title: Myth and ritual

abstract: Myth and ritual are two central components of religious practice. Although myth and ritual are commonly united as parts of religion, the exact relationship between them has been a matter of controversy among scholars. One of the approaches to this problem is "the myth and ritual, or myth-ritualist, theory," held notably by the so-called Cambridge Ritualists, which holds that "myth does not stand by itself but is tied to ritual." This theory is still disputed; many scholars now believe that myth and ritual share common paradigms, but not that one developed from the other.

text:
# Myth and ritual

**Myth and ritual** are two central components of religious practice. Although myth and ritual are commonly united as parts of religion, the exact relationship between them has been a matter of controversy among scholars. One of the approaches to this problem is "the myth and ritual, or myth-ritualist, theory," held notably by the so-called Cambridge Ritualists, which holds that "myth does not stand by itself but is tied to ritual." This theory is still disputed; many scholars now believe that myth and ritual share common paradigms, but not that one developed from the other.

## Overview

The "myth and ritual school" is the name given to a series of authors who have focused their philological studies on the "ritual purposes of myths." Some of these scholars (e.g., W. Robertson-Smith, James George Frazer, Jane Ellen Harrison, S. H. Hooke) supported the "primacy of ritual" hypothesis, which claimed that "every myth is derived from a particular ritual and that the syntagmatic quality of myth is a reproduction of the succession of ritual act."

Historically, the important approaches to the study of mythological thinking have been those of Vico, Schelling, Schiller, Jung, Freud, Lucien Lévy-Bruhl, Lévi-Strauss, Frye, the Soviet school, and the Myth and Ritual School.

In the 1930s, Soviet researchers such as Jakov E. Golosovker, Frank-Kamenecky, Olga Freidenberg, Mikhail Bakhtin, "grounded the study of myth and ritual in folklore and in the world view of popular culture."

Following World War II, the semantic study of myth and ritual, particularly by Bill Stanner and Victor Turner, has supported a connection between myth and ritual. However, it has not supported the notion that one preceded and produced the other, as supporters of the "primacy of ritual" hypothesis would claim. According to the currently dominant scholarly view, the link between myth and ritual is that they share common paradigms.

## Ritual from myth

One possibility immediately presents itself: perhaps ritual arose from myth. Many religious rituals—notably Passover among Jews, Christmas and Easter among Christians, and the Hajj among Muslims—commemorate, or involve commemoration of, events in religious literature.

### E. B. Tylor

Leaving the sphere of historical religions, the ritual-from-myth approach often sees the relationship between myth and ritual as analogous to the relationship between science and technology. The pioneering anthropologist Edward Burnett Tylor is the classic exponent of this view. He saw myth as an attempt to explain the world: for him, myth was a sort of proto-science. Ritual is secondary: just as technology is an application of science, so ritual is an application of myth—an attempt to produce certain effects, given the supposed nature of the world: "For Tylor, myth functions to explain the world as an end in itself. Ritual applies that explanation to control the world." A ritual always presupposes a preexisting myth: in short, myth gives rise to ritual.

## Myth from ritual (primacy of ritual)

Against the intuitive idea that ritual reenacts myth or applies mythical theories, many 19th-century anthropologists supported the opposite position: that myth and religious doctrine result from ritual. This is known as the "primacy of ritual" hypothesis.

### William Robertson Smith

This view was asserted for the first time by the bible scholar William Robertson Smith. The scholar Meletinsky notes that Smith introduced the concept "dogmatically." In his *Lectures on the Religion of the Semites* (1889), Smith draws a distinction between ancient and modern religion: in modern religion, doctrine is central; in ancient religion, ritual is central. On the whole, Smith argues, ancients tended to be conservative with regard to rituals, making sure to pass them down faithfully. In contrast, the myths that justified those rituals could change. In fact, according to Smith, many of the myths that have come down to us arose "after the original, nonmythic reason \[...\] for the ritual had somehow been forgotten."

As an example, Smith gives the worship of Adonis. Worshipers mourned Adonis's mythical death in a ritual that coincided with the annual withering of the vegetation. According to Smith, the ritual mourning originally had a nonmythical explanation: with the annual withering of plants, "the worshippers lament out of natural sympathy \[...\] just as modern man is touched with melancholy at the falling of autumn leaves." Once worshipers forgot the original, nonmythical reason for the mourning ritual, they created "the myth of Adonis as the dying and rising god of vegetation \[...\] to account for the ritual."

### Stanley Edgar Hyman

In his essay "The Ritual View of Myth and the Mythic", (1955) Stanley Edgar Hyman makes an argument similar to Smith's:

> "In Fiji \[...\] the physical peculiarities of an island with only one small patch of fertile soil are explained by a myth telling how Mberewalaki, a culture hero, flew into a passion at the misbehavior of the people of the island and hurled all the soil he was bringing them in a heap, instead of laying it out properly. Hocart points out that the myth is used aetiologically to explain the nature of the island, but did not originate in that attempt. The adventures of Mberewalaki originated, like all mythology, in ritual performance, and most of the lore of Hocart's Fijian informants consisted of such ritual myths. When they get interested in the topology of the island or are asked about it, Hocart argues, they do precisely what we would do, which is ransack their lore for an answer."

Here Hyman argues against the etiological interpretation of myth, which says that myths originated from attempts to explain the origins (etiologies) of natural phenomena. If true, the etiological interpretation would make myth older than, or at least independent of, ritual—as E.B. Tylor believes it is. But Hyman argues that people use myth for etiological purposes only after myth is already in place: in short, myths didn't originate as explanations of natural phenomena. Further, Hyman argues, myth originated from ritual performance. Thus, ritual came before myth, and myth depends on ritual for its existence until it gains an independent status as an etiological story.

### James Frazer

The famous anthropologist Sir James George Frazer claimed that myth emerges from ritual during the natural process of religious evolution. Many of his ideas were inspired by those of Robertson Smith. In *The Golden Bough* (1890; 1906–1915), Frazer famously argues that man progresses from belief in magic (and rituals based on magic), through belief in religion, to science. His argument is as follows.

Man starts out with a reflexive belief in a natural law. He thinks he can influence nature by correctly applying this law: "In magic man depends on his own strength to meet the difficulties and dangers that beset him on every side. He believes in a certain established order of nature on which he can surely count, and which he can manipulate for his own ends."

However, the natural law man imagines—namely, magic—does not work. When he sees that his pretended natural law is false, man gives up the idea of a knowable natural law and "throws himself humbly on the mercy of certain great invisible beings behind the veil of nature, to whom he now ascribes all those far-reaching powers which he once arrogated to himself." In other words, when man loses his belief in magic, he justifies his formerly magical rituals by saying that they reenact myths or honor mythical beings. According to Frazer,

> "myth changes while custom remains constant; men continue to do what their fathers did before them, though the reasons on which their fathers acted have been long forgotten. The history of religion is a long attempt to reconcile old custom with new reason, to find a sound theory for an absurd practice."

### Jane Ellen Harrison and S. H. Hooke

The classicist Jane Ellen Harrison and the biblical scholar S. H. Hooke regarded myth as intimately connected to ritual. However, "against Smith," they "vigorously deny" that myth's main purpose is to justify a ritual by giving an account of how it first arose (e.g., justifying the Adonis worshipers' ritual mourning by attributing it to Adonis's mythical death). Instead, these scholars think a myth is largely just a narrative description of a corresponding ritual: according to Harrison, "the primary meaning of myth ... is the spoken correlative of the acted rite, the thing done."

Harrison and Hooke gave an explanation for why ancients would feel the need to describe the ritual in a narrative form. They suggest that the spoken word, like the acted ritual, was considered to have magical potency: "The spoken word had the efficacy of an act."

Like Frazer, Harrison believed that myths could arise as the initial reason a ritual was forgotten or became diluted. As an example, she cited rituals that center on the annual renewal of vegetation. Such rituals often involve a participant who undergoes a staged death and resurrection. Harrison argues that the ritual, although "performed annually, was exclusively initiatory"; it was performed on people to initiate them into their roles as full-standing members of society. At this early point, the "god" was simply "the projection of the euphoria produced by the ritual." Later, however, this euphoria became personified as a distinct god, and this god later became the god of vegetation, for "just as the initiates symbolically died and were reborn as fully fledged members of society, so the god of vegetation and in turn crops literally died and were reborn." In time, people forgot the ritual's initiatory function and only remembered its status as a commemoration of the Adonis myth.

