text:
Talk:Chitturi Satyanarayana

External links modified
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title: Talk:Chitturi Satyanarayana


text:
Cookbook:Pickle

The term "pickle" with no other qualifiers generally refers specifically to pickled cucumbers. These are known as gherkins (or, less formally, "wallies") in the United Kingdom. (In the US, gherkins are small pickles.) They may be produced by fermentation or by simply treating cucumbers with vinegar. Pickles are often flavored with turmeric and dill. They are generally used to add piquancy to a main meal, and on or with hamburgers and other types of sandwiches.

One popular type of pickle that comes from Jewish cuisine is the kosher pickle. The issue with kosher dietary rules comes from the usage of polysorbates that come from animals. (See Jewish Cooking for details.) Additionally, a kosher pickle has a zesty, garlic brine, made with kosher salt. Outside of the USA, the term "pickle" sometimes refers to any sort of pickled food. These can range from pickled onions to complex pickles produced for the Indian market. Even meats and fish can be pickled.

If a recipe calls for "pickles", it's the US usage; if it is any other kind of pickle, it should be more specific (i.e., pickled radish, pickled pepper, etc.)

source: wikimedia

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

title: Cookbook:Pickle


text:
Talk:Data Structures/Stacks and Queues

Note on Style
I think the current module is too low-level. First, templates (or typing the structures) isn't really important in telling the story. (When implementing the code, it's obvious that in, say, C you need to specialize the structure to suit only one data type (or use preprocessor hacks), while it's obvious in C++ that you can use templates, and finally it's obvious in a language like Scheme you don't even need to type anything.) The approach should follow the Introduction chapter, which ignores these issues: Data_Structures/Introduction.

Instead of code that messes with pointers, it should be using the Node ADT functions. Instead of trying to make the Data-Structures OO, it should be more functional/procedural: when done properly, it will be obvious how the code can be made OO. That is, we should follow an OO style, but not actually use a pseudocode language that is itself OO. We are using abstraction heavily, but we aren't concerned with say polymorphism or inheritence, which has very little relevance to introductory data structures. MShonle 22:15, 23 Jan 2005 (UTC)

[[Media:[[Media:[[Media:[[Media:[[Media: – ]]]]]]]]]]==get-size== If we have a get-size function we might as well keep a counter in the main stack/queue structure that holds the integer field along with head and tail node references. Any objections if I do that? Also, are there any objections if I deCamelCase the function names to use the hyphen instead? (The Algorithms book uses this policy.) MShonle 01:20, 25 Jan 2005 (UTC)
 * I've deCamelCased the function names. I generally think that keeping track of the size belongs in the list if anywhere. Really, there are very few stack or queue algorithms that ever need to get the size of the structure, so my feeling is that it shouldn't even be in the interface. --jyasskin 17:50, 27 Jan 2005 (UTC)

Content clarity
There seems to be a mixing up of data structure and data type concepts, or at least a lack of distinction that should be addressed. --Panic (discuss • contribs) 03:46, 8 November 2011 (UTC)

title: Talk:Data Structures/Stacks and Queues


text:
User:Arihant Sethia

Arihant Sethia (Born September 11, 1990 in Calcutta, India) is a well known Student from Paris, France. He has been described as "Mr.cool" by one of his friends.

title: User:Arihant Sethia


text:
instämma

Verb

 * 1) to agree
 * 2) to concur, to second (express the same opinion)
 * 3) to start singing along
 * 1) to start singing along

Usage notes
Use instämma i if you agree with an argument, but instämma med if you agree with a person.

title: instämma


text:
User:Aidenlucasligma/sandbox

Wogre

This is a rare species as there is only one of it’s kind left. Last seen eating out of bins in bordon. Not to be confused with a spaden.

title: User:Aidenlucasligma/sandbox


text:
sembrar

Etymology
.

Verb

 * 1)  to sow

Etymology
.

Verb

 * 1)  to sow

Etymology
or. More or less a.

Verb

 * 1)  to seem, to resemble
 * 2)  to appear
 * 1)  to appear

Etymology
. Compare 🇨🇬.

Verb

 * 1) to plant
 * 2) to sow, to seed
 * 1) to sow, to seed

title: sembrar


text:
User:Andreasmeiszner

I am a PhD researcher at the British Open University (The OU), more precisely at the Institute of Educational Technology (IET). My research focuses on informal virtual learning environments such as the FLOSS (Free / Libre Open Source Software) communities, by also keeping an eye on similar communities like wikipedia.

I am also the project manager of the EU funded FLOSSComproject on behalf of the coordinator SPI (Sociedade Portuguesa de Inovação), Portugal.

The full title of the project is: FLOSSCom - Using the principles of informal learning environments of FLOSS (Free / Libre Open Source Software) communities to improve ICT supported formal education

As indicated by the title the project does not examine the benefit of FLOSS products in education (which I acknowledge do exist), but on the principles behind like the collaborative content production, the free and voluntary support, the open and transparent structures…

Thus the Wikiversity project, like also the OU’s OpenLearn initiative, are projects that are well in line with my current research interests.

My research in the education area began back in 2003 at the University of Aveiro, Portugal, with an initial focus on quality in ICT enriched higher education. In October 2006 I moved with my PhD studies to the OU.

Besides the world of academic research I also worked in various business sectors and functions during the past 11 years, having obtained three higher education degrees in management.

So finally, now that I signed up at Wikiversity I will go and dive a bit in, take a deeper look, and might surf the one or other wave.

title: User:Andreasmeiszner


text:
Wikipedia:WikiProject Spam/LinkReports/beyondboxgifts.com

Links

 * beyondboxgifts.com resolves to [//<IP_ADDRESS> <IP_ADDRESS>]
 * Link is not on the blacklist.
 * Link is not on the domainredlist.
 * Link is not on the Monitorlist.
 * None of the mentioned users is on the blacklist.
 * Link is not on the whitelist.
 * Link is not on the monitor list.
 * Link is not on the whitelist.
 * Link is not on the monitor list.

Additions

 * Displayed all 5 additions.


text:
User:Courtney.Cameron.cac024/Evaluate an Article

Evaluate an article
This is where you will complete your article evaluation. Please use the template below to evaluate your selected article.

 * Name of article: Antibiotic sensitivity testing (Antibiotic sensitivity testing)
 * Briefly describe why you have chosen this article to evaluate.
 * I have chosen this article to evaluate as I had just listened to the bacteriology and mycology lecture that spoke about bacterial susceptibility testing, and therefore thought it would be a highly relevant topic.

Lead

 * Guiding questions

 * Does the Lead include an introductory sentence that concisely and clearly describes the article's topic?
 * The introductory sentence is simply a definition for antibiotic sensitivity testing rather than briefly describing what will be discussed in the rest of the article. I would suggest adding a note about the methodologies and functions of antibiotic susceptibility testing to the introductory sentence.
 * Does the Lead include a brief description of the article's major sections?
 * The lead fails to include a brief overview of some of the latter sections (i.e. history and further research), however the rest of the major sections are included.
 * Does the Lead include information that is not present in the article?
 * No, the lead contains only information that will be later expanded upon in the rest of the article.
 * Is the Lead concise or is it overly detailed?
 * The lead is concise, however it may expand upon the methodologies used for antimicrobial susceptibility testing more than the lead should. Instead, it should potentially include a brief overview of the functions, history, and possibilities for future research.

Content

 * Guiding questions

 * Is the article's content relevant to the topic?
 * Yes, all content contained within this article is relevant. For example, the article touches on the functions, methods, reporting standards, history and potential for future research which are all very relevant topics to antimicrobial susceptibility testing.
 * Is the content up-to-date?
 * Some content within the 'further research' section is a few years out of date and could likely be updated with more recent data to reflect the current research going on today. This could include information regarding bacterial species that have very recently acquired resistance.
 * Is there content that is missing or content that does not belong?
 * No, I believe that all content in the article belongs under the antibiotic sensitivity article. Other than some more recent data regarding antimicrobial susceptibility that has likely come out in the last couple of years, it seems as though all content is present in order for the general public to gain a healthy understanding of this topic.

Tone and Balance

 * Guiding questions

 * Is the article neutral?
 * Yes, the article was written in a neutral tone and does not try to sway the audience to any one particular belief.
 * Are there any claims that appear heavily biased toward a particular position?
 * No, all provided information comes across as fact and neutral and does not seem subjective.
 * Are there viewpoints that are overrepresented, or underrepresented?
 * The methods section of this article is quite lengthy compared to the other sections, however this reflects the many different means to perform antimicrobial susceptibility testing. However, the article should potentially expand on the importance of susceptibility testing when it comes to preventing widespread antimicrobial resistance.
 * Does the article attempt to persuade the reader in favor of one position or away from another?
 * No, I do not feel like the authors are trying to persuade the audience to any one particular belief or position.

