben E. King
 * Dorothy Lamour
 * James Last
 * Julie London
 * Trini Lopez
 * Los Panchos
 * Los Rabanes
 * Los Straitjackets
 * Los Tres Caballeros and Javier Solís (in Spanish)
 * Luis Miguel
 * Glenn Miller
 * Olivia Molina
 * Hugo Montenegro
 * VIS Limunada (in Serbo-Croatian)
 * Sara Montiel
 * Nana Mouskouri
 * Jerry Murad's Harmonicats
 * Najwa Nimri
 * Lupita Palomera
 * Charlie Parker
 * María Dolores Pradera (in Spanish)
 * Perez Prado
 * An English arrangement of "Perfidia" was also the founding song of the Princeton Nassoons, Princeton University's oldest a cappella group.
 * Elvira Quintana
 * Cliff Richard
 * Elvira Ríos
 * Linda Ronstadt (in Spanish and English)
 * Andy Russell
 * Alfredo Sadel
 * The Shadows (with and not with Cliff Richard)
 * Anne Shelton
 * Carola Standertskjöld
 * Mel Tormé on his 1959, ¡Olé Tormé!: Mel Tormé Goes South of the Border with Billy May
 * René Touzet
 * King Tubby
 * The Ventures
 * Olavi Virta
 * Lawrence Welk

In popular culture

 * Desi Arnaz sings the Spanish version in the 1941 film Father Takes a Wife which starred Gloria Swanson.
 * 'Perfidia' is the title to a chapter of Nora Johnson's 1986 novel Tender Offer. The song highlights the theme of the story's zenith and the actual song is described being played during a crucial scene.
 * 'Perfidia' is the title of a section of Peter Nichols's 2015 novel The Rocks. Several references are made to the song.
 * Perfidia is the title of the acclaimed 1997 novel by Judith Rossner. The song lyrics are quoted several times in the narrative.
 * Perfidia is the name of a James Ellroy novel (2014).
 * Perfidia is a song in the Off-Broadway musical Forever Plaid (1990).
 * The song has also been used as the theme music to the Canadian animated television series George and Martha.
 * Perfidia was also included on the Dexter soundtrack.
 * Linda Ronstadt's version of the song in English with a Spanish introduction was used in the 1992 film The Mambo Kings. Ronstadt also recorded the song in Spanish for her 1992 album Frenesí. At the 9th Lo Nuestro Awards, her version received a nomination for Tropical Song of the Year.
 * In Casablanca, Perfidia plays while the characters Rick Blaine and Ilsa Lund are ballroom dancing during the famous "flashback to Paris" sequence.
 * The song is heard in Now, Voyager, in a scene where Jerry (Paul Henreid) and Charlotte (Bette Davis) are dancing.
 * Perfidia is also used in the first-season episode of the Netflix series Sense8
 * In Miguel Gomes' 2015 film Arabian Nights different versions of the song are used over the opening credits of each of the film's three volumes, featuring those by Phyllis Dillon, Nat King Cole and Glenn Miller, as well as another by one of the film's performers Crista Alfaiate.
 * In the film The Mask of Dimitrios, a 1944 film directed by Jean Negulesco, Perfidia plays in a bar scene.
 * Wong Kar-wai uses Xavier Cugat's version in his films Days of Being Wild and 2046. Nat King Cole's version appears on the soundtrack for In the Mood for Love.
 * The song is featured in the 2019 film Live Twice, Love Once.
 * The song performed by Xavier Cugat is featured in the 2022 KDrama Anna (South Korean TV series)

title: Perfidia


text:
User:Motga5

I think Egypt has the best archeology in the whole world. It has the charming of the past. In next discussions we can speak about them specifically.

source: wikimedia

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

title: User:Motga5


text:
Wikipedia:Miscellany for deletion/User:HelioHealthGroup/sandbox

 __NOINDEX__

The result of the discussion was: delete. ♠PMC♠ (talk) 10:24, 29 September 2017 (UTC)

User:HelioHealthGroup/sandbox

Reads like an essay designed to disparage several businesses w/o actually becoming an article. Might be speediable under WP:CSD if there are existing articles on the subjects? It is sourced and covers several subjects, so I did not think WP:CSD was the way to go. My overall sense is this is a paid hatchet job. The creator was afforded opportunity to rename and chose. What say ye? Dlohcierekim (talk) 18:13, 21 September 2017 (UTC)
 * Delete. Oh my, oh dear, all these problems I didn't think of!  Who could possibly in the world help me out?  Per nom.  Poor attempt at advertising services.  If any text is sourced, it is copied word for word from that source.  I left the government-sourced language in as public domain.    78.26   (spin me / revolutions) 18:41, 21 September 2017 (UTC)
 * Delete what a mess. Legacypac (talk) 19:28, 21 September 2017 (UTC)


text:
Intelligence Intensification/Speed Reading

Classical Speed Reading
If you have never thought about how you can increase your reading speed, you will find these tips very interesting. You can probably read at much higher rates without losing understanding. Your brain is faster than your eyes. If you're still skeptical about increasing your reading speed, consider the following. This technique does not have to be used to increase your reading speed. You could choose to continue reading at your old speed, but have more time to understand the text, with less time used interpreting symbols. It is also strange that many people say that they don't need to read faster, but nobody wants to read slower.

Speed reading is not suitable for many types of written material. Text with complex mathematical concepts or equations, for example, needs to be read many times, slowly. Written material describing a complex historical scenario likewise may be too complicated to be understood quickly. However, when the reading speed is slow and the information is not interesting, the mind tends to wander.

Speed reading poetry will not improve one's appreciation of it, partly because in reading it too quickly, one loses much of the nuance of poetical metre. This is also true if you try to recite poetry at 700wpm. Speed reading tends to be a useful technique for light material such as easy-reading novels or magazine columns. The best idea is to speed read slowly. That is, use a perfect reading technique, but do it at a rate appropriate for the appreciation of what you are reading. Using a bad technique doesn't increase the appreciation of poetry, or the understanding of mathematical formulae. Speed reading the small print of speed reading course contracts (or any contract, for that matter) is also not a good idea.