## Myth and ritual as non-coextensive

Not all students of mythology think ritual emerged from myth or myth emerged from ritual: some allow myths and rituals a greater degree of freedom from one another. Although myths and rituals often appear together, these scholars do not think every myth has or had a corresponding ritual, or vice versa.

### Walter Burkert

The classicist Walter Burkert believes myths and rituals were originally independent. When myths and rituals do come together, he argues, they do so to reinforce each other. A myth that tells how the gods established a ritual reinforces that ritual by giving it divine status: "Do this because the gods did or do it." A ritual based on a mythical event makes the story of that event more than a mere myth: the myth becomes more important because it narrates an event whose imitation is considered sacred.

Furthermore, Burkert argues that myth and ritual together serve a "socializing function." As an example, Burkert gives the example of hunting rituals. Hunting, Burkert argues, took on a sacred, ritualistic aura once it ceased to be necessary for survival: "Hunting lost its basic function with the emergence of agriculture some ten thousand years ago. But hunting ritual had become so important that it could not be given up." By performing the ritual of hunting together, an ancient society bonded itself together as a group, and also provided a way for its members to vent their anxieties over their own aggressiveness and mortality.

### Bronisław Malinowski

Like William Smith, the anthropologist Bronisław Malinowski argued in his essay *Myth in Primitive Psychology* (1926) that myths function as fictitious accounts of the origin of rituals, thereby providing a justification for those rituals: myth "gives rituals a hoary past and thereby sanctions them." However, Malinowski also points out that many cultural practices besides ritual have related myths: for Malinowski, "myth and ritual are therefore not coextensive." In other words, not all myths are outgrowths of ritual, and not all rituals are outgrowths of myth.

### Mircea Eliade

Like Malinowski, the religious scholar Mircea Eliade thinks one important function of myth is to provide an explanation for ritual. Eliade notes that, in many societies, rituals are considered important precisely because they were established by the mythical gods or heroes. Eliade approvingly quotes Malinowski's claim that a myth is "a narrative resurrection of a primeval reality." Eliade adds: "Because myth relates the *gesta* \[deeds\] of Supernatural Beings \[...\] it becomes the exemplary model for all significant human actions." Traditional man sees mythical figures as models to be imitated. Therefore, societies claim that many of their rituals were established by mythical figures, thereby making the rituals seem all the more important. However, also like Malinowski, Eliade notes that societies use myths to sanction many kinds of activities, not just rituals: "For him, too, then, myth and ritual are not coextensive."

Eliade goes beyond Malinowski by giving an explanation for why myth can confer such an importance upon ritual: according to Eliade, "when \[ritually\] \[re-\]enacted myth acts as a time machine, carrying one back to the time of the myth and thereby bringing one closer to god." But, again, for Eliade myth and ritual are not coextensive: the same return to the mythical age can be achieved simply by retelling a myth, without any ritual reenactment. According to Eliade, traditional man sees both myths and rituals as vehicles for "eternal return" to the mythical age (see Eternal return (Eliade)):

> "In imitating the exemplary acts of a god or of a mythic hero, or simply by recounting their adventures, the man of an archaic society detaches himself from profane time and magically re-enters the Great Time, the sacred time."

Recital of myths and enactment of rituals serve a common purpose: they are two different means to remain in sacred time.

**General**

**People**

* Burkert, W. (1979). *Structure and history in Greek mythology and ritual*. Sather classical lectures, v. 47. Berkeley: University of California Press
* Eliade, Mircea:
    + *Myth and Reality*. Trans. Willard R. Trask. New York: Harper & Row, 1963.
    + *Myths, Dreams and Mysteries*. Trans. Philip Mairet. New York: Harper & Row, 1967.
* Frazer, James G. *The Golden Bough*. New York: Macmillan, 1922.
* Meletinsky, Eleazar Moiseevich *The Poetics of Myth* (Translated by Guy Lanoue and Alexandre Sadetsky, foreword by Guy Lanoue) 2000 Routledge ISBN 0-415-92898-2
* Sebeok, Thomas A. (Editor). *Myth: A Symposium*. Bloomington: Indiana University Press, 1958.
* Segal, Robert A. *Myth: A Very Short Introduction*. Oxford: Oxford UP, 2004.
* Smith, William Robertson. *Lectures on the Religion of the Semites*. First Series, 1st edition. Edinburgh: Black, 1889. Lecture 1.

## Further reading

* Ackerman, Robert (2002) *The Myth and Ritual School: J.G. Frazer and the Cambridge Ritualists*, Routledge, ISBN 0-415-93963-1.
* Burkert, W. (1983) *Homo necans: The Anthropology of Ancient Greek Sacrificial Ritual and Myth*, trans. Peter Bing, Berkeley: University of California Press. ISBN 0-520-03650-6.
* Burkert, W. (2001). *Savage energies: lessons of myth and ritual in ancient Greece*. Chicago: University of Chicago Press.
* Kwang-chih Chang, *Art, Myth, and Ritual: The Path to Political Authority in Ancient China*. 1983.
* Segal, Robert A. (1998). *The myth and ritual theory: an anthology*. Malden, Mass: Blackwell.
* Watts, A. (1968). *Myth and ritual in Christianity*. Boston: Beacon Press.
* Clyde Kluckhohn, *Myths and Rituals: A General Theory*. The Harvard Theological Review, Vol. 35, No. 1 (Jan., 1942), pp. 45–79
* Lord Raglan, *Myth and Ritual*. The Journal of American Folklore, Vol. 68, No. 270, Myth: A Symposium (Oct.–Dec., 1955), pp. 454–461 doi 10.2307/536770
* WG Doty, *Mythography: The Study of Myths and Rituals*. University of Alabama Press, 1986.
* Stephanie W Jamison, *The Ravenous Hyenas and the Wounded Sun: Myth and Ritual in Ancient India*. 1991.
* Christopher A. Faraone, *Talismans and Trojan Horses: Guardian Statues in Ancient Greek Myth and Ritual*. 1992.
* R Stivers, *Evil in modern myth and ritual*. University of Georgia Press Athens, Ga., 1982
* SH Hooke, *The Myth and Ritual Pattern of the Ancient East*. Myth and Ritual, 1933.
* HS Versnel,  *Transition and Reversal in Myth and Ritual*. Brill, 1993.
* Barthes, Roland, *Mythologies* (Paladin, 1972, London) translated by Annette Lavers
* Wise, R. Todd, The Great Vision of Black Elk as Literary Ritual, in *Black Elk Reader*, Syracuse University Press, June 2000.


title: Townsite

abstract: A townsite is a legal subdivision of land for the development of a town or community. In the historical development of the United States, Canada, and other former British colonial nations, the filing of a townsite plat or plan (Canada) was often the first legal act in the establishment of a new town or community.

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# Townsite

A **townsite** is a legal subdivision of land for the development of a town or community. In the historical development of the United States, Canada, and other former British colonial nations, the filing of a townsite plat (United States) or plan (Canada) was often the first legal act in the establishment of a new town or community.

## Townsites in British Columbia

Numerous townsites were filed in British Columbia, Canada, in the early 19th century. Some of those filed in what is now Metro Vancouver included:

Although most of these townsites were incorporated into newly created cities and municipalities of Metro Vancouver, official survey plans still continue to designate lots as being part of these townsites. For example, a 2008 strata plan in Vancouver's Gastown is indicated as being in the Granville Townsite.

Townsite planning was either done by government authorities or by private developers. In the case of North Vancouver townsite in 1907 most of the land was owned by the North Vancouver Land and Improvement Company. By owning large amount of land they were able to plan on a grand scale. New Westminster was surveyed by the Royal Engineers under government direction.

As existing towns grow, they develop Official Community Plans (OCPs) that expand upon the already existing townsites. However, periodically new communities are still created. In 1975, the Whistler townsite was created and eventually incorporated as a municipality. The new municipality was given 53 acres (210,000 m2) of Crown land to develop the townsite.


title: Patrick S. Herendeen

abstract: Dr. Patrick Stephen Herendeen is an American botanist with expertise in paleobotany and evolutionary biology of Cretaceous Age fossil plants. He is the Senior Director of Systematics and Evolutionary Biology and Senior Scientist at the Chicago Botanic Garden and teaches at Northwestern University. Herendeen is the president of the International Association for Plant Taxonomy.