Sources and References

 * Guiding questions

 * Are all facts in the article backed up by a reliable secondary source of information?
 * Yes, the facts contained within the article are cited with secondary sources, including review articles and review journals.
 * Are the sources thorough - i.e. Do they reflect the available literature on the topic?
 * Yes, I feel the sources used reflect a decent range of available literature. This ranges from review articles, to review journals, and even to sources like the Mayo Clinic.
 * Are the sources current?
 * Most sources are current within the last 5 years, however some sources are coming up on 10 years old and therefore could use an update if the related topic has seen new information available. Additionally, the section 'further research' contains information from some sources dating back to 2018. While this may seem fairly recent, I would expect that there has been much more research on antimicrobial susceptibility testing since then, and therefore this section could potentially use some more recent information and sources.
 * Check a few links. Do they work?
 * Yes.

Organization

 * Guiding questions

 * Is the article well-written - i.e. Is it concise, clear, and easy to read?
 * The article is fairly concise. I believe the article flows well and that the topics are in an order that logistically makes sense. For example, the article first describes the uses of antimicrobial susceptibility testing so that the audience understands what its purpose is, then continues on to state how exactly these tests are performed. Later, the article describes how these tests are used in clinical settings, and finally ends with a brief overview of the history, followed by areas of future research.
 * Does the article have any grammatical or spelling errors?
 * I could not explicitly see any grammatical or spelling errors contained within the article.
 * Is the article well-organized - i.e. broken down into sections that reflect the major points of the topic?
 * The article's subtopics are well-defined and are organized in a manner that makes sense for this topic (see first answer under 'organization').

Images and Media

 * Guiding questions

 * Does the article include images that enhance understanding of the topic?
 * Yes, images are included in times where they aid the viewer's understanding. For instance, there are photographs that show the different methods of antimicrobial susceptibility testing to give visual support to the written portion.
 * Are images well-captioned?
 * Yes, the images all have captions that briefly describe the content of the photos.
 * Do all images adhere to Wikipedia's copyright regulations?
 * Yes.
 * Are the images laid out in a visually appealing way?
 * Yes, the images are only located in their respective sections and do not obstruct any written material.

Checking the talk page

 * Guiding questions

 * What kinds of conversations, if any, are going on behind the scenes about how to represent this topic?
 * Some of the conversations include individuals debating on whether or not to include a certain topic in this article, but ultimately deciding it would be most suitable for a separate article all together. Also, individuals discussed the potential of changing the article's name.
 * How is the article rated? Is it a part of any WikiProjects?
 * This article is rated as a 'good article nominee'. The article is also a part of 3 WikiProjects - WikiProject Pharmacology, WikiProject Microbiology and WikiProject Medicine.
 * How does the way Wikipedia discusses this topic differ from the way we've talked about it in class?
 * Wikipedia does not expand on the vast importance of susceptibly testing to the same extent as we have in class, it simply touches on the basic methodologies and purposes that it serves.

Overall impressions

 * Guiding questions

 * What is the article's overall status?
 * The article is of 'good article nominee' quality. While the subheadings are laid out in a well-organized manner, there could be the potential to add in more up-to-date information in the 'further research' section.
 * What are the article's strengths?
 * The article is very concise when necessary (i.e. history), yet expands on topics that require more in-depth information, such as explaining how exactly these antimicrobial susceptibility tests are performed and all the different methods that could be used. Additionally, the article provides images to visually demonstrate how some of these tests are performed, which gives the audience a better chance at following along with the written content.
 * How can the article be improved?
 * The article could use some more updated/recent sources (regarding to current antimicrobial resistance and future research). Additionally, the introductory sentence should be expanded past a simple definition, but should also include a brief mention of the different topics that will later be brought up in the article.
 * How would you assess the article's completeness - i.e. Is the article well-developed? Is it underdeveloped or poorly developed?
 * The article is mostly complete, however could possibly use an additional section on antibiotic sensitivity testing relating to public safety.

Optional activity

 * Choose at least 1 question relevant to the article you're evaluating and leave your evaluation on the article's Talk page. Be sure to sign your feedback

with four tildes — ~

 * Link to feedback:


text:
Cookbook:Turkey Wrap

| Meat Recipes

The turkey wrap works well as a meal for an ordinary day. Chicken may be used in place of turkey, but is not as nice and often costs more per pound.

Ingredients

 * 8 large (burrito-size, about 12-inch) flour tortillas.
 * 1 can (6 ounces) tomato paste
 * 6 ounces (net drained weight) black olives
 * Several cups of cooked turkey

Procedure

 * 1) Cut the olives in half.
 * 2) Cut the turkey into ¾-inch chunks.
 * 3) Mix the olives and tomato paste.
 * 4) Mix in turkey, adding as much as will be covered by the paste.
 * 5) Optionally, warm the mixture.
 * 6) Place some of the mixture on a tortilla.
 * 7) Wrap the tortilla around the mixture.
 * 8) Place the finished wrap on an ungreased cookie sheet, with the exposed edge (flap) downward to prevent the wrap from coming undone before it is cooked.
 * 9) Keep making wraps as needed.
 * 10) Place the cookie sheet in an oven set to 350°F.
 * 11) Remove the wraps when they start to brown, which should be about 15 minutes.
 * 12) Let the wraps cool a bit on the outside while heat sinks into the inside.

title: Cookbook:Turkey Wrap


text:
Berezovka, Rubtsovsky District, Altai Krai

Berezovka (Берёзовка) is a rural locality (a settlement) in Bezrukavsky Selsoviet, Rubtsovsky District, Altai Krai, Russia. The population was 452 as of 2013. There are 3 streets.

Geography
Berezovka is located 17 km northeast of Rubtsovsk (the district's administrative centre) by road. Bezrukavka is the nearest rural locality.


text:
snippa

Etymology
Partly derived from, the male equivalent. Gained mainstream popularity in Sweden since the early 21st century. Supported due to a need for neutral terminology.

Noun

 * 1)  the female genitalia

Synonyms

 * ("mouse")
 * ("mouse")
 * ("mouse")
 * ("mouse")

title: snippa


text:
Wanda Dalla Costa

Wanda Dalla Costa is a practicing architect and professor who has been co-designing with North American indigenous communities for nearly two decades. Her teaching and research focuses include indigenous place-keeping, culturally responsive design, sustainable housing, and climate resiliency in architecture. Dalla Costa currently teaches at Arizona State University as Institute Professor and associate professor in The Design School and the School of Sustainable Engineering and the Built Environment. She is a member of Saddle Lake Cree Nation and the first First Nations woman architect in Canada. She is founding principal and owner of the firm, Redquill Architecture Inc., which is based in Phoenix, Arizona. She was one of eighteen indigenous architects representing Canada in the Venice Architecture Biennale 2018.

Early life and education
Wanda Dalla Costa's mother is one of six children and is from Saddle Lake First Nation, Alberta. All but one of the children went to residential school. Her grandfather is from Goodfish Lake, Alberta and her grandmother is from Saddle Lake, Alberta.

In 1990, she began a formative backpacking journey through Australia and New Zealand. Although the trip was intended to be a gap year abroad, her travels continued for seven years and included thirty-seven countries. Dallas Costa earned her master's degree in Design Research in the department of City Design, Planning and Policy from Southern California Institute of Architecture (SCI-Arc) and another master's degree in architecture from the University of Calgary. She has a Bachelor's of Arts in Sociology and Native Studies from University of Alberta.

Career
Dalla Costa founded Redquill Architecture Inc., in 2010 in order to exclusively work with tribal communities and investigate ways of re-instilling the built environment with meaning from studies of traditional worldviews. Projects include the Niitsitapi Learning Centre in Calgary, several buildings at Red Crow Community College in Cardston, Fort McMurray First Nation Community Recreation Centre, and the Tsuu T’ina Nation Office Building in Edmonton. She is a registered architect in Arizona and California. She also teaches at Arizona State University (ASU) as both an Institute Professor and associate professor. Dalla Costa's teaching includes interdisciplinary service learning studios. She is also the founding director of the Indigenous Design Collaborative at ASU which carries out design and design-build projects with local tribes in Arizona. The collaborative makes connections between tribal community members, multidisciplinary ASU students and faculty, and industry.

She is on the board of the Construction in Indian Country Advisory Council, chair of the Subcommittee on Indigenous Architecture Education, Indigenous Task Force, member of the Royal Architecture Institute of Canada (RAIC) Indigenous Task Force, and member of the American Indian Council of Architects and Engineers (AICAE).