In order to increase your reading speed, do this:

 * 1) Never pronounce the words. Your mouth should be absolutely still.
 * 2) Don't move your head. If you try to read at a breakneck speed, you will hurt your neck.  Move your eyes instead.
 * 3) Practice not looking back at words.  This is extremely important. Read a text, and note how your eyes tend to look back and read the same words repeatedly.  In the beginning it takes a lot of concentration to read with a steady flow.  The eyes will read a chunk of words, then another, and so on.  However, don't get hung up on this: recognize that some texts simply require reading, rereading, and rereading again before comprehension begins to settle in.  If you didn't understand something that you have just read, read it again (and again and again if necessary) before moving on.   Well-written text repays close attention; but (of course) trashy novels or suchlike may be read using speed reading techniques with no loss.  Remember that the goal of speed reading (or indeed any type of reading) is comprehension, not speed.
 * 4) At the end of the row, the eyes should move diagonally (the shortest path) to the next row.
 * 5) You can't read while your eyes are moving. When you read, your eyes should grasp a couple of words, then your gaze should jump forward in order to read the next couple of words.  When you actually read, your eyes are not moving.  In order to read as quickly as possible, read as many words as possible in each glance.  Reading research shows that it is possible to read as many as two words at one time. So keep practicing.

Aiding Software
The key to success is concentration and therefore discipline. If you really want to practice the last point, reading as large chunks of words as possible, you can create a computer program which writes two words on the screen with a space between them. Both words should be read at once, not one after the other. As you practice, enlarge the space between the two words. Another idea is to write a program which shows a text and as you press the space bar it begins to make the text invisible one word at a time (or maybe x words at a time). In that way, you are forced to continue reading, you cannot look back. If you write any of these programs, which shouldn't take more than a couple of hours, please make them available for everyone here. (Shouldn't the code be posted to Wikisource, under Source Code?)

Yet another option which may be more viable for some is using available speed reading software package. Among the best are The Reader's Edge, RocketReader and AceReader, though of course many others exist. Most of these programs will have grouping, flash, memory, speed reading, and shadow exercises.


text:
napletek

Etymology
. . The change of -ł- to -l- is probably due to influence from.

Noun

 * 1)  prepuce, foreskin

title: napletek


text:
User:Curator1966

I am a curator working in museums since 1997. For over a decade, I have studied the work of artists associated with the Woodstock (New York) art colony. I have authored essays and books on some of these artists, and am well versed in primary and secondary sources.

My goal is to expand the information available on Wikipedia for many of these under-recognized artists. I will provide citations for article contributions. If you have any questions or concerns, please contact me. Curator1966

title: User:Curator1966


text:
Talk:Lestat (musical)

The Review
So Lestat the musical has plunged in its first opening in San Francisco. I currently live in the United Kingdom and am looking forward to seeing the show come over from Broadway when it opens, IF it comes over that is. Unfortunately the review has prompted many fans of Rice to come out and argue on its release.

Its true I want to witness the musical, which sounds as if it has plummeted from the review with the chronicle. If anyone had the fortune of witnessing the special screenings I'd like to hear their opinions. Lestat has plenty of promise, of course I am not so keen on Elton John writing the music as he has been credited with pop for so long, which is perhaps not the greatest genre for the gothic musical.

Get Rice in and sort them out! But to be honest, a singing and dancing Lestat does leave much to the imagination.

San Francisco synopsis
We can't have two synopsis on one show, so I've cut the SF synopsis. I'm going to post it here in hopes that someone can delineate the MAIN differences between the two plots and create a section in the article. AAAAND... the other one needs to be cut down. A LOT.

First Act: San Francisco version:
The story opens with Lestat in modern San Francisco, much like in the film Interview with the vampire with Louis. Lestat sits down at his lap top computer, having decided to write out his life story as the novel, The Vampire Lestat. (Opening: From the Dead).

In eighteenth century France Lestat kills a pack of wolves that have been preying on his home village, dominated by his father is Marquis de Lioncourt.

Lestat is discontented with the life he lives in his father's castle under his tyrannical rule. He has been the prisoner of his family for years, forbidden from living the life he wants. Lestat's mother (Gabrielle) provides Lestat with the financial means to free himself from his miserable life, giving him some of her antique jewels. (Nothing here).

Lestat goes down into the village where he and his friend, Nicolas, plot to run away together to Paris (In Paris). When they finally reach Paris Nicolas becomes a violinist for a small theatre and Lestat becomes an actor there. One evening while performing on stage Lestat hears a voice calling 'Wolf killer.'  The voice haunts him. He tries to tell Nicolas about it and Nicolas shrugs it off. Nicolas admits to Lestat that he doesn't think his music will ever amount to anything and that he feels Lestat is full of light and he, Nicolas, is full of darkness and that he's only dragging Lestat down. Lestat refuses to listen to Nicolas's self-destructiveness and walks out into the night. (In Paris reprise).

A mad vampire named Magnus kidnaps Lestat and makes of him his vampire heir by draining him of blood and then feeding him his own blood. Magnus leaves Lestat his fortune and then throws himself into a fire, leaving Lestat a vampire orphan. (The thirst). Meanwhile Nicolas and the theatre troupe worry over what's happened to Lestat as Lestat watches them from a distance (The thirst reprise). Finally Lestat makes his presence known to them and tells them a lie about having been ill and marrying a wealthy woman. He then buys the theatre to make certain Nicolas always has a place he can play his violin. Nicolas is distrusting of Lestat's strange and far fetched story but tells Lestat that Lestat's mother has come to Paris. Lestat's mother is dying and wished to be near her son.

Lestat saves his mother, Gabrielle, from death by consumption by making her a vampire (Make me as you are). Gabrielle revels in being a vampire and starts to dress in men's clothes. Soon Lestat and Gabrielle realize that someone or some thing is stalking them. When they go into a church they run into Armand. Armand is a manipulative and somewhat psychotic vampire who runs a coven if Satanist vampires who live under the cemetery of Les Innocents. He lures Lestat to their lair by revealing that he's kidnapped Lestat's friend, Nicolas. Here Nicolas is being held in a cage. Armand and his followers intend to condemn Lestat for going into the places of light, for not worshipping The Devil and daring to live among mortals. They view him as a blasphemer. Lestat reveals to this coven that Armand has been deceiving them and that they haven't really been serving The Devil at all (To live like this). Lestat rescues Nicolas and makes him a vampire but Nicolas descends into madness.