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# Patrick S. Herendeen

Dr. **Patrick Stephen Herendeen** (born 1959) is an American botanist with expertise in paleobotany and evolutionary biology of Cretaceous Age fossil plants. He is the Senior Director of Systematics and Evolutionary Biology and Senior Scientist at the Chicago Botanic Garden and teaches at Northwestern University. Herendeen is the president of the International Association for Plant Taxonomy.

## InfoBox

| Patrick S. Herendeen | |
| --- | --- |
| Born | (1959-06-05)June 5, 1959<br>South Bend, Indiana |
| Nationality | American |
| Alma mater | California State University, Long Beach (B.S.), Michigan State University (M.S.), Indiana University (Ph.D.) |
| **Scientific career** | |
| Fields | Paleobotany, taxonomy, evolutionary biology |
| Institutions | Indiana University, The George Washington University, National Science Foundation, The Field Museum, Northwestern University, Chicago Botanic Garden |
| Theses | * *The Alvars of the Maxton Plains, Drummond Island, Michigan: Present Community Composition and Vegetation Changes*  (1985) * *Fossil History of the Leguminosae from the Eocene of Southeastern North America*  (1990) |
| Doctoral advisor | David L. Dilcher |
|  | |


title: The Scent of the Gods

abstract: The Scent of the Gods is a novel by Singapore-born writer Fiona Cheong, first published in 1991 by W. W. Norton & Co Inc. It is an account of an 11-year-old young girl's coming of age in the formative years of Singapore in the 1960s.

text:
# The Scent of the Gods

***The Scent of the Gods*** is a novel by Singapore-born writer Fiona Cheong, first published in 1991 by W. W. Norton & Co Inc. It is an account of an 11-year-old young girl's coming of age in the formative years of Singapore in the 1960s.

## Plot synopsis

Taking place in the 1960s during Singapore's formative years as a young independent republic, the novel traces the growth and sexual maturation of young Esha (also named Su Yen) as she grows up an orphan reared by the matriarch of her extended clan, known only as Grandma, and schooled in a Catholic missionary school. Her two older cousins, Li Shin and Li Yuen, are her constant companions. Narrated in the first person, the novel is notable for its use of limited perceptive; major events in the narrative are not totally explained – for instance, in the disappearance of her paternal uncle Tien, and Li Shin's death.


title: Red Hot + Rio

abstract: Red Hot + Rio is a compilation album produced by Béco Dranoff and Paul Heck as part of the Red Hot AIDS Benefit Series intended to promote AIDS awareness. This installment is a contemporary tribute to the bossa nova sound, especially the music of Antonio Carlos Jobim. This release has proven to be one of the Red Hot series' more successful projects, generating hundreds of thousands of dollars for AIDS charities around the world. Brazilian recording artists including Jobim, Astrud Gilberto and Gilberto Gil are among the contributors to the project. Along with them, many contemporary pop music performers are featured on this release, including Incognito, David Byrne, Sting and PM Dawn. Its success made it the 2nd most celebrated entry in the Red Hot Series. The album was sent out to music and lifestyle retail locations across the country that gave it widespread exposure, including shops such as Urban Outfitters and The Gap as well as upscale shops like Wilkes-Bashford and Louis Boston. Its release coincided with a renewed interest in tourism to Brazil and the Tropicalia music revival of the early 1960s. In part, the success of the initial album has prompted a second Red Hot + Rio project, a live concert event slated for December 2008 in New York City's Brooklyn Academy of Music. Contrasting with the 1996 album, Red Hot + Rio 2: The Next Generation of Samba Soul will contain works from Brazil's samba music heritage. The concert will benefit AIDS-related projects coordinated through the Brazil Foundation, founded in New York in 2000 to promote social development throughout communities in Brazil.

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# Red Hot + Rio

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***Red Hot + Rio*** is a compilation album produced by Béco Dranoff and Paul Heck as part of the Red Hot AIDS Benefit Series intended to promote AIDS awareness. This installment is a contemporary tribute to the bossa nova sound, especially the music of Antonio Carlos Jobim. This release has proven to be one of the Red Hot series' more successful projects, generating hundreds of thousands of dollars for AIDS charities around the world.

Brazilian recording artists including Jobim, Astrud Gilberto and Gilberto Gil are among the contributors to the project. Along with them, many contemporary pop music performers are featured on this release, including Incognito, David Byrne, Sting and PM Dawn.

Its success made it the 2nd most celebrated entry in the Red Hot Series. The album was sent out to music and lifestyle retail locations (3–5,000 copies) across the country that gave it widespread exposure, including shops such as Urban Outfitters and The Gap as well as upscale shops like Wilkes-Bashford and Louis Boston. Its release coincided with a renewed interest in tourism to Brazil and the Tropicalia music revival of the early 1960s.

In part, the success of the initial album has prompted a second *Red Hot + Rio* project, a live concert event slated for December 2008 in New York City's Brooklyn Academy of Music. Contrasting with the 1996 album, *Red Hot + Rio 2: The Next Generation of Samba Soul* will contain works from Brazil's samba music heritage. The concert will benefit AIDS-related projects coordinated through the Brazil Foundation, founded in New York in 2000 to promote social development throughout communities in Brazil.

## Track listing

1. "Use Your Head (Use a Sua Cabeca)" performed by Money Mark – 2:47
2. "Corcovado" performed by Everything but the Girl – 3:56
3. "Desafinado (Off Key)" performed by Astrud Gilberto \+ George Michael – 3:20
4. "Non-Fiction Burning" performed by PM Dawn with Flora Purim \+ Airto – 4:31
5. "The Boy from Ipanema" performed by Crystal Waters – 4:24
6. *(Interlude)* – 0:14
7. "Segurança (Security)" performed by Maxwell – 3:29
8. "É Preciso Perdoar (You Must Forgive)" performed by Cesária Évora \+ Caetano Veloso \+ Ryuichi Sakamoto – 6:01
9. *(Interlude)* – 0:33
10. "Water to Drink (Água de Beber)" performed by Incognito \+ Omar \+ Ana Caram – 4:19
11. "Dancing…" performed by Milton Nascimento – 3:20
12. "How Insensitive" performed by Antônio Carlos Jobim \+ Sting – 3:44
13. "Waters of March (Aguas de Março)" performed by David Byrne \+ Marisa Monte – 3:15
14. *(Interlude)* – 0:25
15. "One Note Samba / Surfboard" performed by Stereolab \+ Herbie Mann – 7:18
16. *(Interlude)* – 0:21
17. "Black Orpheus Dub" performed by Mad Professor – 3:59
18. "Maracatu Atômico" performed by Chico Science \+ Nação Zumbi \+ DJ Soul Slinger – 4:27
19. "Sambadrome" performed by Ivo Meirelles + Funk 'n Lata – 0:58
20. "Refazenda (Refarm)" performed by Gilberto Gil – 4:00
21. "Preciso Dizer Que Te Amo" performed by Cazuza \+ Bebel Gilberto – 4:42

## InfoBox

| Red Hot + Rio | |
| --- | --- |
|  | |
| Compilation album by Red Hot AIDS Benefit Series (Various Artists) | |
| Released | October 15, 1996 |
| Genre |  |
| Length | 70:03 |
| Label |  |
| Producer |  |
| Red Hot AIDS Benefit Series (Various Artists) chronology | |
| *America Is Dying Slowly*
(1996) ***Red Hot + Rio***
(1996) *Silencio=Muerte: Red Hot + Latin*
(1997) | |


title: Venke Knutson

abstract: Venke Knutson is a Norwegian singer. Since 2003, she has had six top 10 hits in Norway.

text:
# Venke Knutson

**Venke Knutson** (born 20 October 1978) is a Norwegian singer. Since 2003, she has had six top 10 hits in Norway.

## Life and career

Venke Knutson was born in Birkeland, in 1978. She was the youngest of three sisters, in a musical family, and she got inspired to sing by her elder sisters.

Early in her life she lived with her family in the United States.

She joined the school choir. Inspired by two older sisters, she applied for music at the Vågsbygd skole (Vågsbygd High School), when the family was about to go back home to Norway.