Awards

 * 2019, Yerba Buena Center for the Arts, YBCA 100
 * 2018, Venice Biennale, Team Canada Finalist
 * 2017, Buckminster Fuller Catalyst Program Finalist
 * 2017, MacArthur 100 & Change (top 17%; invited to the Buckmister Fuller Catalyst Program)

Publications

 * Dalla Costa, W. (2018 in press). “Teaching Indigeneity in Architecture: Indigenous Placekeeping Framework.” In Kiddle, R., Stewart. L.P & O’Brien, K. (eds). Our Voices: Indigeneity and Architecture,  ORO Editions, New York, NY, USA: 146–153.
 * Dalla Costa, W. (2018 in press). “Metrics and margins: Envisioning frameworks in Indigenous architecture in Canada.” In Grant, E., Greenop, K. & Refiti, A. (eds). Handbook of Contemporary Indigenous Architecture. 2017, Springer International, The University of Adelaide, Sydney, Australia: 193–221.
 * Dalla Costa, W. (2011) "An emerging narrative: Aboriginal contributions to Canadian architecture". pp. 356–379 In: Voyageur, C. J., D. R. Newhouse and D. Beavon eds., Hidden in Plain Sight: Contributions of Aboriginal Peoples to Canadian Identity and Culture. University of Toronto Press. Toronto, Canada. ISBN<PHONE_NUMBER>125.
 * Dalla Costa, W. (2016) “Contextualized Metrics and Narrating Binaries: Defining Place and Process in Indigenous North America,” A Conference paper presented at Association of Collegiate Schools of Architecture (ACSA), 2016 International Conference. Santiago, Chile.
 * Dalla Costa W. (2017) “Housing Equity and Heat Vulnerability: A Case Study for Indigenous Design and Construction.” In: M. Young (ed.), AMPS Proceedings Series 9. Living and Sustainability: An Environmental Critique of Design and Building Practices, Locally and Globally. London South Bank University, London, 08 – 9 February 2017. pp: 543–554.
 * Costa, Wanda Dalla, et al. “Unique Features of Conducting Construction Activities Within Tribal Communities.” Construction Research Congress 2018, pp. 233–42.
 * Dalla Costa, Wanda. “Indigenous Futurity and Architecture: Rewriting the Urban Narrative.” Architecture Australia, vol. 109, no. 2, 2020, pp. 56–58.

title: Wanda Dalla Costa


text:
Sue Ernest Hewling

Sue Ernest Hewling (1882 – May 17, 1962) was an American musician, band leader and educator. Her particular talent for whistling and bird sounds was featured in early novelty recordings and live performances, especially of the Ladies' Rainbow Saxophone Band, which she led.

Early life
Sue Ernest was from Mechanicsburg, Ohio. She studied to play the cornet and saxophone as a teenager, but was already known as a proficient whistler in childhood. She attended the Conn Conservatory in Elkhart, Indiana.

Career
She toured with various women's orchestras in her career. During World War I she organized the Ladies' Rainbow Saxophone Band (later the Ladies Rainbow Sextet), to entertain troops in camps. The players wore rainbow-themed stage costumes and the lighting carried the theme as well. They toured American cities, college campuses and other gatherings through the 1920s, bringing "a happy, lively mixture of good music", by one newspaper account. The Ladies' Rainbow Saxophone Band entertained President Warren G. Harding during his time in the White House.

In 1921, Hewling was a saleswoman with the Rodeheaver Company, selling recordings of religious music in Chicago. In 1932, she performed at a benefit for unemployed workers in Miami. In 1943 she was a drummer (and, on occasion, whistler) with the Miami All-Women Orchestra.

She and her musical partner Imogene Waldron (a member of the Ladies' Rainbow Saxophone Band ) co-wrote and co-directed a children's pageant called "A Trip around the World" performed in Indiana in 1927, and co-directed a variety show in Miami in 1931, with Caesar LaMonaca as the headliner. The pair co-directed a youth harmonica band in Miami in 1934. Hewling and Waldron sometimes performed duets on musical saws, as a novelty act. In 1948, the two women were running a kindergarten together.

Personal life
Sue Ernest married and had a son. From about 1929 she lived with fellow musician Imogene (Imo) Waldron in Miami, Florida. Sue Hewling died there in 1962, aged 80 years.

title: Sue Ernest Hewling


text:
User:Artix Kreiger/Chusquea subtilis

Chusquea  is a species of Chusquea bamboo in the grass family.

title: User:Artix Kreiger/Chusquea subtilis


text:
平気

Adjective

 * 1) insensitive
 * 2) calm; composed; unconcerned

Noun

 * 1) calmness; insensitivity; lack of concern

title: 平気


text:
EE 411 Digital Signal Processing

Syllabus
DSP Theory:
 * Introduction to signals and systems
 * Discrete and continuous signals
 * sampling: a mathematical basis

 * Fourier Series and Fourier Transforms
 * Laplace Transforms
 * Z-Transforms
 * DFT and IDFT
 * FFT and IFFT
 * FIR and IIR filters
 * digital models of analogue filters
 * Applications of DSP

Lecture plan
Introduction to Signals and Systems Signals are defined as anything that convey information. The signals that we encounter in nature are analog signals. As an example temperature, pressure, seismic signals... Signals can be classified into analog signals and digital signals. Digital signals are obtained from analog signals by means of sampling, quantizing and encoding. The sampled signals are discrete in time but continuous in amplitude. To obtain digital signals which are discrete in time and discrete in amplitude, the sampled signals has to be quantized and encoded. Classification of signals 1. Continuous time and Discrete time signals 2. Even and Odd signals 3. Energy and Power signals 4.

Systems Signals are processed in a system. Systems are classified as 1. Linear or Non-linear systems. 2. Time variant and Time Invariant systems. 3. Causal and non-causal systems. 4. Stable and Unstable systems.

Reference books

 * DIGITAL SIGNAL PROCESSING BY John G.Proakis
 * SIGNALS AND SYSTEMS BY Alan Oppenheim

To do
Discrete and continous signals sampling: a mathmatical basis FIR and IIR filters DCT and FFT the Z plane converting between S and Z digital models of analogue filters

also DSP chips. Perhaps DSP chips should be a separate module. It would be useful to have some information on DSP chips and multicore as thats the way things are going these days?

title: EE 411 Digital Signal Processing


text:
Ada Programming/Delimiters/arrow

Contexts

 * In named notation in subprogram calls.

Ada.Float_Text_IO.Put (Speed, Fore => 3, Aft => 1);

Ada.Numerics.Elementary_Functions.Arctan (X => 0.0, Y => -1.0)

 * In generic instantiations.

Exchange  Swap (Element_T => Character);

 * In array and record named aggregates.

Point'(X => 10.0, Y => -1.0)

 * In exception handlers.

...   Constraint_Error => ... ;

 * In case statements.

Valid False => ...   True  => ... ;

Wikibook

 * Ada Programming
 * Ada Programming/Delimiters

Ada Reference Manual

|=> Delimiters:=>

title: Ada Programming/Delimiters/arrow


text:
királyné

Noun

 * 1) queen consort the wife of a reigning king
 * 2) queen the title of the queen consort

title: királyné


text:
laskutaulu

Noun

 * 1) A table which shows the numeric results of a calculation as function of one or more variables.
 * 2) A table, used in elementary schools to teach the principles of calculus.
 * 3) An abacus calculating frame.

title: laskutaulu


text:
His Majesty's Theatre, Perth

His Majesty's Theatre is an Edwardian Baroque theatre in Perth, Western Australia. Constructed from 1902 to 1904 during a period of great growth for the town, the theatre is located on the corner of Hay Street and King Street in Perth's central business district.

At the time the theatre was opened, it was the largest theatre in Australia, and had seating for over 2,500 people. It is also thought to be the first reinforced concrete building constructed in Perth.

Over its life, the theatre has hosted large-scale musicals, ballet, opera, Shakespearean plays and many other events. It has been renovated numerous times, most notably in the late 1970s when the State Government purchased it and performed an ornamental restoration whilst modernising the facilities provided. Since that time, it has been the home of the West Australian Ballet and West Australian Opera companies, both of which perform regularly.

The importance of His Majesty's Theatre to the cultural fabric of Western Australia has been recognised by its inclusion on the State Register of Heritage Places and the Register of the National Estate. It has also been named a "State Heritage Icon", and is believed to be the only remaining working Edwardian theatre in Australia.

Construction
At the turn of the 20th century, Perth was experiencing a period of high growth as a result of the Western Australian gold rush. The prosperity which resulted from this boom led to the construction of increasingly opulent baroque buildings. Local politician Thomas Molloy had commissioned the Metropole Hotel in 1896 and adjoining 1200-seat Theatre Royal in 1897, which included the first fully equipped theatre in the growing town. Soon after the completion of that complex, Molloy asked the same architect, William G. Wolf, to design an integrated theatre and hotel complex to be named His Majesty's Theatre and Hotel in honour of the recently crowned King Edward VII. The site selected for this new theatre was the corner of King Street and Hay Street, which in 1896 had been home to "Ye Olde Englishe Faire". In June 1902, Molloy applied to the Perth Licensing Court for planning permission to construct the theatre, and when he finally received permission, he promised completion within a year.