The former Satanist vampires decide they want to live among mortals the way Lestat does and so Lestat gives them the theatre where he and Nicolas had been so happy. Nicolas joins the former Satanic coven in the newly created Theatre des Vampires.

Lestat watches a performance of the theatre vampires where they sing about the origin of the vampires. Apparently an Egyptian King and Queen were murdered and a demon merged itself with their blood as they were dying, making them the first two vampires. The vampire play also told of a powerful ancient vampire named Marius who guards the now catatonic first two vampires, Akasha, the queen of the damned, and Enkil, her husband (Origin of species). Lestat becomes fascinated with the story and resolves to find Marius. He wants to ask him how to endure for all eternity. He never wants to go mad or end up destroying himself the way his maker did. Armand confesses that he knew Marius, that Marius was Armand's maker but Armand does not believe that Marius is still alive. Armand promises to look after Nicolas and Lestat and Gabrielle leave to find Marius.

After traveling for many years Lestat receives the message telling him that Nicolas has destroyed himself. Then he receives another blow when Gabrielle tells him she wants to explore the wilderness and has no interest in finding Marius (Crimson Kiss).

Lestat feels completely alone (The thirst: second reprise) and buries himself in the Earth. That's when Marius finally appears and digs Lestat out and shouts 'COME!'

Second Act: San Francisco version:
Marius knew Lestat was looking for him and they soon have a long discussion about good and evil. Lesat views himself to be evil and is suffering a moral dilemma. Marius tells Lestat that he should live out one human lifetime and that he should go to the city of New Orleans.

Lestat resolves to start a new life in New Orleans (Welcome to the New World). It is here where Lestat meets plantation owner, Louis. Louis is grieving the death of his wife and child and suffering from severe depression. Lestat offers Louis the choice he never had. The choice is to live out his life or become a vampire. Louis accepts the Dark gift but soon comes to regret it. Hating to have to kill he starts to loathe what he's become. Lestat keeps trying to tell Louis to embrace his vampire nature (Embrace it). Lestat soon finds a little girl whose mother has just died of plague. Lestat makes the child into a vampire. Louis and Lestat raise the little girl as their own (I want More). Eventually though, the child vampire, Claudia comes to resent Lestat for trapping her in a child form (I'll never have that chance). She attempts to kill Lestat by feeding him poisoned blood and draining his blood while he is weakened. Louis, fearing that Lestat would try to avenge himself against Claudia, knowing that Lestat can't die so easily, sets Lestat on fire. Lestat escapes the fire.

After allowing himself to regain a little bit of strength Lestat heads back to Paris to try to ask Armand for some of his blood to help him to heal. On his way back to Paris he laments all his lost loves and past mistakes (Sail me away). Lestat goes to Armand and begs him for help to heal. Instead Armand forces Lestat to tell the theatre vampires what Claudia did to him. In spite of Lestat's protests against it, Claudia is destroyed by Armand and the theatre vampires (Kill your Kind). Lestat forgives Louis for betraying him and tries to tell him that he had no hand in Claudia's destruction. Louis leaves Lestat (Embrace it reprise).

Once Lestat and Armand are alone together Armand gloats about Lestat's suffering because he resents him still (After all this time). Lestat tells Armand that he met Marius and breaks it to Armand that Marius said of Armand 'Armand is empty. He cannot feel or love.' and that Marius shall regret him until the end of time. Infuriated Armand throws Lestat off the roof.

Lestat laid on the ground broken, waiting for the sun to destroy him but he gets rescued by Marius. Marius takes Lestat back to his island sanctuary where, after helping Lestat recover, he asks Lestat if he still wishs to live. Lestat tells him yes. He also reveals that he has resolved his moral dilemma by developing his moral compass. He vows never to kill the innocent, that he'll only feed on murderers.

Marius feels Lestat is finally ready. He takes Lestat to meet Akasha, the first vampire. Akasha allows Lestat to drink her blood. As Lestat drinks from Akasha he feels a bond to all vampires everywhere, the living and the dead. (From the dead finale). One of the more touching moments of this scene is when Claudia's ghost assures Lestat 'The angels came in Heaven's name and swept my ashes up.'

The story ends with Lestat in the modern world finishing his story and closing his laptop computer. — Music Maker  03:28, 6 July 2007 (UTC)

Outrage
I am OUTRAGED that someone thought to remove the summary for the San Francisco version that was posted here WITH the New York summary. They were two distinctly different versions fo the play. Just because some people don't want to remember there was a version that actually did well doesn't mean the whole world should be made to forget. That's just plain wrong! —Preceding unsigned comment added by JTheGoblinKing (talk • contribs)

 * Well, I must say that I'm DESPONDENT over your outrage. Seriously.  Near-suicidal.  Not sure how I can go on.
 * The second synopsis was removed to make the article coherent. (Perhaps you've heard of it.  Coherency?)  Two synopsises are completely unnecessary.  If you had taken the time to read the talkpage before you blanked it, you might have noticed that the second synopsis was on the page with the suggestion that someone write a short section regarding the different versions.
 * I certainly was not trying to occlude the grand history of this pillar of the musical theatre pantheon. "Some people" just want the article to be good and up to Wikipedia's standards of quality.  —  Music Maker  02:17, 14 July 2007 (UTC)

Just Wow
Nary a mention that on Broadway, this staggeringly awful stinker played 33 previews and only 6 actual performances before being shut down–its coffin nailed down tightly. <IP_ADDRESS> (talk) 04:21, 6 April 2011 (UTC)
 * If you have a source, why not add it? Doniago (talk) 15:24, 6 April 2011 (UTC)
 * I'm confused, IBDB shows 39 actual performances, not 6; the linked playbill article also shows 39 performances. Is there a source that shows 6??Flami72 (talk) 14:47, 3 July 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Lestat (musical). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20051215033655/http://www.annerice.com/fa_thlestat.htm to http://www.annerice.com/fa_thlestat.htm

Cheers.— InternetArchiveBot  (Report bug) 16:53, 21 December 2017 (UTC)

title: Talk:Lestat (musical)


text:
Talk:Chasetown F.C.