She used to be an elementary teacher in Norway. She was earlier married to Svenn Kåre Liodden, but they divorced. She married Thomas Wold in 2008.

She debuted in 2003 with the single "Panic", followed by her first album *Scared* and the singles "Scared" and "Kiss".

Venke Knutson entered the qualifying rounds of the Melodi Grand Prix 2010 (the Norwegian selection process for the Eurovision Song Contest) on 16 January and was voted through to the national "second chance" program, with the song "Jealous 'Cause I Love You", where she was voted through to the national final.

## Discography

### Albums

| Year | Title | Chart positions | Sales |
| --- | --- | --- | --- |
| | | NO | |
| 2004 | *Scared* | 5 | Norwegian sales: 30.000 |
| 2005 | *Places I Have Been* | 7 | Norwegian sales: 20.000 |
| 2007 | *Crush* | 14 | Norwegian sales: 10.000 |
| 2010 | *Smiles – The Very Best Of* | 9 | Norwegian sales: 10.000+ |

### Singles

| Year | Title | Chart positions | Album |
| --- | --- | --- | --- |
| | | NO | |
| 2003 | "Panic" | 10 | *Scared* |
| 2004 | "Scared" | 10 | |
| | "Kiss"1 |  | |
| | "In2u"1 |  | |
| 2005 | "Just A Minute" | 1 | *Places I Have Been* |
| | "When the Stars Go Blue"
(featuring Kurt Nilsen) | 14 | |
| 2007 | "Holiday" | 4 | *Crush* |
| | "Walk the Walk" | 5 | |
| | "Win With Your Hands Down"1 |  | |
| 2010 | "Jealous 'Cause I Love You" | 5 | *Smiles – The Very Best of* |

1 Released as airplay singles

## InfoBox

| Venke Knutson | |
| --- | --- |
| Live in Bergen, Norway, 2008.
Photographer: Pascual Strømsnæs. | |
| Background information | |
| Born | (1978-10-20) 20 October 1978
Birkeland, Norway |
| Genres | Pop |
| Occupation(s) | Singer, songwriter, school teacher |
| Instrument(s) | Vocals, guitar, drums |
| Years active | 2003–present |
| Labels | Universal |


title: Venetian Causeway

abstract: The Venetian Causeway crosses Biscayne Bay between Miami on the mainland and Miami Beach on a barrier island in the Miami metropolitan area. The man-made Venetian Islands and non-bridge portions of the causeway were created by materials which came from the dredging of the bay. The Venetian Causeway follows the original route of the Collins Bridge, a wooden 2.5 mi (4 km) long structure built in 1913 by John S. Collins and Carl G. Fisher which opened up the barrier island for unprecedented growth and development. The causeway has one toll plaza on Biscayne Island, the westernmost Venetian Island. The toll for an automobile is $3.00 (US). The causeway has two bascule bridges. At the Downtown/Western Beginning of the causeway travelers are greeted by two columns vertically saying "VENETIAN WAY" along with a sign indicating that there is a weight limit. At the South Beach/Eastern Terminus, drivers must choose whether to go north onto Dade Boulevard or eastbound onto 17th Street to Ocean Drive, Collins Ave/A1A, Lincoln Road, City Hall, The Convention Center, Jackie Gleason Theater and the beach. The Venetian Causeway was listed in the National Register of Historic Places in 1989. It was re-dedicated in 1999 after the completion of a $29 million restoration and replacement project. In 2023 Miami-Dade County initiated a plan to replace the 11 original bridges along the causeway with higher structures. A popular use of the causeway is for exercising, including both jogging and bicycling.

text:
# Venetian Causeway

The **Venetian Causeway** crosses Biscayne Bay between Miami on the mainland and Miami Beach on a barrier island in the Miami metropolitan area. The man-made Venetian Islands and non-bridge portions of the causeway were created by materials which came from the dredging of the bay. The Venetian Causeway follows the original route of the Collins Bridge, a wooden 2.5 mi (4 km) long structure built in 1913 by John S. Collins and Carl G. Fisher which opened up the barrier island for unprecedented growth and development.

The causeway has one toll plaza (administered by the Miami-Dade County Public Works department) on Biscayne Island, the westernmost Venetian Island. The toll for an automobile is $3.00 (US).

The causeway has two bascule bridges. At the Downtown/Western Beginning of the causeway travelers are greeted by two columns vertically saying "VENETIAN WAY" along with a sign indicating that there is a weight limit .

At the South Beach/Eastern Terminus, drivers must choose whether to go north onto Dade Boulevard or eastbound onto 17th Street to Ocean Drive, Collins Ave/A1A, Lincoln Road, City Hall, The Convention Center, Jackie Gleason Theater and the beach .

The Venetian Causeway was listed in the National Register of Historic Places in 1989. It was re-dedicated in 1999 after the completion of a $29 million restoration and replacement project.

In 2023 Miami-Dade County initiated a plan to replace the 11 original bridges along the causeway with higher structures.

A popular use of the causeway is for exercising, including both jogging and bicycling.

## InfoBox

| Venetian Causeway | |
| --- | --- |
| Venetian Causeway from Downtown Miami, east toward Miami Beach in 2002 | |
| Coordinates | 25°47′28″N 80°09′54″W / 25.791°N 80.165°W / 25.791; -80.165 |
| Crosses | Biscayne Bay |
| Locale | Miami to Miami Beach |
| Maintained by | MDX |
| Heritage status | NRHP (1989) |
| Preceded by | Collins Bridge |
| Characteristics | |
| Design | Bascule |
| Total length | 2.8 miles (4.5 km) |
| Longest span | 0.4 miles (0.64 km) |
| History | |
| Designer | Harvey Stanley, Raymond Concrete Pile Co. |
| Opened | 1925 (original causeway & bridges)<br>1999 (current bridges) |
| Statistics | |
| Toll | $3.00 |
|  | |
|  | |
| Venetian Causeway | |
| U.S. National Register of Historic Places | |
|  | |
| NRHP reference No. | 89000852 |
| Added to NRHP | July 13, 1989 |
|  | |
| Location | |
|  | |


title: Greg Pryor

abstract:
Gregory Russell Pryor, is an American former Major League Baseball infielder. He played all or part of ten seasons in the majors, in 1976 and 1978–1986.
He was 6'0 feet tall and weighed 185 pounds. He batted right and threw right handed.

text:
# Greg Pryor

**Gregory Russell Pryor** (born October 2, 1949), is an American former Major League Baseball infielder. He played all or part of ten seasons in the majors, in 1976 and 1978–1986. He was 6'0 feet tall and weighed 185 pounds. He batted right and threw right handed.

## Major league career

Originally drafted by the Washington Senators, Pryor was picked in the 6th round of the 1971 amateur draft (130th overall) and was the last position player draft pick of the Senators to play in the major leagues. He debuted in the majors with the Senators' later incarnation, the Texas Rangers, in 1976. Pryor was a member of the World Series-winning Kansas City Royals in 1985.

Greg's father, George, was a fullback at Wake Forest University and played for the Baltimore Colts of the NFL.

## InfoBox

| Greg Pryor | |
| --- | --- |
| Fielding for the Royals in 1985 | |
| **Infielder** | |
| **Born:**  (1949-10-02) October 2, 1949<br>Marietta, Ohio, U.S. | |
| **Batted:** Right**Threw:** Right | |
| MLB debut | |
| June 4, 1976, for the Texas Rangers | |
| Last MLB appearance | |
| September 30, 1986, for the Kansas City Royals | |
| MLB statistics | |
| Batting average | .250 |
| Home runs | 14 |
| Runs batted in | 146 |
|  | |
| Teams | |
|  | |
| Career highlights and awards | |
|  | |


title: Greenwich University (Norfolk Island)

abstract: Greenwich University was a controversial distance learning institution, founded in 1972 in Missouri, in operation from 1990 to 2003 in Hawaii— under different ownership—and from 2003 to 2015 on Norfolk Island, Australia. It has never been recognized by an accrediting body in the United States or the United States Department of Education. It was recognized only for a short time by the state of Queensland, Australia. In 2014, the Norfolk Island school was called a degree mill by the Sydney Morning Herald, and in 2015 legislation was passed by then education minister Brendan Nelson to prevent further operation.

text:
# Greenwich University (Norfolk Island)

**Greenwich University** was a controversial distance learning institution, founded in 1972 in Missouri (at this time it was known as the International Institute for Advanced Studies), in operation from 1990 to 2003 in Hawaii— under different ownership—and from 2003 to 2015 on Norfolk Island, Australia. It has never been recognized by an accrediting body in the United States or the United States Department of Education. It was recognized only for a short time by the state of Queensland, Australia. In 2014, the Norfolk Island school was called a degree mill by the *Sydney Morning Herald*, and in 2015 legislation was passed by then education minister Brendan Nelson to prevent further operation.