A call for tenders to construct the complex was put out, and the winning tender was by Friederich Wilhelm Gustav Liebe, an immigrant from Saxony who had previously constructed the Bulgarian Houses of Parliament in Sofia and worked on the Budapest Opera House. The tender price was £46,000, of which £43,000 was the cost of the building alone. The construction contract between Molloy and Liebe was signed in November 1902, and Heinrich Schmidt was appointed as foreman for Liebe. Deep excavation of the site for the building's foundations and basement started almost immediately.

During construction, questions were publicly raised about the stability of the building's foundations in light of the water table on the site and the presence of a subterranean stream. Liebe conferred with the architect and engineers before developing a revised design which featured drains to divert running water. Liebe presented the modified plans to Molloy and proceeded with them, assuming that he had the consent of Molloy. Construction progressed, and the building was completed on schedule. When the time finally came for Molloy to pay Liebe for the construction, a dispute arose as to who should be liable for the extra £17,000 incurred in remedying the structural defect. Molloy was reputed to be one of the most litigious businessmen in Perth, and refused to pay higher than the original agreed price, on the basis that the contract required his written approval for extra work to be carried out. Liebe pursued him through the courts all the way to the High Court and Privy Council. The Privy Council eventually ruled in favour of Liebe, however the legal costs he had incurred were exorbitant.

After resolving some last-minute objections by the Central Board of Health to the building's fire safety, the theatre was officially opened at 8pm on Christmas Eve in 1904 by Sylvia Forrest in the presence of her uncle, former Premier John Forrest. Opening night saw "Pollard's Adult Opera Company" performing The Forty Thieves, however the choice of opening date was an unfortunate one and the opening night was not a sell-out.

Architecture
At the time of its opening, His Majesty's Theatre was the largest theatre in Australia, and also featured the country's largest stage and highest fly tower. The complex was constructed with reinforced concrete, and was the first reinforced concrete building in Perth and, possibly, in Australia. The structure is 4-storeys tall, and its features were influenced by 19th-century English and European theatres. It has been described as "a fine example" of Federation Free Classical or Edwardian Baroque architecture. The building as designed by Wolfe was grander than Molloy's Theatre Royal complex, and featured a 65-room hotel separated from the theatre by internal iron doors. The hotel had billiard rooms, parlours and six bars to serve the patrons of the theatre. The building used 272 t of iron and steel, 3.75 million locally made bricks, imported marble, Minton tiles and Castlemaine slate. An electric lift led to the roof, where an observation platform had panoramic views over the town.

The auditorium contained a proscenium arch, with a raked stage 20 by in size. The auditorium measured 23 by, and its original capacity was 2584 people in three tiers. The interior of the theatre was a typical Edwardian horseshoe-shape to bring the audience closer to the performers. It featured stalls (seating 974), a dress circle (seating 540), an upper gallery (seating 1,074) and private boxes.

The theatre incorporated several cooling features. Four small waterfalls were located on either side of the proscenium arch, intended to cool the audience in tandem with electric fans and a retractable dome in the ceiling. The dome was split down the middle, with each half sliding to either side to open. The dome was decorated in imitation of an umbrella, with panels of gold and silver with scrollwork embellishment. The artificial waterfalls were removed early in the life of the theatre.

The exterior of the theatre was originally lined with two-level verandah balconies, which provided relief to the imposing walls. These were removed in 1947-48, because authorities considered that the proximity of the supporting pillars to the road constituted a traffic hazard. As a result, there is a disparity between the ornamentation at the top of the building's facade and the lower three storeys, which were previously obscured by the balconies.

Subsequent history and renovation
Over its first 70 years of life, His Majesty's played host to the traditional Shakespearean plays, opera, political rallies, boxing matches and movie screenings. It was particularly noted for its excellent acoustics. During World War II, the theatre functioned chiefly as a cinema due to travel restrictions on touring companies.

Original proprietor Thomas Molloy leased the theatre to others, including Ben and John Fuller, and local producer Anita Fitzgerald. Another lessee of the theatre, J. C. Williamson Ltd, is said to have made His Majesty's Theatre the Perth home of musical theatre. The theatre was renovated in 1912 at a cost of £9,000, and again in 1948 at a cost of £11,000. The latter renovation included new backstage electrical fittings and may also have been the time the verandah balconies were removed from the street frontage of the theatre. In 1952, the theatre was leased by the Edgley family and used for "Russian spectaculars". The theatre was redecorated for Edgley and Dawe in 1960, this time at a cost of £7,000. Edgley went on to purchase His Majesty's in 1969. After the Perth Entertainment Centre was completed in 1974, the Edgley productions shifted there, and the newly completed Perth Concert Hall was also favoured as a performance venue due to outdated equipment and general disrepair at His Majesty's. The theatre was sold in 1976 to Sir Norman Rydge.

Following several years with an uncertain future and a public campaign to save it, in 1977 the theatre was bought by the Government of Western Australia. Adhering to an April 1974 election promise to retain and restore the theatre in conjunction with a new Art Gallery and Cultural Centre, in 1977 the Charles Court Coalition Government undertook a A$10.5 million refurbishment. The final performance in the theatre before closing for renovation was the Gilbert and Sullivan Society's 25th anniversary production of Iolanthe. The refurbishment took three years and was overseen by architects Hill and Parkinson.

The refurbishment saw significant structural changes made to the hotel/theatre complex. Initially, it was suggested that the theatre be largely remodelled to a two-tier concert hall design. However, architect Peter S. Parkinson resisted this push to fundamentally alter the design of the theatre and a sympathetic restoration was instead favoured. Within the auditorium, it was found that the reinforced concrete floor of the stalls was substandard and was completely replaced. Additionally, on one of the upper levels a wall was discovered which was not supported by a beam in accordance with the building plans. The much-maligned supporting pillars were shifted back to improve sight-lines for the audience. The raked stage was replaced with a new flat one, and the proscenium arch widened by 2 m and decorated with plaster mouldings of the original arch. The pressed-metal ceiling was also replaced with a plaster-moulded copy. The sliding dome in the roof was permanently sealed, and redecorated to match its original design from 1904. The orchestra pit was also expanded and new lighting and counterweights installed.

The hotel portion of the complex was separated from the theatre, and renovated to provide a home for the resident West Australian Opera and West Australian Ballet, as well as backstage facilities for touring companies. A separate building was constructed to the rear of the theatre to house new dressing and rehearsal rooms, as well as a new air conditioning system.

The theatre's grand marble staircase was relocated to provide a larger foyer. It had its marble treads replaced but retains the original balustrade. The former Sportsman's Bar of the hotel was converted to function as the theatre's new box office, and the side entrance from King Street was made an emergency exit. Soundproofing was also installed within the building's walls to reduce traffic noise.

During the renovation there was debate about the best way to manage the theatre in the future. The favoured option was to establish a trust to operate it, which could focus on best serving the arts rather than worrying about commercial viability of productions. However, on 8 February 1979, Premier Court announced that His Majesty's would be run by TVW Enterprises Ltd, the owner of the rival Perth Entertainment Centre. This led to public outcry over potential conflicts of interest, and in June 1979 TVW declined to manage the theatre. The Perth Theatre Trust was instead created, and it took over the running of the theatre. His Majesty's Theatre finally reopened on 28 May 1980, with a reduced seating capacity of 1250.

His Majesty's Theatre has long been recognised as an important piece of Western Australia's history: in 1978 it was entered onto the Register of the National Estate. On 8 April 1994, it was included as an interim entry on the Western Australian Register of Heritage Places, before receiving a permanent entry on 16 December 1994. The theatre was named a State Heritage Icon in December 2004, and since February 2001 has housed a Museum of Performing Arts.

In 2004 the theatre celebrated its centenary and events included the publications of David Hough's volume of history. In 2006 the theatre became 'twinned' with the only other remaining theatre of the same name in the world, His Majesty's Theatre in Aberdeen, Scotland. Perth's His Majesty's Theatre is believed to be the only remaining working Edwardian theatre in Australia, and is presently managed on behalf of the Perth Theatre Trust by AEG Ogden, which also manages the Perth Concert Hall.

In 2008, Savcor (a company which specialises in restoration techniques for concrete and steel) was contracted to do a detailed survey of His Majesty's Theatre. This survey revealed a number of defects on the facades that potentially rendered it unsafe. In 2010, a project involving the restoration of damaged cornices and corbels was carried out. Damaged decorations were replaced by using modern repair mortars which produced perfect reproductions. Mick Summers was in charge of crafting the ornate flowers around the façade. This was achieved with the help of latex moulds which were taken from the original form. Due to structural deterioration, many of the balconies had to be rebuilt completely. The balconies' many features, including clamshell base, curved profile and plaster features, required many different processes to recreate the original. Both latex moulding and traditional construction techniques were used to make sure the balconies remained durable.