Charlie Blakemore
Can anyone expand the Charlie Blakemore article? At the moment, it's a bit short. I see that there are references to interviews with Mr Blakemore. Is there anything else notable about him? I'm newish and not sure as to whether it should be marked up for cleanup attention or deletion to call in more editors.21:20, 20 March 2006 (UTC)

What do people want to know? I was Press Officer at Chasetown until 2007 and have known Charlie since he was 16 and a player for Chasetown. <IP_ADDRESS> (talk) 21:23, 28 July 2008 (UTC)

History
The history section is all over the place - it starts with extensive coverage of 2005, then progresses backwards through 2001 and the 1990s to the club's foundation, then progresses forwards again, passing the 1990s and 2001 again before finishing in 2005! This really needs to be put into a coherent chronological order..... ChrisTheDude 08:57, 23 March 2007 (UTC)
 * Plus it's been lifted from the club's website and is therefore clearly copyright violation ChrisTheDude 07:26, 25 April 2007 (UTC)

 * Although the chap who wrote it for the club (PDM on the official forum), was the person who put it on here too. <IP_ADDRESS> 10:16, 7 May 2007 (UTC)

The initial History - put up by me (PDM) in 2005 ran coherently but then I left the club in 2007 and it has been edited since (not by me from what I can see)

I can happily re-write it - I don't know whether it violates copyright if I wrote both articles? <IP_ADDRESS> (talk) 21:24, 28 July 2008 (UTC) Paul
 * It would violate copyright if it appears on the club's website, as content published there is assumed to be copyright of the club as publishers of the site (in fact I just checked and I see that the history page on the club's site specifically states at the bottom "© 2008 Chasetown Football Club. All Rights Reserved". But there's nothing to stop you re-writing it as long as it is not a straight "lift" from the club site -- ChrisTheDude (talk) 21:38, 28 July 2008 (UTC)

But surely if the same person writes both, the copyright is held with the writer? what if the official website said "writer's name for chasetown football club" and the same writer's name appeared in wiki? or what if the wiki page said "reproduced with permission of chasetown fc"?? <IP_ADDRESS> (talk) 22:25, 28 July 2008 (UTC) the original article was written by myself (on both sites the same) and updated by my successor on both sites...
 * Firstly, I have no reason to doubt that you genuinely are the person who wrote the piece on the CFC website, however I'm sure you understand that we only have your word for that, which would not be valid in the event of any sort of dispute arising (I'm sure no dispute would arise, but the Wikimedia Foundation has to be protected against such possibilities in all cases). Secondly, no, copyright does not automatically rest with the writer if it has been published by an organisation which claims copyright over the work.  I used to work in book publishing and the company I worked for always held copyright over the contents of their books, so the authors could not reproduce their work elsewhere even though it was their writing, as far as I know it's exactly the same with websites.  It is certainly permissible for an organisation to give permission for text from its site to be used on WP.  What would need to happen is for the club's webmaster to email<EMAIL_ADDRESS>stating that they were prepared to release the material under the GNU Free Documentation License.  Hope this helps -- ChrisTheDude (talk) 22:38, 28 July 2008 (UTC)

No problems. Never really been sure how copyrighting works on things like this when I was writing the Chasetown match reports for the local newspapers, I was sending the same report to 3 newspapers independent of each other (as much as anything to save my time) and all 3 ran the exact same wording in their newspapers. As the 3 papers ran on different nights they didn't really worry about re-wording my reports and I didn't think anything of it. I am meeting with the Chasetown chairman this weekend anyway, so I shall ask the question of him. Thanks for your help. <IP_ADDRESS> (talk) 22:42, 28 July 2008 (UTC) Paul
 * To be honest I wouldn't worry about it too much, I just checked and the history section has been substantially re-written and is no longer a "lift" of the piece on the CFC website, nor would a word-for-word lift be appropriate anyway. The history piece on the CFC site is very well-written and perfectly suited for the club's own site but bits like "The magic of the FA Cup had been restored & Chasetown’s place in the rich history of the competition had been cemented in the hearts of all true footballing supporters" are not really written in a suitable tone for an encyclopedia, which is what Wikipedia is...... -- ChrisTheDude (talk) 22:54, 28 July 2008 (UTC)

Current season
Following a discussion at the Wikipedia football project, the exhaustive detail on the current season had been moved to a new sub-article, Chasetown F.C. season 2006-07 ChrisTheDude 08:01, 25 April 2007 (UTC)

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

BetacommandBot (talk) 05:43, 2 January 2008 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Chasetown F.C.. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090923132713/http://www.nonleaguenews.co.uk:80/team.php?name=Chasetown to http://www.nonleaguenews.co.uk/team.php?name=Chasetown

Cheers.— InternetArchiveBot  (Report bug) 19:22, 20 November 2016 (UTC)

title: Talk:Chasetown F.C.


text:
Little Cloud

Little Cloud is the sixth studio album by Australian band The Whitlams, released by Black Yak through Warner on 20 March 2006. It debuted at number four on the ARIA Albums Chart.

Album information
The first disc, entitled Little Cloud, is about returning to Australia from overseas in an election year. The second disc, The Apple's Eye, is mostly thematically centred in New York City. The majority of the album was written by singer/songwriter Tim Freedman whilst he lived for several months in New York.

Track listing
Disc One: Little Cloud
 * 1) "Been Away Too Long" – 3:57
 * 2) "White Horses" – 3:19
 * 3) "I Was Alive" – 3:06
 * 4) "Year of the Rat" – 3:52
 * 5) "Keep the Light On" – 3:40
 * 6) "Tonight" – 3:40
 * 7) "12 Hours" – 2:28
 * 8) "Little Cloud" – 3:30

Disc Two: The Apple's Eye
 * 1) "Beauty in Me" – 3:05
 * 2) "Fondness Makes the Heart Grow Absent" – 3:56
 * 3) "Beautiful as You" – 3:48
 * 4) "Second Best" – 3:15
 * 5) "Fancy Lover" – 3:38
 * 6) "Stay with Me" – 3:09
 * 7) "She's Moving In" – 2:12
 * 8) "The Curse Stops Here" (Live with the West Australian Symphony Orchestra) – 3:22

title: Little Cloud


text:
Anarchist insurrection of Alt Llobregat

The Anarchist insurrection of Alt Llobregat was a revolutionary general strike which took place in the north of Catalonia, Spain, in January 1932, principally organized by Confederación Nacional del Trabajo (CNT) unions in the mining and textile sectors. It was the first of the three insurrections carried out by the CNT during the time of the Second Spanish Republic, followed by the anarchist insurrections of January and December 1933.