## Accreditation status

According to the then Australian federal government's Department of Education, Science and Training, "Between 30 June 2003 and 2 December 2015, Greenwich University (Norfolk Island) degrees were lawfully awarded under legislation approved by the Norfolk Island Government, using its powers of self-government. While the Commonwealth Minister for Territories assented to legislation, this does not mean that Greenwich University awards were ever recognized by the Federal Government of Australia." In January 1999, the university requested accreditation under the Australian Qualifications Framework. In response, the then Australian government set up a review committee to investigate the suitability of Greenwich University for accreditation. The committee returned recommendations that Greenwich University:

> "... not be listed on the registers of the Australian Qualifications Framework because the standard of its courses, quality assurance mechanisms, and (sic) its academic leadership fail to meet the standards expected of Australian universities."

On 2 December 2002, the federal government enacted legislation to regulate the use of the title university and the delivery of higher education in Australia's external territories. This legislation overrode the operation of the Greenwich University Act 1998 (Norfolk Island). From this date, the act is of no effect.

## Operation

The Greenwich distance learning program relied on a core group of U.S.-based academics who were members of the faculties of well-known U.S. universities such as the University of Pennsylvania and the University of Colorado. For example, some psychology doctorate candidates were mentored by eminent American psychologists, including Stanley Krippner and Robert Sardello. All students for graduate degrees had to submit proof of baccalaureate degrees from accredited universities. They also submitted a prospective study program for their thesis and, once that program was approved by a three person faculty panel, they were assigned a faculty member in the U.S. as their faculty advisor. The students then took selective courses in the U.S. in their speciality, consulted with their faculty advisors, designed and completed an independent research project and wrote a thesis which had to be approved by their faculty advisor and the university advisory panel. Later, some external academics withdrew their association with Greenwich University and a few criticized its operation.

Before relocating to Norfolk Island in 1998, Greenwich University was based in Missouri, California and Hawaii, initially operating as the International Institute for Advanced Studies in California. Neither institution was recognized by an accrediting body of the United States Department of Education. In 1990, John Bear, who was previously affiliated with the International Institute for Advanced Studies in California, became president of Greenwich University, then located in Hilo, Hawaii. Greenwich University in Hawaii closed for financial reasons at the end of 2003.

Warnborough College represented to the US Department of Education during its termination hearings in 1996 that, at the time, its degrees were actually issued by Greenwich, with which it had a contractual arrangement to do so. Warnborough was represented in the DOE hearings by John Walsh of Brannagh, Chancellor of Greenwich.

## Notable alumni

* Elizabeth Quat, a member of the Legislative Council of Hong Kong, claimed to have received her Bachelor of Business Administration, Master of Business Administration and Doctor of Philosophy in Management degrees from a certain "Greenwich University". On 11 April 2014, notable shareholder activist David Webb published an article revealing that Elizabeth Quat's purported qualifications were obtained from Greenwich University (Hawaii/Norfolk Island) instead of the much better-known University of Greenwich.


title: Ventral pallidum

abstract:
The ventral pallidum (VP) is a structure within the basal ganglia of the brain. It is an output nucleus whose fibres project to thalamic nuclei, such as the ventral anterior nucleus, the ventral lateral nucleus, and the medial dorsal nucleus.
The VP is a core component of the reward system which forms part of the limbic loop of the basal ganglia, a pathway involved in the regulation of motivational salience, behavior, and emotions. It is involved in addiction. The VP contains one of the brain's pleasure centers, which mediates the subjective perception of pleasure that results from "consuming" certain rewarding stimuli.

text:
# Ventral pallidum

The **ventral pallidum** (**VP**) is a structure within the basal ganglia of the brain. It is an output nucleus whose fibres project to thalamic nuclei, such as the ventral anterior nucleus, the ventral lateral nucleus, and the medial dorsal nucleus. The VP is a core component of the reward system which forms part of the limbic loop of the basal ganglia, a pathway involved in the regulation of motivational salience, behavior, and emotions. It is involved in addiction.

The VP contains one of the brain's pleasure centers, which mediates the subjective perception of pleasure that results from "consuming" certain rewarding stimuli (e.g., palatable food).

## Anatomy

The ventral pallidum lies within the basal ganglia, a group of subcortical nuclei. Along with the external globus pallidus, it is separated from other basal ganglia nuclei by the anterior commissure.

## Limbic loop

The limbic loop is a functional pathway of the basal ganglia, in which the ventral pallidum is involved. It (and the internal globus pallidus and substantia nigra pars reticulata) receives input from the temporal lobes, and the hippocampus via the ventral striatum. The information is relayed to the medial dorsal and ventral anterior nuclei of the thalamus.

## Role in addiction

It is unclear whether the ventral pallidum receives dopaminergic inputs from the ventral tegmental area. The ventral pallidum receives GABAergic inputs from the nucleus accumbens. It acts in part as a relay nucleus from the nucleus accumbens to the medial dorsal nucleus. The nucleus accumbens projects to the medial dorsal nucleus via GABAergic medium spiny neurons. The rewarding effects of addictive drugs are mediated in part through their effect on the VP.

1. Berridge KC, Kringelbach ML (May 2015). "Pleasure systems in the brain". *Neuron*. **86** (3): 646–664. doi:10.1016/j.neuron.2015.02.018. PMC 4425246. PMID 25950633.
2. Zahm, Daniel S. (2000-01-01). "An integrative neuroanatomical perspective on some subcortical substrates of adaptive responding with emphasis on the nucleus accumbens". *Neuroscience & Biobehavioral Reviews*. **24** (1): 85–105. doi:10.1016/S0149-7634(99)00065-2. ISSN 0149-7634.
3. Smith Y, Keival JZ (2000). "Anatomy of the Dopamine system in the Basal Ganglia". *Trends in Neurosciences*. **23** (10): 28–33. doi:10.1016/S1471-1931(00)00023-9. PMID 11052217.
4. Pierce R C, Kumaresan V (2006). "The Mesolimbic dopamine system: The final common pathway for the reinforcing effect of drugs of abuse?". *Neuroscience & Biobehavioral Reviews*. **30** (2): 215–238. doi:10.1016/j.neubiorev.2005.04.016. PMID 16099045.
5. Ikemoto S (2010). "Brain reward circuitry beyond the mesolimbic dopamine system: a neurobiological theory". *Neurosci Biobehav Rev*. **35** (2): 129–50. doi:10.1016/j.neubiorev.2010.02.001. PMC 2894302. PMID 20149820.

## Additional Sources

* Martin J.H. Neuroanatomy Text and Atlas. 3rd Edition 2003: Chapter 14

## InfoBox

| Ventral pallidum | |
| --- | --- |
| Identifiers | |
| NeuroNames | 1605 |
| NeuroLex ID | birnlex\_1674 |
| TA98 | A14.1.09.438 |
| TA2 | 5556 |
| FMA | 77613 |
| Anatomical terms of neuroanatomy | |


title: Vermillion River (South Dakota)

abstract: The Vermillion River is a tributary of the Missouri River, 96 miles (154 km) long, in eastern South Dakota in the United States. The origin of the river name is Waséoyuze, Lakota for "place where vermilion is obtained". It is formed by the confluence of the East Fork Vermillion River and West Fork Vermillion River. The East Fork, approximately 103 miles (166 km) long, rises in Lake Whitewood in Kingsbury County on the Coteau des Prairies. The West Fork, approximately 108 miles (174 km) long, rises in Miner County. Both forks flow south, roughly parallel, joining east of Parker. The combined river flows south and joins the Missouri east of the James River Highlands and 5 miles (8 km) south of Vermillion. Its tributaries include White Stone Creek and Baptist Creek. The Vermillion River drains about 2,180 square miles (5,600 km⁲) of the southwestern edge of the Coteau des Prairies. Approximately once per 3.5 years, the Vermillion runs dry. The Vermillion is a north-south river situated between the Big Sioux River and James River.

text:
# Vermillion River (South Dakota)

The **Vermillion River** is a tributary of the Missouri River, 96 miles (154 km) long, in eastern South Dakota in the United States. The origin of the river name is ***Waséoyuze***, Lakota for "place where vermilion is obtained".