In December 2021, renovation work began to reinstate external balcony structures and return the 118-year-old building to its original façade. The Perth Theatre Trust said restoration of the balconies to their original splendour and upgrades of foyers would ensure the theatre remained a viable entertainment venue for future generations: "The extensive renovation will improve patron experience by enhancing the theatre’s main entrance and street precinct character; and extending internal foyer spaces to make them more accessible and functional". The canopy was removed and replaced with two levels of balconies designed to reflect Wolfe's intent. The balconies were constructed in sections and craned into place. They are more complex than the originals and can accommodate a variety of uses. The works were completed at the end of 2022.

Notable performances
In addition to being home to the West Australian Opera and the West Australian Ballet, His Majesty's Theatre has hosted famous performers over the years, including:

 * Edouard Borovansky – Czech-Australian ballet dancer, brought his "Borovansky Ballet Company" to Perth five times between 1945 and 1960;
 * Claudette Colbert – French-born American actress;
 * Peter Cook – English comedian, toured with Dudley Moore;
 * Dame Margot Fonteyn – English ballerina;
 * Amelita Galli-Curci – Italian coloratura soprano;
 * Judy Garland – American actress and singer, visited in 1964;
 * Sir John Gielgud – English actor and singer;
 * Percy Grainger – Australian-born pianist and composer;
 * Sir Rex Harrison – English actor;
 * Sir Robert Helpmann – Australian actor and dancer, starred with Katharine Hepburn in three Shakespeare plays in 1955;
 * Katharine Hepburn – American actress, starred with Sir Robert Helpmann in three Shakespeare plays in 1955;
 * Barry Humphries – Australian comedian and character actor, best known for his character Dame Edna Everage;
 * Harry Lauder – Scottish entertainer, performed in 1923;
 * Vivien Leigh – English actress, starred in Twelfth Night by the Old Vic Company in 1962;
 * Dame Nellie Melba – Australian soprano;
 * Gladys Moncrieff – Australian singer and musical theatre actress;
 * Dudley Moore – English actor and comedian, toured with Peter Cook;
 * Anna Pavlova – Russian ballerina;
 * Geoffrey Rush – Australian actor;
 * Dame Maggie Smith – English actress;
 * Dame Sybil Thorndike – English actress; and
 * Emlyn Williams – Welsh actor, starred as Charles Dickens in 1958.
 * Sir Ian McKellen English Actor, Starred in Waiting for Godot in 2010.
 * James Earl Jones – American Actor, starred in Driving Miss Daisy in 2013.
 * Angela Lansbury – British-American Actor, starred in Driving Miss Daisy in 2013.

title: His Majesty's Theatre, Perth


text:
John Potter (chemist)

John Hubert Potter (1927 – 17 July 2017) was an English chemist who falsely claimed to be a Special Operations Executive agent who worked with the French resistance during World War II.

Early life and family
John Hubert Potter was born in Camberwell, south London, in 1927. He was born with a club foot which was later corrected.

Potter married, first, Olive with whom he had six children, Anne, Roy, Hugh, Neil, Nigel, and Mark. After a divorce, he married Mildred in 1976, a hairdresser he met while travelling in Vienna in 1970.

Career
Potter had a career as a research chemist and salesman. He lived with his second wife Mildred in Belgium and France before retiring to Sussex, England.

False claims
Potter falsely claimed to be a Special Operations Executive agent who worked with the French Resistance during the Second World War under the name Henri Dufour, an 18 year old who he said had been killed in an air raid in northern France while working for the resistance. Potter claimed to have been asked by the SOE to take Dufour's place in 1942 due to his language skills and because he was the right age and both had a club foot. According to Potter, he worked with the resistance throughout the war, was periodically flown back to Britain to brief Winston Churchill, who gave him a glass of brandy, had an affair with a French woman named Yvette, entered Dachau concentration camp with the Americans, and worked as a liaison officer to defend a chemist accused of war crimes at the Nuremberg trials. He also claimed to have an OBE awarded after the war and a first class degree from the University of London. His memoirs were self-published in 2009 as Within the Shadows under the pen-name of Ernest Tarrant.

The claims were only exposed as false after his death when he received an obituary in a local paper The Worthing Herald, as well as in national papers The Express, The Mirror, and The Times, all of which accepted his story. The Times subsequently retracted its obituary in a new article after doubt was thrown on the content in reader feedback. Potter's son Neil, an Anglican priest and vicar of the church in Camborne, Cornwall, was quoted as saying "To the best of my brothers' and my sister's knowledge none of this ever happened ... He was too young to serve in the war. This was a claim he made up to impress his second wife and we cringed when we heard it. It is not the only thing he lied about."

Death
Potter died from the effects of dementia on 17 July 2017 at St. Michael's Nursing Home. The funeral was at Worthing Crematorium followed by a memorial service at St Andrew's Church, West Tarring. Despite evidence that has emerged since his death, Mildred Potter maintains that her husband's story of wartime heroism is completely true, saying "you cannot make up all those details".

title: John Potter (chemist)


text:
Cookbook:Dashi (Japanese Soup Stock)

 * Soup | Cuisine of Japan

Dashi is a broth used to make miso soup. When only kelp (konbu) is used, you get kombu-dashi. This is bland, and appears to be unpopular for use in miso soup. A chunk of kelp about 6 inches across might be reasonable for a quart of broth. When sardines or anchovies are also used, you get niboshi-dashi. This seems to be the most popular choice for making miso soup. You might add a bit of sake in this case. About 10 little fish (guppy-sized) per quart of broth should do. When both kelp (konbu) and bonito flakes (katsuo-bushi) are used, you get katsuobushi-dashi. This appears to be the second most popular choice for making miso soup. About 1 cup of bonito flakes per quart of broth should do. At first you produce primary dashi (ichiban-dashi). This is good for clear soups. If you use the solids a second time, you get secondary dashi (niban-dashi). This is good for thick soups and for cooking vegetables.

Ingredients
Any of the following (to taste):
 * Dried konbu (kelp) seaweed (konbu)
 * Clams (asari or shijimi)
 * Dried bonito flakes (katsuo-bushi)
 * Dried mackerel flakes (sababushi)
 * Dried sardines or anchovies (niboshi)
 * Dried shiittake mushroom mushrooms (hoshi-shiitake)

 * Dried young "flying fishes" (飛魚;tobiuo or あご;ago,unique name to Japanese-oceanside.)

Procedure

 * 1) If using sardines or anchovies, remove the heads and intestines. Discard these, keeping the bodies.
 * 2) Boil fish in water, as if you were making tea.
 * 3) Filter the liquid or scoop the solids out of it. The liquid is your dashi.

Notes, tips, and variations

 * Both kombu and the fish flakes may be found at most reasonably-sized Asian markets or bought cheaply online
 * Katsuobushi is sold in many forms, including small, single-serving packets and in mesh bags to aid removal. An 80 g bag of the flakes will make about 4L of stock.
 * Most cheap restaurants in Japan and abroad use a powdered mix of salt, MSG, and fish-flavour extract from Ajinomoto, the company whose founder discovered MSG and a Knorr-like presence in Japan. This powdered "instant dashi" is also readily available in the places mentioned above. The recipe provided here will provide a less-salty, deeper-flavoured but similar broth.

title: Cookbook:Dashi (Japanese Soup Stock)


text:
Talk:Mad Men/Archives/2015/01

Herman 'Duck' Phillips
Not mentioned in "characters" section???

-Autosigned by SineBot-->

 * He's a recurring character, that's why he's not listed there. Only main characters are included there, otherwise it'd become unmanageable of who to list or not to. He's included in the List of Mad Men characters article. Drovethrughosts (talk) 13:55, 3 September 2013 (UTC)

title: Talk:Mad Men/Archives/2015/01


text:
The Buggs

The Buggs was the name of two short-lived soundalike bands of the mid-1960s inspired by The Beatles craze. One group had a single on Soma Records of Minnesota, and the other group ( whose actual name was the Coachmen V) had a full album on Coronet Records.

The band with the single
In 1964, a single credited to The Buggs was released on Soma Records. This group, actually a band called Andy & the Manhattans, hailed from Omaha, Nebraska, and the single was recorded at Amos Heilicher's Kay Bank Studios in Minneapolis, Minnesota.

The single, "Buggs Vs. Beetles (I Want To Hold Your Hand)", is not a straight cover, but is instead a parody mocking the Beatles. The B-Side, "She Loves Me", is a straight cover of "She Loves You" despite the title change.

Discography

 * Soma 1413 45rpm single, with picture sleeve. A side: Buggs Vs. Beetles (I Want To Hold Your Hand); B side: She Loves Me (1964).