History
The outbreak of the revolutionary strike was due to the economic situation in the area and the country, and the expectations of radical social change since the early days of the republican era in many sectors of workers. In Catalonia, the most radical sectors of the anarchists controlled the CNT, which coincided with an increase in social conflict between workers and the republican state. Preceded by the Castilblanco events and the Arnedo events, the revolt began on 19 January 1932, when the miners of the San Cornelio industrial colony in Fígols started a strike, seized weapons from the somatén (Catalan parapolice), and began patrolling the streets. Some workers even proclaimed "libertarian communism." The revolt was a response to the harsh working conditions in the mines, with long hours and lack of security at the bottom of the shafts, and also the expectations raised by the new rights of assembly and association that the newly approved Spanish Constitution of 1931 recognized.

The following day the conflict had spread to other towns in Alt Llobregat including Berga, Sallent, Cardona, Balsareny, Navarclés and Súria, where the strikers stopped the mines and closed the shops. In Manresa workers' pickets prevented access to factories and workshops. Telephone lines were cut. In many places republican flags were replaced by the red and black flags of the CNT. That same day a delegate from the CNT Regional Committee proclaimed in Fígols, in front of the revolutionary committee created by the miners, that "libertarian communism had arrived", news that spread throughout the area.

The following day, 21 January, Manuel Azaña declared before the Cortes: "I am not scared that there are strikes ... because it is a right recognized by law", but no one could take "an attitude of rebellion against the Republic" and that the military had the obligation to intervene against these "excesses". The government of the Republic ordered an armed intervention and thus, on 22 January, the first military units arrived in Manresa, and by the next day had occupied all the towns in the area except Fígols. The miners had blown up a powder magazine and fled through the mountains. Republican rule was restored and the miners were fired.

On 23 January, when only Fígols remained under insurgent control, the National Committee of the CNT agreed to "give the order to stop all of Spain, accepting all consequences." However, only a few isolated towns in Valencia and Aragon followed in the footsteps of Alt Llobregat. In Alcorisa the insurgents planted two bombs in the Civil Guard barracks, and in Castel de Cabra the rioters seized "the City Hall, destroyed the tax register and all the documents that were in the archives of the municipal secretary." Infantry troops were sent from Barcelona under the command of Domingo Batet to put an end to the riots. On 24 January Fígols was recaptured by the state, and by 27 January the first anarchist insurrection against the Republic came to an end.

There were many detainees, and all CNT centers in the affected regions were closed, but the repressive measure that had the greatest impact was the government's decision to apply the Defense of the Republic Law to a hundred detainees, who were deported to the African colonies (Morocco, Western Sahara and Guinea). On 22 January, when the troops occupied Manresa, in Barcelona several anarchist militants were arrested, among whom were the brothers Francisco Ascaso and Domingo Ascaso, Buenaventura Durruti and Tomás Cano Ruiz. They were transferred to the steamship "Buenos Aires", anchored in the port, for deporttation. Four days later there were already more than 200 detainees on the ship. On 28 January a hundred of the deportees started a hunger strike in protest, and wrote a manifesto denouncing their defenselessness. Some managed to leave, but on 10 February the "Buenos Aires" set sail from the port of Barcelona with 104 detainees on board. After picking up other detainees in Cádiz, the ship passed through the Canary Islands and finally docked at Villa Cisneros on April 3. On the way some of the prisoners, one of whom died, had fallen ill, and others were released. The last deportees returned to the peninsula in September.

With this mass deportation, the confrontations between the CNT and the republican-socialist government became even more intense. The uprising was also a trigger for a further split within the CNT between the libertarian possibilist tendency and the anarchist, as the strategic differences of each sector began to clash. After publishing a manifesto, Ángel Pestaña and other possibilists were expelled from the CNT and formed the Syndicalist Party, with the intention of participating in state politics.

title: Anarchist insurrection of Alt Llobregat


text:
User:Pittf/sandbox

Criticisms In the field of discourse studies, and particularly where researchers have been working with materials such as interviews and focus groups, there has been disagreement about whether Jeffersonian transcription is needed and, indeed, whether it impedes analytic clarity and the analyst in unnecessary work (see e.g. the debate between Hollway, 2005; Mischler, 2005; Potter & Hepburn, 2005a,b; Smith, 2005 and the second debate between Griffin, Potter & Hepburn, and Henwood as cited in ) It is virtually impossible to produce a perfect transcription. Analysts almost always find minor errors in original transcription The Jeffersonian system has become increasingly standard in the research literature but it does not encode the sort of features of speech delivery that a full phonetic transcription does, so would not be suitable for studies of speech therapy or the sorts of classic sociolinguistic research on accent variation. Because it is impossible to record all features of talk and interaction from recordings, all transcripts are selective in one way or another. Selectivity needs to be acknowledged and explained in relation to the goals of a study rather than taken to be unremarkable. . Different transcripts of the same text result in different analyses to suit the research purpose of each analysis. Nonvocal and nonverbal phenomena which accompany spoken discourse, e.g., table pounding, gaze, applause, gesture. .... the Jeffersonian tradition emphasizes gaze and applause, but notgesture. Standardization of transcription systems involves at least two features: (a) the categories of verbal interaction to be analyzed and therefore to be included in the transcript, and (b)notation codes for these categories. With respect to the notation codes, substantial differences exist between the Jeffersonian system,Du Bois's Discourse Transcription, and Gumperz's Transcript Notation in the encoding of temporal aspects, including turn-taking, pause duration, syllabic prolongation, and speech and articulation rates Many of the special notations are simply redundant in the sense that they are not applied to any meangingful scientific analysis of the data thus notated. There is no escaping the conclusion that these features are transcribed only as a form of pseudoscientific show-and-tell. For example, Jefferson (1984) provided the following transcript for an utterance of a speaker: "eh Not the floo:r one ehh:: h euh he h-heh-he h" (p. 349). It constitutes a very nuanced notation of laughter. But nowhere is the notation explained and nowhere is there any effort to explain or comment on the laughter itself.