It is formed by the confluence of the **East Fork Vermillion River** and **West Fork Vermillion River**. The East Fork, approximately 103 miles (166 km) long, rises in Lake Whitewood in Kingsbury County on the Coteau des Prairies. The West Fork, approximately 108 miles (174 km) long, rises in Miner County. Both forks flow south, roughly parallel, joining east of Parker. The combined river flows south and joins the Missouri east of the James River Highlands and 5 miles (8 km) south of Vermillion. Its tributaries include White Stone Creek and Baptist Creek. The Vermillion River drains about 2,180 square miles (5,600 km2) of the southwestern edge of the Coteau des Prairies. Approximately once per 3.5 years, the Vermillion runs dry.

The Vermillion is a north-south river situated between the Big Sioux River and James River.

## InfoBox

| Vermillion River | |
| --- | --- |
| Vermillion River between Parker and Chancellor | |
| The course and watershed of the Vermillion River. | |
| Location | |
| Country | United States |
| State | South Dakota |
| Cities | Vermillion, SD, Centerville, SD |
| Physical characteristics | |
|  | |
| Source | Confluence of the East Fork Vermillion River and West Fork Vermillion River |
| location | Parker Township in Turner County, near Parker, South Dakota |
| coordinates | 43°23′39″N 97°04′08″W / 43.394083°N 97.069006°W / 43.394083; -97.069006 |
|  | |
| Mouth | Missouri River |
| location | Fairview Township in Clay County, near Vermillion, South Dakota |
| coordinates | 42°43′59″N 96°53′25″W / 42.733007°N 96.890335°W / 42.733007; -96.890335 |
| Length | 96 mi (154 km) |
| Basin size | 2,180 sq mi (5,600 km2) |
|  | |
| Discharge |  |
| location | Vermillion |
| average | 440 cu ft/s (12 m3/s) |
|  | |


abstract: Vermillion Township is one of eighteen townships in Appanoose County, Iowa, United States. As of the 2010 census, its population was 808. I

text:
# Vermillion Township, Appanoose County, Iowa

**Vermillion Township** is one of eighteen townships in Appanoose County, Iowa, United States. As of the 2010 census, its population was 808. I

## Geography

Vermillion Township covers an area of 22.0 square miles (57.1 km2) and contains no incorporated settlements. According to the USGS, it contains three cemeteries: Dale, Jewish and Thomas. From time to time, the city of Centerville has annexed portions of the township.

## InfoBox

| Vermillion Township, Appanoose County | |
| --- | --- |
| Township | |
|  | |
| Coordinates: 40°43′26″N 092°51′27″W / 40.72389°N 92.85750°W / 40.72389; -92.85750 | |
| Country | United States |
| State | Iowa |
| County | Appanoose |
| Area | |
| Total | 22.0 sq mi (57.1 km2) |
| Land | 21.9 sq mi (56.6 km2) |
| Water | 0.2 sq mi (0.5 km2) |
| Elevation | 984 ft (300 m) |
| Population (2010) | |
| Total | 808 |
| Density | 37/sq mi (14.3/km2) |
| FIPS code | 19-94329 |
| GNIS feature ID | 0468860 |


title: Versant Corporation

abstract: Versant Corporation was an American-based software company building specialized NoSQL data management systems. Versant was founded in Menlo Park, California (USA) in 1988. It was headquartered in Redwood City, California. It was noted in 2005 that the market share for object oriented databases held by Versant was "very small" compared to IBM and Oracle. However, two years earlier, Versant ODBMS and IBM UniData were mentioned side-by-side as "two of the most recent examples of object-oriented database software" in a bestselling database design text.

text:
# Versant Corporation

**Versant Corporation** was an American-based software company building specialized NoSQL data management systems. Versant was founded in Menlo Park, California (USA) in 1988. It was headquartered in Redwood City, California.

It was noted in 2005 that the market share for object oriented databases held by Versant was "very small" compared to IBM and Oracle. However, two years earlier, Versant ODBMS and IBM UniData were mentioned side-by-side as "two of the most recent examples of object-oriented database software" in a bestselling database design text.

## History

The company was founded by Dr. Kee Ong in August 1988 as "Object Sciences Corporation". Ong previously worked with the open-source relational database management system Ingres. Around this time object-oriented programming (OO) became popular, and the company used research done at the University of Wisconsin for a commercial database system to complement OO languages. The company's initial executive team included Michael Seashols (CEO), Dr. Kee Ong (CTO), John Hughes (VP, Sales), Dr. Mary Loomis (VP, Services) and Susan Dickerson (VP, Business Development).

In early 1990 the company was renamed “Versant Object Technology.” In April 1993 David Banks took over as CEO. On July 18, 1996 Versant had their initial public offering (IPO) on the NASDAQ stock exchange and traded under the symbol VSNT. The company raised $14.9 million from the IPO, and was based in Menlo Park, California at the time, but moved to Fremont, California in 1997. In January 1998 Nick Ordon succeeded Banks as CEO. on July 15, 1998 the company was renamed again to Versant Corporation.

In the 1990s, Versant went through a period where most of their R&D costs were spent on "maintaining and upgrading existing product releases" across a LARGE number of operating systems and hardware. According to a former VP of engineering, outsourcing this maintenance grind of R&D maintenance to India was the main action that allowed the company to survive the decade.

In March 2004, Versant acquired Poet Software GmbH, a European-focused company targeting the Windows product market which had traded on the Frankfurt Stock Exchange. In 2005, Jochen Witte, president of Poet Software, took over as CEO of Versant Corporation. In August 2005, the common stock had a 1-for-10 reverse stock split. On December 1, 2008 Versant acquired the assets of the database software business of Servo Software, Inc. (formerly named db4objects, Inc.). It developed the open source embedded database technology db4o.

The original implementation of Versant was targeted at , C++ and Smalltalk users. In 1995 Versant introduced support for the Java programming language and then in 2009 for C# and the .NET platform. In 2012 Versant introduced Versant JPA, a Java Persistence API 2.0 compliant interface for its object database, with a technical preview of an analytics product including Apache Hadoop support.

In late 2012, after rejecting an offer by UNICOM Systems Inc., Versant Corporation announced it was being acquired by Actian Corporation, the commercial developer of Ingres and Vectorwise. The acquisition was promoted using the marketing term big data. It closed in December for an estimated $37 million.

## Products

Versant Object Database was renamed Actian NoSQL Database and it's currently used as the metadata store for Avalanche, Actian's cloud data warehouse offering based on VectorH, an MPP version of Vector (formerly known as Vectorwise).

Other than Versant Object Database, Versant marketed two other commercial object-oriented database management systems (OODBMS), Versant JPA and Versant FastObjects, and the open-source database db4o.

* Versant JPA (now NoSQL JPA) is a JPA 2.0 compliant interface for its object database that includes a technical preview of an analytics platform including Hadoop support. It is available as a server and SDK for use with Windows and Linux operating systems.
* Versant FastObjects (now NoSQL FastObjects) is a developer-friendly, object-oriented alternative to a relational database for .NET persistence.
* db4o was an embeddable open-source object database for Java and .NET. db4o was coded in Java and translated to C# by an open-source tool called Sharpen. It was discontinued by Actian in 2014.

**Features comparison**
|  | NoSQL Database | NoSQL JPA | NoSQL Fast Objects |
| --- | --- | --- | --- |
| C/C++ | Yes | No | Yes |
| Java | No | Yes | Yes |
| .NET | No | No | Yes |
| Enterprise scalability | Yes | Yes | No |
| Embeddable | No | No | Yes |
| Minimal administration – no specialized DBA required | Yes | Yes | Yes |
| Dual client/server caching architecture – improve performance by balancing resources | Yes | Yes | Yes |
| Multicore scalability – get the most value from your hardware | Yes | Yes | No |
| No mapping code required – focus on the business problem | Yes | Yes | Yes |
| Online schema evolution – update your application without downtime | Yes | Yes | Yes |

The company also developed a product called "enJin", an infrastructure platform to work with other systems as a "transaction accelerator" by supporting decoupling between J2EE applications and data stores which worked as a type of middleware object cache. IBM suggested the use of Versant enJin as an accelerator in the context of IBM WebSphere applications, which themselves were middleware applications.