Compilations

 * Better Than The Beatles: 26 Tunes That Failed to Oust the Fab Four From The Charts (Knight (LP)) includes "Buggs vs. Beetles (I Want to Hold Your Hand)"

The band with the album
The album credited to the Buggs, The Beetle Beat, was released in February 1964. It consisted of covers of Beatles songs ("I Want To Hold Your Hand", "She Loves You") with some originals, many written by Lor Crane & Joan Kingsbury ("Big Ben Hop (Sassy Sue)", "Liverpool Drag (Why Won't You Leave That Man?)", "Teddy Boy Stomp ("I'll Never Never Never Leave You)", "Mersey Mercy (You Got Me Bugged)", "Swingin' Thames (That's For Sure)", "London Town Swing (Why Can't You Love the Boy Who Loves You)", "East End (Since You Broke My Heart)", and a cover version of "Just One Look" (as "Soho Mash").

Despite the cover displaying "The original Liverpool sound", and claiming to have been "Recorded in England," The Buggs hailed from New Jersey and the album was actually recorded in the New York/New Jersey area.

The Buggs were never a real band; rather, the album was recorded by a group named the Coachmen V from Bergen County, New Jersey, under the impression that it would be released under that name. The album was produced by Goldie Goldman, who hired a songwriter to write the original tracks. Some rehearsing of the material was done in Nyack, New York at Scotty's Bar, after which the album was recorded. Band personnel included Bill Omolski on bass, Gary Wright (later to have a successful solo career with hits such as "Dream Weaver") on organ and vocals, Frank Zillitto (1942 - Dec. 2017) on guitar, Steve Bogue on drums, and either Eddie Brick or Jimmy Carrol on lead vocals. Brick and Carrol both worked as lead vocalist for the Coachman V at different times, and it is not known which one sang on the Buggs album. Studio musician Trade Martin also played on album.

Band members were surprised (and unhappy) when they discovered that album had been released under a different band name, under false pretenses, and with models representing the band members. No royalties were ever paid, and The Buggs ceased to exist. In 1966, Coronet released Boots a Go-Go (Coronet, CX-212-A: 1966) repackaging the same Beetle Beat album from two years earlier, now with a go-go music storyline on the back cover and a picture of a go-go dancer on the front and back covers. According to the back cover, the Buggs' "go go sound" was "grown up rock 'n' roll" played at discotheques and on Hullaballoo. Cleverly, no song titles were featured on the album's front or back cover so that unaware buyers would not know that this was exactly the same Buggs' music from their previous and, technically, only release. As a result, the record's label did not reference the "Boots a Go-Go" title as the original unsold Beetle Beat vinyl was simply repurposed inside.

Their influence may have been limited, but Devo's Mark Mothersbaugh said that Beetle Beat was his first album purchase, thinking it was a Beatles album. Mothersbaugh said, "One track pissed me off so much it eventually inspired the nasty Devo song, 'U Got Me Bugged'." In 2009, reissue label Master Classics brought Beetle Beat to iTunes Store and other online music services, including Spotify.

Discography

 * The Beetle Beat (1964, Coronet Records (UK/US), CX-212 (LP)

 * Coral 62398 45rpm single, "You Got Me Bugged"/"Sassy Sue", The Pacers, 1964. Also featured on "The Beetle Beat" album.

Compilations

 * At The Hop (Coronet LP, CX-244: 1964) and Starring Frankie Valli (on Coronet's Premier label PS-9052: 1964) contain a few Buggs songs from Beetle Beat;
 * Discotheque (Coronet LP, CX-252: 1964) featured five songs from Beetle Beat. Also released in a stereophonic version, with label number CXS-252, as well as in Germany, with a band name of The Crossbrakers (Vogue Schallplatten, ZS 10030 PR: Year unknown).
 * Starring the Young Rascals (Coronet LP, CX-283: 1966) featured two existing Buggs' songs from Beetle Beat under new titles.
 * Boots a Go-Go (Coronet LP, CX-212-A: 1966) repackaged the same Beetle Beat album as a go-go album.
 * The English Sound (Premier LP, PS-9016: 1967) featured five Buggs songs for all of Side B, this time crediting them as The Submarine Spitfires.

title: The Buggs


text:
tollera

Etymology
Originated in the language of grammar school pupils, derived from.

Verb

 * 1) to throw (a person) up into the air (done by a group for celebration or as an initiation rite)

title: tollera


text:
Wikiversity:Threaded discussions with NavFrames with subst/20070521202742

20070521211912
 * Comment: Is this a precurser to liquidThreads ??? -- CQ 21:19, 21 May 2007 (UTC)

--CQ 21:19, 21 May 2007 (UTC)
 * reply[]

What links here


text:
Talk:Dag Arnesen

External links modified
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Cheers.— InternetArchiveBot  (Report bug) 03:05, 5 December 2016 (UTC)

title: Talk:Dag Arnesen


text:
JaQuan Lyle

JaQuan Lyle (born February 24, 1996) is an American professional basketball player. He played college basketball for the Ohio State Buckeyes and the New Mexico Lobos.

High school career
Lyle played for Benjamin Bosse High School in Evansville, Indiana for three years. As a junior, he averaged 27 points, 13.4 rebounds and 6.8 assists per game, earning Second Team All-State honors from the Associated Press. For his senior season, Lyle transferred to Huntington Prep School in Huntington, West Virginia. He played a postgraduate year at IMG Academy in Bradenton, Florida. Lyle averaged 16 points per game before suffering a season-ending torn meniscus that required surgery.

Recruiting
Lyle held college basketball scholarship offers from Indiana, Illinois and Xavier as a freshman in high school. On June 26, 2013, he committed to play college basketball for Louisville. Lyle later decommitted, and on March 19, 2014, he committed to Oregon. After not being cleared by the National Collegiate Athletic Association (NCAA) and being removed from the roster, he switched his commitment to Ohio State on January 30, 2015. Formerly a five-star recruit, Lyle was a consensus four-star recruit at the end of his high school career.

College career
Lyle entered his freshman season at Ohio State as a replacement for D'Angelo Russell, who left for the NBA. On January 10, 2016, he scored a season-high 29 points in an 85–60 loss to Indiana. On January 13, Lyle posted a triple-double of 16 points, 12 rebounds and 11 assists in a 94–68 win against Rutgers. As a freshman, Lyle averaged 11.2 points, 4.7 rebounds and 4.2 assists per game, though he struggled with shooting and decision-making. On January 1, 2017, he scored a sophomore season-high 26 points in a 75–70 loss to Illinois. Lyle left the team on April 11 and averaged 11.4 points and 4.6 assists per game as a sophomore. On May 13, he was arrested in Evansville on misdemeanor charges of public intoxication, criminal mischief to a vehicle and disorderly conduct, before being released on $150 bond.

On August 4, 2017, Lyle announced that he would transfer to New Mexico. After sitting out one season due to NCAA transfer rules, he missed his entire next season with a ruptured Achilles tendon suffered during practice. Lyle was placed in a leading role for New Mexico when he returned in his senior season. On November 13, 2019, he scored a career-high 31 points, including 20 in the second half, in a 93–78 win over Green Bay. He scored 31 points again while recording six assists in an 80–78 victory over Boise State. On January 29, 2020, Lyle was suspended for two games after renting out an Airbnb for a party that was the site of a shooting. As a senior, Lyle averaged 14.9 points, 4.2 rebounds and 4.6 assists per game, leading his team in scoring and assists. He was a two-time Mountain West Player of the Week and was an All-Mountain West Honorable Mention selection by the media.

Professional career
On August 16, 2020, Lyle signed his first professional contract with Kolossos Rodou of the Greek Basket League. On November 23, 2020, Lyle parted ways with the Greek club. In two games, he averaged 14.5 points, 2.5 rebounds, and 2.5 assists per game. On August 30, 2021, Lyle signed with Cañeros del Este of the Liga Nacional de Baloncesto.

Lyle was selected in the second round of the 2021 NBA G League draft with the 51st overall pick by the Santa Cruz Warriors.

title: JaQuan Lyle


text:
Mawuli School

Mawuli School is a co-educational, boarding senior high school located in Ho in the Ho Municipal district in the Volta Region of Ghana.

History
The school was founded in 1950 by the Evangelical Presbyterian Church. It was the first senior high school to be established in the Trans-Volta Togoland. The name Mawuli, which is a popular Ewe name in Volta Region means "There is a God". The name Mawuli and the motto "Head Heart Hand", was given by students.