Use of conventional typography. Graphemes, punctuation marks, and other conventional typographical symbols (e.g., @, #, and &)have already been spoken for. Their adoption for other purposes within a notation system can only contribute to confusion (e.g., Jefferson's [1984] Use of "he" for laughter rather than for the thirdpersonal pronoun he [p.349].

Williamson, Graham (2009). Transcribing Conversation. March 2009 16:18

O'Connell,Daniel C., and Kowal, Sabine.(1999) Transcription  and the Issue of Standardization. Journal of Psycholinguistic Research, vol 28, No. 2

Transcription www-staff.lboro.ac.uk/~ssjap/transcription/transcription.htm

Davidson, Christina.(2009) Transcription: Imperatives for Qualitative Research. CQ University Rockhampton, Australia.

________________________

DT (Discourse Transcription) A system described in (DuBois et al. 1992), used for transcription of the Santa Barbara Corpus of Spoken American English (SBCSAE), later developed further into DT2 GAT (Gesprächsanalytisches Transkriptionssystem – Conversation Analytic transcription system) A system described in (Selting et al. 1998), later developed further into GAT2 (Selting et al. 2009), widely used in German speaking countries for prosodically oriented conversation analysis and interactional linguistics HIAT (Halbinterpretative Arbeitstranskriptionen – Semiinterpretative Working Transcriptions) A system originally described in (Ehlich and Rehbein 1976) – see (Ehlich 1992) for an English reference - adapted for the use in computer readable corpora as (Rehbein et al. 2004), and widely used in functional pragmatics.

Pittf (talk) 13:15, 16 July 2012 (UTC)pittfPittf (talk) 13:15, 16 July 2012 (UTC)

title: User:Pittf/sandbox


text:
Primary Mathematics/Probability

Probability
In mathematics probability tells us how likely something is to happen.

If something is absolutely certain to happen, we say its probability is one. If something cannot possibly happen, we say its probability is zero. A probability between zero and one means we don't know for sure what will happen, but the higher the number the more likely something is to happen. If something has a probability of 0.25, most people would say "it probably won't happen".

Unfortunately, children have a hard time understanding what a probability of 0.25 suggests. Children are much more adept in understanding probability in terms of percentages (25%), and fractions (i.e., "It will happen about ¼ of the time"), so it is very important that connections between probability and the development of those skills and understandings occur together.

Models
It can be difficult but Probability is best taught with models. Two of the most effective and commonly used models used to teach probability are area and tree diagrams

Area diagrams give students an idea of how likely something is by virtue of the amount of space reserved for that probability. Consider the toss of a coin:

Students can imagine that every time they toss a coin, they need to place that coin into the appropriate side of the rectangle. As the number of throws increases, the amount of area needed to enclose the coins will be the same on both sides. The same probability can be shown using a tree diagram:

In this simple tree diagram, each line (or event path) will be followed ½ of the time. Note that both diagrams show all of the possibilities, not just the probability of one event.

Both of these models can become more complex. Consider all of the possibilities of throwing two coins in series:

In the above area rectangle the instances where heads has been tossed twice in a row is represented in the upper left hand corner. Note that whereas the probability of tossing both heads and tails (in any order) is 50% or 1/2, and the probability of tossing two heads in a row is 25% or 1/4.

While the tree diagram gives us the same information, the student needs to understand that all of the events at the bottom have an equal chance of occurring (This is more visually evident in an area diagram). However, the tree diagram has the advantage of better showing the chronology of events (in this case the order of events is represented by downward motion).

While it may appear that both of these models have strengths and weaknesses, that is not the point. By becoming familiar with these and other models, students gain a more robust and diverse understanding of the nature of probability.

Consider the following problem:

If at any time a Dog is just as likely to give birth to a male puppy as she is to give birth to a female puppy, and she has a litter of 5 puppies, what is the probability that all of the puppies will be of the same sex?

While this problem can be easily answered with the a standard formula, $$P = 2 \left ( \frac{1}{2} \right ) ^n$$, where n is the number of puppies born, this nomenclature is not only unintelligible to students, but teaching it to students gives them no understanding of the underlying concepts. On the other hand, if they have explored problems similar to this with a tree diagram, they should fairly easily be able to see patterns emerging from which they can conjecture the "formula" that will find the correct answer. Consider that a student has drawn a tree diagram that shows the permutations with three puppies in the litter:

If a teacher was to have this student share their work, the class of students in looking at this model would be able to see that there are 8 possible outcomes. They should also notice that the only instances where litters of all males or all females can be found are on the far ends of the tree.

Students are always encouraged to look for patterns in many of their mathematical explorations. Here, students start to notice that the number of possibilities can be determined by multiplying the number 2 by itself exactly the number of times there is to be a new outcome. In this case there are three outcomes (puppies born) in a row. So 2 x 2 x 2 = 23, or 8 possible outcomes. Once the student sees a connection to this pattern, they may conjecture that if there are 5 puppies in a litter, the possible number of outcomes is 25, or 32, of which only 2 (represented by the combinations MMMMM, and FFFFF on the extreme ends) will result in a litter puppies of all the same sex.

Teachers are always looking for students to make connections with other skills they are learning. In this case the teacher might ask the students to state the answer as a reduced fraction (1/16) and a percentage (6.25%).

Since we're using math to help us understand what will happen, it may help us to be able to write an equation like this:

Pr(X) = y

If this equation is true, we would say "the probability of X happening is y". For example, we can say:

X = A coin toss coming up heads

Pr(X) = 0.5

Since the letter X is standing for an event, not a number, and we don't want to get them confused, we'll use capital letters for events, and lower-case letters for numbers. The symbol Pr represents a function that has some neat properties, but for now we'll just think of it as a short way of writing "the probability of X".