## InfoBox

Versant Corporation
|
|  |
| Industry | Software
Database management
 |
| Founded | 1988 |
| Defunct | 2012 |
| Fate | Acquired by Actian (2012 (2012)) |
| Headquarters | Redwood City, California, USA |
| Products | Object Database |
| Revenue | 25,3 million USD (2008) |
| Website | www.versant.com |


title: Versant District

abstract: Versant District is a municipal district in the city of Gatineau, Quebec. It is represented on Gatineau City Council by Daniel Champagne. The district is located in the Gatineau sector of the city and includes the northern half of Old Gatineau and surrounding subdivisions.

text:
# Versant District

**Versant District** (District 14) is a municipal district in the city of Gatineau, Quebec. It is represented on Gatineau City Council by Daniel Champagne.

The district is located in the Gatineau sector of the city and includes the northern half of Old Gatineau and surrounding subdivisions.

## Councillors

| Council term | Party | | Member |
| --- | --- | --- | --- |
| 2002–2005 |  | Independent | Joseph De Sylva |
| 2005–2009 | | | |
| 2009–2013 | | | |
| 2013–2017 |  | Independent | Daniel Champagne |
| 2017–2021 | | | |
| 2021–2025 | | | |

## Election results

### 2021

| Party | | Candidate | Vote | % |
| --- | --- | --- | --- | --- |
|  | Independent | Daniel Champagne | 2,842 | 72.30 |
|  | Action Gatineau | Luc Bégin | 1,089 | 27.70 |

### 2017

| Party | | Candidate | Vote | % |
| --- | --- | --- | --- | --- |
|  | Independent | Daniel Champagne | 3,148 | 71.14 |
|  | Action Gatineau | Luc Gelinas | 1,277 | 28.86 |

### 2013

| Party | | Candidate | Vote | % |
| --- | --- | --- | --- | --- |
|  | Independent | Daniel Champagne | 2,607 | 57.35 |
|  | Action Gatineau | Geneviève Ouimet | 1,939 | 42.65 |

### 2009

| Candidate | Vote | % |
| --- | --- | --- |
| Joseph De Sylva | 3,267 | 72.3 |
| Frédérick Castonguay | 1,250 | 27.7 |

### 2005

| Candidate | Votes | % |
| --- | --- | --- |
| Joseph De Sylva | Acclaimed | |

### 2001

| Candidate | Votes | % |
| --- | --- | --- |
| Joseph De Sylva | 4,118 | 59.28 |
| Jacques R. Forget | 2,829 | 40.72 |

45°29′N 75°41′W / 45.49°N 75.69°W / 45.49; -75.69

## InfoBox

| District 14 - Versant | |
| --- | --- |
| Constituency
for the Gatineau City Council | |
| Location of Versant District in Gatineau | |
| City | Gatineau |
| Population | 10,212 (2019) |
| Area | 5.63 km² |
| Current constituency | |
| Created | 2000 |
| Councillor | Daniel Champagne
Independent |
| Sector(s) | Gatineau |
| First contested | 2001 election |
| Last contested | 2021 election |


title: Gipping Ward, Ipswich

abstract: Gipping Ward is a ward in the South West Area of Ipswich, Suffolk, England. It returns three councillors to Ipswich Borough Council. It is designated Middle Layer Super Output Area Ipswich 010 by the Office for National Statistics. It is composed of 5 Lower Layer Super Output Areas.

text:
# Gipping Ward, Ipswich

**Gipping Ward** is a ward in the South West Area of Ipswich, Suffolk, England. It returns three councillors to Ipswich Borough Council.

It is designated Middle Layer Super Output Area Ipswich 010 by the Office for National Statistics. It is composed of 5 Lower Layer Super Output Areas.

## Councillors

The following councillors were elected since the boundaries were changed in 2002 Names in brackets indicates that the councillor remained in office without re-election.

| Date | Councillor | Councillor | Councillor |
| --- | --- | --- | --- |
| May 2002 | Jeanette Macartney | David Ellesmere | Peter Gardiner |
| May 2003 | (Jeanette Macartney) | (David Ellesmere) | Peter Gardiner |
| June 2004 | (Jeanette Macartney) | David Ellesmere | (Peter Gardiner) |
| May 2006 | Jeanette Macartney | (David Ellesmere) | (Peter Gardiner) |
| May 2007 | (Jeanette Macartney) | (David Ellesmere) | Peter Gardiner |
| May 2008 | (Jeanette Macartney) | David Ellesmere | (Peter Gardiner) |
| May 2010 | Jeanette Macartney | (David Ellesmere) | (Peter Gardiner) |
| May 2011 | (Jeanette Macartney) | (David Ellesmere) | Peter Gardiner |
| May 2012 | (Jeanette Macartney) | David Ellesmere | (Peter Gardiner) |
| May 2014 | Jeanette Macartney | (David Ellesmere) | Peter Gardiner |
| May 2015 | Jeanette Macartney | (David Ellesmere) | Peter Gardiner |
| May 2016 | (Jeannette MacArtney) | David Ellesmere | (Peter Gardiner) |
| May 2018 | Elizabeth Hughes | (David Ellesmere) | (Peter Gardiner) |
| May 2019 | (Elizabeth Hughes) | (David Ellesmere) | Peter Gardiner |
| May 2021 | (Elizabeth Hughes) | David Ellesmere | (Peter Gardiner) |
| May 2022 | Elizabeth Hughes | (David Ellesmere) | (Peter Gardiner) |
| May 2023 | (Elizabeth Hughes) | (David Ellesmere) | Peter Gardiner |
| May 2024 | (Elizabeth Hughes) | David Ellesmere | (Peter Gardiner) |

## InfoBox

| Gipping | |
| --- | --- |
| ward<br>for Ipswich Council | |
| Local government in East of England | Suffolk |
| Electorate | 6472 |
| Current ward | |
| Created | 2002 (2002) |
| Councillor | Elizabeth Hughes (Labour) |
| Councillor | David Ellesmere (Labour) |
| Councillor | Peter Gardiner (Labour) |


title: I Only Get This Way with You

abstract: "I Only Get This Way with You" is a song written by Dave Loggins and Alan Ray, and recorded by American country music artist Rick Trevino. It was released in March 1997 as the third single from the album Learning as You Go. The song reached number 7 on the Billboard Hot Country Singles & Tracks chart.

text:
# I Only Get This Way with You

"**I Only Get This Way with You**" is a song written by Dave Loggins and Alan Ray, and recorded by American country music artist Rick Trevino. It was released in March 1997 as the third single from the album *Learning as You Go*. The song reached number 7 on the *Billboard* Hot Country Singles & Tracks chart.

## Critical reception

Deborah Evans Price, of *Billboard* magazine reviewed the song favorably calling it "well crafted" and "sweetly sentimental". Price goes on to say that Trevino turns in a "warm, thoughtful performance that gives the song a light, dreamy quality."