Programmes offered

 * Business
 * General arts
 * General science
 * Home economics
 * Technical skills (Auto Mechanics and Electricals)
 * Visual arts
 * Graphics
 * Ceramics
 * General Agriculture

Notable alumni

 * Selase Agbenyefia – Ghanaian helicopter pilot
 * Nelson Agbesi – Volta Regional Minister (1979–1980), Minister for Agriculture (1980–1981)
 * Samuel Koku Anyidoho – Deputy General-Secretary of the National Democratic Congress (2014–2018)
 * Akofa Edjeani Asiedu – Ghanaian actress
 * Oscar Korbla Mawuli Awuku – Ghanaian body artist, painter, and sculptor
 * Akua Sena Dansua – Ghanaian journalist and politician
 * Leila Djansi – Ghanaian filmmaker
 * Harry Dumashie - Chief of the Defence Staff, Chief of Air Staff and member of the Provisional National Defence Council
 * Smile Dzisi – rector and interim vice-chancellor of the Koforidua Technical University
 * Ernest Gaewu – Justice of the Supreme Court of Ghana
 * Bernice Heloo – MP Hohoe North and former deputy Minister for Environment Science, Technology and Innovations
 * Jerry Kuma – vice-chancellor of the University of Mines and Technology
 * Efo Kodjo Mawugbe – Ghanaian award-winning playwright and former director of the National Theatre of Ghana
 * Elizabeth Akua Ohene – Ghanaian journalist

title: Mawuli School


text:
Talk:ProSieben

Lemma
As one can see by the article about the parent company ProSiebenSat.1 Media and the German article ProSieben the correct spelling is "ProSieben", so it should stay at this lemma. –(de)jello ¿? 16:57, 18 April 2007 (UTC)

title: Talk:ProSieben


text:
af-

Etymology
From. Compare 🇨🇬, 🇨🇬.

Prefix

 * 1) de-, to cause to cease to be
 * 2) off, from (signifies removal)
 * 1) off, from (signifies removal)
 * 1) off, from (signifies removal)
 * 1) off, from (signifies removal)
 * 1) off, from (signifies removal)

Etymology
Ultimately from.

Prefix

 * 1)  de-, en-
 * 2) down
 * 3) off

Etymology
From, from.

Prefix

 * 1) de-

Etymology
From.

Prefix

 * 1) away, off, from, away from

Usage notes

 * This is a verbal prefix. The noun counterpart of this prefix is.

Etymology
From. Cognate with 🇨🇬.

Prefix

 * ,, , away from

Etymology
From, from.

Prefix

 * 1) Forming verbs and adjectives with the sense of "off", "away", "from", "out of", "away from"
 * 2) down
 * 1) down

Etymology
From, from , allophonic variant of before  and.

Prefix

 * 1) not, un-, non-, an-, dis-,

Usage notes
The prefix af- triggers the soft mutation. It is used only before gl, ll, rh, and consonantal i, with used elsewhere.

title: af-


text:
Geddes MacGregor

John Geddes MacGregor (13 Nov. 1909–9 Oct. 1998) was an author, scholar of philosophy, educator, and an ordained Episcopal priest.

Biography
MacGregor was born in Glasgow, Scotland in 1909, and his early life was spent in Edinburgh, Dundee, and in continental Europe.

MacGregor received a Bachelor of Divinity degree from the University of Edinburgh (BD, 1939). He later received a Bachelor of Laws from University of Edinburgh, New College (LLB, 1943), and a Doctor of Philosophy from the University of Oxford (DPhil, 1945, supervised by Austin Farrer). For published work, he received a Doctorat ès lettres from the University of Paris (Dr ès l, 1951, Summa Cum Laude), and a Doctor of Divinity from University of Oxford (DD, 1959). In 1978 he received an honorary Doctor of Humane Letters (LHD) degree from Hebrew Union College.

MacGregor was raised Presbyterian, but as a young man in Edinburgh he converted to Roman Catholicism under the influence of Canon John Gray of Saint Peter's, Morningside. Later, after receiving his BD degree in Edinburgh in 1939, MacGregor was ordained to the ministry in the Church of Scotland. In 1968, while in the United States, he was ordained deacon and priest in the Episcopal Church. A few days after his Episcopal ordainment, he was named canon of Saint Paul's Cathedral in Los Angeles.

From 1949 to 1955 MacGregor served as the first Rufus Jones Professor of philosophy and religion at Bryn Mawr College. In 1957, he became an American citizen. In 1960 MacGregor was appointed Dean of the Graduate School of Religion at the University of Southern California, where he taught until 1975, having been appointed Distinguished Professor in 1966.

MacGregor has been described as "one of the most distinguished Christian theologians to defend the reincarnation concept."

In 1967, the Commonwealth Club of San Francisco honored MacGregor's book, The Hemlock and the Cross: Humanism, Socrates and Christ, as the year's best nonfiction work by a California author.

Family life
MacGregor married Elizabeth Sutherland McAllister on August 14, 1941, at St Giles' Cathedral in Edinburgh. They had two children together, Marie Geddes (born 1944) and Martin Gregor Geddes (born 1946); Elizabeth predeceased her husband in 1994.

Selected works

 * MacGregor, Geddes (1989). Dictionary of Religion and Philosophy. Description. Paragon House, New York. ISBN 1-55778-441-8
 * Also published as:
 * Also published as:
 * Also published as:

Speculative
MacGregor stated in 1979 that he wrote only one "speculative novel":

title: Geddes MacGregor


text:
Pascal Programming/Routines

In the opening chapter routines were already mentioned. Routines are, as it was described before, reusable pieces of code that can be used over and over again. Examples of routines are  /   and   / . You can invoke, call, these routines as many times as you want. In this chapter you will learn
 * how to define your own routines,
 * the difference between a definition and declaration, and
 * the difference between functions and procedures.

Different routines for different occasions
Routines come in two flavors. In Pascal, routines can either replace statements, or they replace a (sub‑)expression. A routine that can be used where statements are allowed is called a. A routine that is called as part of an expression is a.

Functions
A  is a routine that returns a value. Pascal defines, among others, a function. The function  takes one  -expression as a parameter and returns   or , depending on the parity of the supplied parameter (in layman terms that means whether it is divisible by 2). Let’s see the function  in action: is pronounced “odd of x”. First, the expression in parentheses is evaluated. Here it is simply, the variable’s value to be precise, but a more complex expression is allowed too, as long as it eventually evaluates to an  -expression. The value of this expression, the actual parameter, is then handed to a (in this case invisible) block of code that processes the input, performs some calculations on it, and returns  or   according to the calculation’s findings. The function’s returned value is ultimately filled in in place of the function call. You can, in your mind, read  /   in place of , although this is dynamic depending on the given input.

Procedures
Procedures on the other hand cannot be used as part of an expression. You can only call procedures where statements are allowed.

Effects
A  may use functions, and the other way around. Do not understand a  as a mere substitute for an expression. In the following section we will learn why.

Rationale
The dichotomy of routines, distinguishing between a  and a , is meant to gently push the programmer to write “clean” programs. Doing so, a routine does not conceal whether it is just a replacement for a sequence of statements or shorthand for a complex, difficult to write out expression. This kind of notation works without introducing nasty pseudo types like, for example,  in the C programming language where every routine is a function, but the “invalid” data type   will allow you to make it (in part) behave like a.

Definition
Defining routines follows a pattern you are already familiar with since your very first. A  is, in some regards, like a special routine: You can run it as many times as you want through OS-defined means. A ’s definition looks almost just like a routine’s.

A routine is defined by, in that order. The routine header shows a couple differences depending on whether it is a  or. We will first take a look at blocks, since these are the same for both types of routines.
 * 1) a header, and
 * 2) a block

Block
A block is the synthesis of a productive part (statements) and (optional) declarations and definitions. In Standard Pascal (as laid out by the ISO standard 7185) a block has a fixed order: All items but the last one, the productive part, are optional.
 * 1) constant definitions (the  -section)
 * 2) type definitions (the  -section)
 * 3) variable declarations (the  -section)
 * 4) routine declarations and definitions
 * 5) sequence (, possibly empty)

In EP, the fixed order restriction has been lifted. There, sections and routine declarations and definitions may occur as many times as needed and do not necessarily have to adhere to a particular order. The consequences are detailed in the chapter “Scopes”. For the remainder of this book we will refer to EP’s definition of block, because all major compilers support this. Nevertheless, the order defined by Standard Pascal is a good guideline: It makes sense to define types, before there is a section that may use those types (i. e. -section).

Header
A routine header consists of
 * 1) the word   or  ,
 * 2) an identifier identifying this routine,
 * 3) possibly a parameter list, and,
 * 4) lastly, in the case of functions, the data type of an expression a call to this function results in, the result data type.

The parameter list for routines also defines the data type of every single parameter. Thus, the header of the function  could look like this: Take notice of the colon after the parameter list separating the function’s result data type. You can view functions as sort of special variable declaration which also separates an identifier with a colon, except in the case of a function the “variable’s” value is computed dynamically.

Formal parameters, i. e. parameters in the context of a routine header, are separated by a semicolon. Consider the following procedure header: Note that every routine header is terminated with a semicolon.

Body
While the routine header tells the processor (usually a compiler), “Hey, there’s a routine with the following properties: […]”, it is not enough. You have to “flesh out”, give the routine a body. This is done in the subsequent block.