Since probabilities are always numbers between 0 and 1, we will often represent them as percentages or fractions. Percentages seem natural when someone says something like "I am 100% sure that my team will win." However, fractions make more sense for really computing probabilities, and it is very useful to really be able to compute probabilities to try to make good decisions, so we will use fractions here.

The basic rule for computing the probability of an event is simple, if the event is the kind where we are making a definite choice from a known set of choices based on randomness that is fair. Not everything is like that, but things like flipping a coin, rolling a single die, drawing a card, or drawing a ticket from a bag with your eyes closed are random and fair since each of the possibilities is equally likely. But the probability of things a little more complicated, like the sum of two dice, is not so easy---and that makes it fun!

Suppose we have a single die. It has six faces, and as far as we know each is equally likely to be face up if we roll the die. We can now use our basic rule for computing probability to compute the probability of each possible outcome. The basic rule is to take the number of outcomes that represent the event (called X) that you're trying to compute the probability of, and divide it by the total number of possible outcomes. So, for rolling a die:

Pr("getting a one") = 1 face that has one dot / 6 faces = 1/6

Pr("getting a two") = 1 face that has two dots / 6 faces = 1/6

Pr("getting a three") = 1 face that has three dot / 6 faces = 1/6

Pr("getting a four") = 1 face that has four dots / 6 faces = 1/6

Pr("getting a five") = 1 face that has five dot / 6 faces = 1/6

Pr("getting a six") = 1 face that has six dots / 6 faces = 1/6

So we have 6 possibilities, and each has a probability of 1/6. We know that 6 * (1/ 6) = 1. In fact, that is an example of a fundamental rule of probabilities:

The sum of probabilities of all possibilities is equal to one.

But you probably know that each face of a die is equally likely to land face-up, so so far we haven't done anything useful. So let's ask the question: What is the probability of throwing two dice and having their sum equal seven when we add them together? Knowing that can help us win at a lot of games (such as Monopoly(trademark Parker Brothers)), so it's pretty valuable to know the answer.

To find out the answer, we apply our basic rule, but now it is not so easy to know how many possible outcomes of TWO dice thrown together will equal seven. However, it is easy to know how many total possible outcomes there are: 6 times 6 = 36. One way to find out how many possible dice throws add up to seven is just to make a table of all possible dice throws that fills in their sum and count the number of sevens. Here is one:

***| 1 | 2 | 3 | 4 | 5 | 6  ===========================   1  | 2 | 3 | 4 | 5 | 6 | 7   2  | 3 | 4 | 5 | 6 | 7 | 8   3  | 4 | 5 | 6 | 7 | 8 | 9   4  | 5 | 6 | 7 | 8 | 9 | 10   5  | 6 | 7 | 8 | 9 | 10| 11   6  | 7 | 8 | 9 | 10| 11| 12

The numbers along the top represent the value on the first die and the values on the left represent the values of the second die when you throw them together. The values inside the table represent the sum of the first and the second dice. (Note that the numbers range from 2 to 12 --- there's no way to throw two dice and get a number less than two!)

So if we look carefully, we can see that there are exactly 6 sevens in this table. So the probability of getting a seven if you throw two dice is 6 out of 36, or:

Pr(getting a 7) = 6 / 36 = 1 / 6.

(1 / 6 is a simple fraction equal in value to 6 / 36.)

Maybe that doesn't surprise you, but let's look at all the probabilities:

Pr(getting a 2) = 1 / 36 Pr(getting a 3) = 2 / 36

Pr(getting a 4) = 3 / 36

Pr(getting a 5) = 4 / 36

Pr(getting a 6) = 5 / 36

Pr(getting a 7) = 6 / 36

Pr(getting a 8) = 5 / 36

Pr(getting a 9) = 4 / 36

Pr(getting a 10)= 3 / 36

Pr(getting a 11)= 2 / 36

Pr(getting a 12)= 1 / 36

What do you think we would get if we added all of those probabilities together? They should equal 36 / 36, right? Check that they do.

Did you know that the probability of a getting a 5 is four times that of getting a two? Did you know that probability of getting a five, six, seven or eight is higher than the probability of other 7 numbers all together? We can tell things like that by adding the probabilities together, if the events we're talking about are completely independent, as they are in this case. So we can even write:

Pr(getting a 5, 6, 7 or 8) = Pr(getting a 5) + Pr(getting a 6) + Pr(getting a 7) + Pr(getting an 8)

But we can substitute these fractions and add them up easily to get:

Pr(getting a 5, 6, 7, or 8) = (4+5+6+5)/36 = 20/36.

Since we know the probability of all possible events must equal one, we can actually use that to compute the probability:

Pr(getting a 2,3,4,9,10,11 or 12) = 1 - (20/36) = (36/36 - 20/36) = 16/36.

This way we didn't have to add up all those individual probabilities, we just subtracted our fraction from 1.

Mathematically we could say: Pr(some events) = 1 - Pr(all the other possible events)

You might want to take the time now to get two dice and roll them 3*36 = 108 times, recording the sum of them each time. The number you get for each sum won't be exactly 3 times the probabilities that we have computed, but it should be pretty close! You should get around 18 sevens. This is fun to do with friends; you can have each person make 36 rolls and then add together all your results for each sum that is possible.

The fact that if you make a lot of rolls it is likely to get results close the probability of an outcome times the number of rolls is called the Law of Large Numbers. It's what ties the math of probability to reality, and what lets you do math to make a good decision about what roll you might get in a game, or anything else for which you can compute or estimate a probability.

Here's a homework exercise for each of you: compute the probabilities of every possible sum of throwing two dice, but two different dice: one that comes up 1,2,3 or 4 only, and the other that comes up 1,2,3,4,5,6,7 or 8. Note that we these dice (which you can get at a gaming store, if you want) the lowest and highest possible roll is the same but the number of possible rolls is only 4 * 8 = 32.

***| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8  =====================================   1  | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9   2  | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10   3  | 4 | 5 | 6 | 7 | 8 | 9 | 10| 11   4  | 5 | 6 | 7 | 8 | 9 | 10| 11| 12

Pr(getting a 2) = 1 / 32 Pr(getting a 3) = 2 / 32

Pr(getting a 4) = 3 / 32

Pr(getting a 5) = 4 / 32

Pr(getting a 6) = 4 / 32

Pr(getting a 7) = 4 / 32

Pr(getting a 8) = 4 / 32

Pr(getting a 9) = 4 / 32

Pr(getting a 10)= 3 / 32

Pr(getting a 11)= 2 / 32

Pr(getting a 12)= 1 / 32

(You should check our work by making sure that all these probabilities sum to 32/32 = 1).

So this is interesting: Although the possible scores of the throwing two dice are the same, the probabilities are a little different. Since 1/32 is a little more than 1/36, you are actually more likely to get a two or a twelve this way. And since 4 /32 = 1/8 is less than 6 / 36 = 1/6, you are less likely to get a seven with these dice. You might have been able to guess that, but by doing the math you know for sure, and you even know by how much, if you know how to subtract fractions well.

So let's review what we've learned:

 * We know what the word probability means.
 * We know probabilities are always numbers between 0 and 1.
 * We know a basic approach to computing some common kinds of probabilities.
 * We know that the probabilities of all possible outcomes should add up to exactly 1.
 * We know the probability of a result is equal to one minus the probability of all other results.

title: Primary Mathematics/Probability


text:
Robert Edison Sandiford

Robert Edison Sandiford (born 1968) is a Canadian novelist, short story writer and essayist. Born in Montreal, Quebec, he co-founded with the poet Linda M. Deane ArtsEtc, a periodical devoted to culture in Barbados. In 2003, his short story "Reckoning" was awarded the Barbados Governor General's Award for Literary Excellence.

Fiction

 * 12 X 93 — 1993 (with Sonja Skarstedt & Brian Busby)
 * Winter, Spring, Summer, Fall: Stories — 1995
 * The Tree of Youth and Other Stories — 2005
 * Intimacy 101: Rooms & Suites — 2013
 * And Sometimes They Fly: A Novel — 2013
 * Fairfield: The Last Sad Stories of G. Brandon Sisnett — 2015

Graphic novels

 * Attractive Forces — 1997 (with Justin Norman)
 * Stray Moonbeams — 2002 (with Justin Norman & Brandon Graham)
 * Great Moves — 2010 (with Geof Isherwood)

Non-fiction

 * Sand for Snow: A Caribbean-Canadian Chronicle — 2003

title: Robert Edison Sandiford


text:
User:Bajrang Choudhary Barmer

Bajrang Choudhary is a Civil Services Examination (India) aspirant from Barmer,Rajasthan. He supports Sachin Pilot &Harish Chaudhary.

Believes in ideology of Indian National Congress.

title: User:Bajrang Choudhary Barmer


text:
Talk:Arkady Rosengolts

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 07:16, 15 April 2019 (UTC)
 * Arkadi Rozengoltz.svg

title: Talk:Arkady Rosengolts


text:
Viktor Andersson (floorball)

Viktor Andersson, born 28 September 1982, is a Swedish floorball player. Being a defender, he has represented several club teams, and played in the SSL. His first club is Hagaboda SK.

Clubs
Throughout the years, he has represented the following clubs:

 * 1995/1996 - Fagerhult Habo IBK Ungdom, Sweden
 * 1995/96 - 1998/99 - Fagerhult Habo IBK, Sweden
 * 1999/00-2001/02 - Mullsjö AIS, Sweden
 * 2001/2002-2003/04 - Jönköpings IK, Sweden
 * 2003/2004-2004/2005 - Fagerhult Habo IBK, Sweden
 * 2005/2006-2006/07 - Jönköpings IK, Sweden
 * 2007/08 - Basel Magic, Switzerland
 * 2008/09 - 2009/2010 - Mullsjö AIS, Sweden
 * 2010/11 - Fagerhult Habo IBK, Sweden
 * 2011/2012-2013/2014 - IBK Landskrona, Sweden

title: Viktor Andersson (floorball)


text:
Arabic/Some history

The Arabic alphabet consists of 17 shapes. The Arabic alphabet represents 28 constanants. In order for Arabic writing to represent 28 consonants with 17 shapes without ambiguity, dots are used. Later foreign languages took Arabic shapes, and added dots to make letters needed to represent their language correctly.

Early Arabic writing included no dots. The dots found today in Arabic writing were one of the first innovations that came after the spread of Arabic (after Islam). These dots make it clear what consonant is to be pronounced. Before the dots, people read the text without any dots. They could do this through experience, and using context to differentiate between words that sound different and look the same. Arabic Writing has been using dots since the dotting system was first invented.

A need for a rigid orthography (writing system) with no ambiguity arose in the early days of Islam. This was due to the influx of non-native speakers trying to read the language. With new converts unused to reading Arabic, they made mistakes while reading texts. Thus they would learn to pronounce a word incorrectly.

 * Example: kitaab AND kutaab are not differentiated without the vowel marks. (which are not usually used)
 * Example: bint AND bayt are not differentiated in writing without using the dots (which are always used today)

To ensure the language remains intact, as well as keeping the pronunciation of religious text correct, rulers introduced the Dotting whereby dots and indicators were added to individual letters to help with pronunciation and to differentiate them from those based on the same form. First the dots were added, later on signs to indicate vowels were introduced in the same manner and for the same reasons.

Modern Arabic books and print media usually do not indicate the vowelling in the text. However, they do indicate the consonants (they are all fully dotted (not dotting a text correctly is considered a spelling mistake)). Educated and fluent speakers do not need the indication of the short vowels and are used to reading text without it. The short vowels are indicated to some extent in Children's books, when children learn to read.

As you begin to feel more comfortable with the script and text, your need for pronunciation indicators diminishes. All modern Arabic texts include the dotting of the forms which indicates what consonant is pronounced, but do not fully indicate the vowels.

The Qur'an provides an ideal text to practise your pronunciation of various letters and words. The feeling of intimidation when you first see an excerpt of the text is understandable. Should you experience this, there are a plethora of books that explain the concepts in easy step by step lessons.

title: Arabic/Some history