Inside the block all parameters can be read as if they were variables.

Function result
In the sequence of the block defining a function there is automatically a variable of the function’s name. You have to assign a value exactly one time, so the function, mathematically speaking, becomes defined. Confer this example: Note that the block did not contain a -section declaring the variable , but it is already implicitly declared by the function’s header: Both the name and the data type are part of the function header.

Declaration
A routine declaration happens most of the time implicitly. Declaring a routine, or in general any identifier, refers to the process of giving the processor (i. e. usually a compiler) information in order to correctly interpret your program source code. This information is not directly encoded in your executable program, but it is implicitly there. Examples are: Declarations make an identifier known to denote a certain object (“object” mathematically speaking). Definitions on the other hand will, hence their name, define what this object exactly is. Whether it is a value of a constant, the value of a variable, or the steps taken in a routine (the statement sequence), data defined through definitions will result in specific code in your executable file, which may vary according to the information given in related declarations; writing a variable possessing the data type  is fundamentally different than writing a value of the type. The code for properly storing, calculating and retrieving  and   values differs, but the computer is not aware of that. It just performs the given instructions, the circumstance that a certain set of instructions resemble operations on Pascal’s data type  for instance is, so to speak, a “coincidence”.
 * A variable declaration tells the processor to install proper provisions in order to reserve some memory space. This chunk of memory will be interpreted according to its associated data type. However, neither the variable’s name, nor the data type are in any way stored in your program. Only the processor knows about this information as it is reading your source code file.
 * A routine header constitutes a routine declaration (which is usually directly followed by its definition ). Here again, the information given in a routine header are not stored directly in the executable file, but they ensure the processor (the compiler) will correctly transform your source code.
 * Likewise,  declarations merely serve the purpose of clean and abstract programming, but those declarations do not end up in the executable program file.

Routing
Routines are selected based on their signature. A routine signature consists of Thus the signature of the function  reads. The function named  accepts one   value as the first (and only) argument.
 * 1) the routine’s name,
 * 2) the data type’s of all arguments, and
 * 3) (implicitly) their correct order.

Overloading
Pascal allows you to declare and define routines of the same name, but differing formal parameters. This is usually called overloading. When calling a routine there must be exactly one routine of that name that accepts parameters with their corresponding data types.

Persistent variables
Some compilers, such as the FPC, allow you to use constants as if they were variables, but different lifetime. In the following example the “constant”  exists for the entire duration of program execution, but is only accessible in the scope it was declared in. The program will print,  ,   for every call. Lines 2, 4, and 5 contain specially crafted comments that instruct the compiler to support persistent variables. These comments are non-standard, yet some are explained in the appendix, chapter “Preprocessor Functionality”.

Note, the concept of typed “constants” is not standardized. Some object-oriented programming extensions will give nicer tools to implement such behavior as demonstrated above. We primarily explained the concept of persistent variables to you, so you can read and understand source code by other people.

Benefit
Routines can be used as many times as you want. They are no tools of mere “text substitution”: The definition of a routine is not “copied” to the place where it is called, the call site. The size of the executable program file remains about the same.

Utilizing routines can also be and usually is beneficial to the development progress of a program. By splitting up a programming project into smaller understandable problems you can focus on solving isolated issues as part of the big task. This approach is known as divide and conquer. We now ask you to slowly shift toward thinking more about your programming tasks before you start typing anything. You may need to spend more time on thinking about, for example, how to structure a routine’s parameter list. What information, what parameters, does this routine require? Where and how can a recurring pattern be generalized through a routine definition? Identifying such questions needs time and expertise, so do not be discouraged if you are not seeing everything the task’s sample answers show. You will learn through your mistakes.

Keep in mind, though, routines are no panacea. There are situations, very specific situations, where you do not want to use routines. Recognizing those, however, is out this book’s scope. For the sake of this textbook, and in 99% of all your programming projects you want to use routines if possible. Modern compilers can even recognize some situations where a routine was “unnecessary”, yet the only gain is that your source code becomes more structured and thus readable, albeit at the expense of being more abstract and therefore complex.

Tasks
Notes:

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Purysevo

Purysevo (Пурысево) is a rural locality (a selo) in Akulovsky Selsoviet, Pervomaysky District, Altai Krai, Russia. The population was 81 as of 2013. There are 3 streets.

Geography
Purysevo is located 85 km north of Novoaltaysk (the district's administrative centre) by road. Akulovo is the nearest rural locality.

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User:Harborporpoise/sandbox

Mary Ann Brown Patten (April 6, 1837 – March 18, 1861) was the first female commander of an American Merchant Vessel. She was the wife of Joshua Patten, captain of the merchant clipper ship Neptune’s Car. The ship was bound around cape horn from New York towards San Francisco when Joshua Patten collapsed from fatigue in 1856. His wife took command for 56 days, faced down a mutiny, and successfully managed to navigate the clipper ship into San Francisco. At the time she was only 20 years old and pregnant with her first child.

Early Life and First Voyage
Mary Ann Brown was born in Chelsea, Massachusetts in 1837 to George and Elizabeth Brown. She married a young captain named Joshua Adams Patten in Boston on April 1st, 1853 just before her 16th birthday. In 1855 Captain Patten was offered command of the clipper ship Neptune’s Car. Patten was hesitant to leave his wife for so long so early in their marriage, and so the ship’s owners granted permission for her to accompany him.

Neptune’s Car was launched in 1853 and by 1855 the vessel had already developed a reputation for speed. It was 216 feet long and weighed 1,617 tons. According to the New York Herald, Patten was a last minute replacement for the ship’s previous captain, who had taken ill shortly before the vessel was set to travel the world. The Herald claims that Joshua and Mary Patten were aboard Neptune’s Car preparing to leave the dock only twelve hours after they first received the offer. For the next 17 months they sailed to San Francisco, China, London, and back to New York. In that time Mary made a hobby of learning navigation and assisting Joshua with his duties as captain.

Husband's Collapse and Attempted Mutiny
The Ship departed from New York for San Francisco on July 1st 1856 along with two other clipper ships, the Intrepid and Romance of the Seas. This made speed a greater priority than ususal, as it was common practice to place bets on which vessel would arrive first. Neptune’s Car was at the foot of Cape Horn when Joshua Patten developed tuberculosis, then called “brain fever,” and collapsed in a coma. Under usual circumstances the first mate would take command, however earlier in the voyage Captain Patten had caught him sleeping on watch and losing important time by leaving sails reefed. He had likely placed bets on one of Neptune’s Car’s competitors, and so Captain Patten had confined him to his cabin. The second mate was illiterate and did not know navigation, which left Mary Patten the most qualified person on board to bring the ship safely into port.

The former first mate wrote Patten a letter warning her of the challenges ahead and imploring her to reinstate him, but she replied that if her husband hadn’t trusted him as a mate she wasn’t about to trust him as a captain. He then attempted to incite a mutiny by trying to convince the crew that they would be better off putting into the nearest port rather than continuing on to San Francisco. Patten knew that putting into port in South America would mean a loss of crew and quite possibly cargo. She responded by making an appeal to the crew, and in the end won their unanimous support. Patten later claimed that she didn’t change her clothes for 50 days, instead she dedicated her free time to studying medicine and caring for her husband, who had been struck blind by the time they reached Valparaiso. She is credited with keeping him alive during the voyage, but although his state of health fluctuated he never fully recovered.

Arrival in San Francisco and Return Northeast

When Neptune’s Car arrived at San Francisco Harbor Mary Patten rejected an offer to await a pilot to navigate the clipper ship into port, and instead took the helm herself. Despite all of Neptune’s Car’s tribulations, the clipper ship still arrived in San Francisco second, beating the Intrepid.  The ship's insurers, recognizing that Mary Patten had saved them thousands of dollars, rewarded her with $1000 in February 1857. In her letter responding to the gift, she said that she performed "only the plain duty of a wife."

Joshua Patten survived the journey back to New York on the steamer George Law and safely returned to Boston with his wife,where she gave birth to a son named Joshua just a few months after their arrival in San Fransisco. Captain Patten died in July 1857, less than two years after his last voyage. Mary Ann Brown Patten was given $1399 from a fund for her relief set up by the Boston Courier.

Mary Patten died of Tuberculosis four years later on March 18, 1861. She and her husband are both buried at the Woodlawn Cemetery in Everett, Massachusetts.

Legacy

Mary Patten's voyage was the inspiration for a novel by Douglas Kelley titled The Captain's Wife, and The hospital at the U.S. Merchant Marine Academy in King's Point, New York. is named after her.

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User:Hockeyeditorlover04/2017-18 NHL Pre-Season scores

2017-18 NHL Pre-Season Scores All times are in Newfoundland

Calgary Flames vs Edmonton Oilers
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Pre-Season Goaltending Leaders
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