## Chart performance

"I Only Get This Way with You" debuted at number 67 on the U.S. *Billboard* Hot Country Singles & Tracks for the week of March 22, 1997.

| Chart (1997) | Peak
position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 26 |
| US Hot Country Songs (*Billboard*) | 7 |

### Year-end charts

| Chart (1997) | Position |
| --- | --- |
| US Country Songs (*Billboard*) | 62 |

## InfoBox

| "I Only Get This Way with You" | |
| --- | --- |
| Single by Rick Trevino | |
| from the album  *Learning as You Go* | |
| Released | March 31, 1997 |
| Genre | Country |
| Length | 3:38 |
| Label | Columbia |
| Songwriter(s) | Dave Loggins
Alan Ray |
| Producer(s) | Steve Buckingham
Doug Johnson |
| Rick Trevino singles chronology | |
| "Running Out of Reasons to Run"
(1996) "**I Only Get This Way with You**"
(1997) "See Rock City"
(1997) | |


title: Polydrusini

abstract: Polydrusini is a weevil tribe in the subfamily Entiminae.

text:
# Polydrusini

**Polydrusini** is a weevil tribe in the subfamily Entiminae.

## Genera

## InfoBox

| Polydrusini | |
| --- | --- |
|  | |
| *Polydrusus formosus* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Curculionidae |
| Subfamily: | Entiminae |
| Tribe: | Polydrusini<br>Schönherr, 1823 |
|
| Genera | |
| See text | |


title: Gundam War Collectible Card Game

abstract: Gundam War: Mobile Suit Gundam the Card Game also known simply as Gundam War is an out-of-print collectible card game based on the Gundam anime series produced by Bandai. Players can simulate battles in the anime series. The game is designed for 2 players, though there may be different fan-created multiplayer rules. This game is sometimes confused with the Gundam M.S. War Trading Card Game, since both are published by Bandai and are based on the Gundam series.

text:
# Gundam War Collectible Card Game

***Gundam War: Mobile Suit Gundam the Card Game*** also known simply as ***Gundam War*** is an out-of-print collectible card game based on the *Gundam* anime series produced by Bandai. Players can simulate battles in the anime series. The game is designed for 2 players, though there may be different fan-created multiplayer rules. This game is sometimes confused with the Gundam M.S. War Trading Card Game, since both are published by Bandai and are based on the Gundam series.

## History

Gundam War is a collectible card game based on the Gundam anime series. It was first released in Japan in February 1999, and later a Traditional Chinese version and an English version was released in early 2005. The English version of the game was discontinued after three sets. The Japanese version of the game was discontinued in 2018, after 45 sets.

## Gameplay

Each player starts with a deck, called the "Nation Pile", which has exactly 50 cards. Players take turns drawing from their Nation Pile at the beginning of their turn, except the very first turn of the game. They battle against each other with Unit cards that they control, with excess damage sending proportionate numbers of cards, along with any discarded cards, to the "Discard Pile". When a player has depleted his/her Nation, s/he has lost the game. There are six different colors of cards, representing different factions of various series, and five different types of cards.

### Colors and Factions

In the Japanese card game, the following are the six colors and their related factions.

**Blue**: This color is generally effective at quick production, defense, and recovery. (Similar to White in Magic: the Gathering) This color includes many of the protagonists and their respective factions from Universal Century, which includes:

**Green**: This color is known for damaging effects from Command cards, and low-cost Units. (Similar to Red in Magic: the Gathering) The factions included in this color include, but are not limited to:

**Black**: This color is known for effects that affect all cards on the field, direct removal of cards, and large-scale effects at a cost. (Similar to Black in Magic: the Gathering) The factions include in this color include:

**Red**: Particularly specializing in negation of the opponent's card effects, (Similar to Blue in Magic: the Gathering) the factions included in this color are:

**Brown**: This color is previously known for effects that affect the Discard Pile and Junkyard. After the participation of G Gundam. also its unique attacking style of the Mobile Fighters. The factions include in this color include:

**White**: This color is known for their high-cost-high-powered Unit cards and the variations of Command cards. The factions include in this color include:

**Purple**: This color is divided into two types, although both types are known as having high flexibility that can used in any decks, but since the introduction of Mobile Suit Gundam 00, the nature of purple has been switched, currently it is divided into two types:
-The first purple type is card can be played, regardless of current color generation. Some of the most powerful cards in the game belong to this color. These types of card are similar to Artifact cards in Magic: the Gathering.

* Neutral forces in any Gundam series, or mobile supporting weapons.
* Mobile weapons that belongs to no timeline, like Perfect Gundam.
* Some famous scenes in Gundam series that may, or may not, belongs to a single series.

-The second type needs purple generation (or without them but with harsh conditions) and a different generation to play it, it provides high flexibility, high power and high tactical variations through having tougher requirement. The factions include in this color include:

It is noted that cards from the SD Gundam series may belong to any of the colours, currently at least one SD Gundam Units exists in Blue, White, and Purple.

Also, there is a new card called "Dual Cards". This type of card has two specific colors as its cost. They represent moves involving more than one force in the animations. However, even not involved by more than one force, units from A-Laws and Celestial Being, are mostly in dual. Those cards needs two different generations (or even three) to play, some of the units might need one designated color (Green or Black).

### Unit cards

Unit cards are the representations of the Mobile Suits, Mobile Armors, Cruisers, and Colonies in the anime series. They are the main ways to battle and deal damage to the opponent's Nation, as they are the only type of cards that can enter into the Battle Area. Only one Unit card can be played per turn.

### Character cards

Character cards are the representations of the characters in the anime series. They are set onto a Unit and bring extra effects and battle modifications to the Set-On Unit, through there are characters that can be set onto other types of cards. Only one Character card can be played per turn, and no two characters with the same name can be in play by either player at any one time.

### Command cards

Command cards are cards that carry out effects, usually depicting scenes in the anime series. Commands go to the Junkyard after their resolution. There is no limit to the Command cards that can be played per turn, providing the text on the card permits it.

This type of card is similar to Instant and Sorcery cards in the Magic: the Gathering game.

### Operation cards

Operation cards remain in play, usually affecting the game state, or capable of activating an effect at any time. They also depict their respective event or battle in the anime series. Only one Operation card can be played per turn. Some operation card are needed to set on the other designated cards rather than on the play area.

This type of card is similar to Enchantment in the Magic: the Gathering game.

### Generation cards

This type of card produces a "Nation Power" (similar to Mana in many other card games) that one can use to play other cards. There are two types of this card: "Basic G" cards and "Special G" cards. Generation cards usually depict resources, soldiers, and supporters in the anime series.

Basic Generation cards usually have effects of "Producing a NP for certain color", and one can have any amount of it in a deck, while Special Generation cards have diverse effects and a maximum of 6 special Generation of the same name can be put into a deck.

This is similar to Land cards in Magic: the Gathering.

#### Balance Controls

Unlike the Yu-Gi-Oh or Magic: The Gathering, Gundam War has little effect on after-market meta balances. No limits are placed on the types of booster packs that can be used in most general games (including all games in Grand Tournaments). The method they mainly use is to make new cards that have the ability to suppress older powerful decks. Old cards are uncommon to see in play other than cards with draw-search purposes.

The early stages of Gundam War do not enforce any card restrictions other than some minor erratas. The first major adjustments involving banned cards occurred after the Grand Tournament in 2005 where deck diversity was reduced too much due to the appearance of a few type overpowered decks which greatly reduce the game time. Until August 2008. There are 17 limited cards and 15 official banned cards.

The most commonly banned combos in Gundam War history summon a large number (three or more) of untapped strong units in a single turn in early stages (earlier than the time unit that can be normally paid) and strike to the opponent before s/he can make defenses. Whenever such combo appears in many places in tournaments, usually one or a few key cards will be banned/limited afterward, for more serious cases, the ability of the cards/skills will be changed to outlaw the combo decks. The "quick" ability (especially with untap ability) was another type of cards that is the main target of target control, as "quick" originally did not count as a limit of cards that can be paid in a single turn. The "quick lands" were banned in early 2008, and the "quick" rule was amended in August 2008. Cards with quick ability are also counted as card-paying limits; they can no longer played all at once in a single turn. The remaining type of limited card related to destroying lands, which will give a great disadvantage to multi-color decks, especially decks having Celestial Being's unit.

## Releases

### Japan

The largest release and most expansions have been delivered into the Japanese market. Gundam War made its debut in February 1999 with 200 different cards. The first expansion set was released in June 1999, adding another 100 cards. Mobile Suit Gundam The 08MS Platoon and ∀ Gundam cards were released in a 49 card special set in September 1999. Another expansion in October 1999 would add another 130 cards. In February 2000, another set containing Mobile Suit Gundam 0083 was released adding another 204 cards to the game. In June 2000, 80 cards were released which debuted Gundam W. In August 2000, another set adding 224 more cards were released. In December 2000, cards featuring Mobile Suit Gundam 0080 were released in a 66 card set. In February 2001, another 224 card set was released. In April 2001, a 108 card set featuring Mobile Suit Gundam F91 and Mobile Suit Gundam V debuted. In August 2001, another expansion set containing 220 cards was released. In November 2001, a new set containing 240 cards with 84 new cards was released, including cards featuring "Mobile Suit Gundam: Char's Counterattack". February 2002 saw another 207 card set. Gundam War CCG was discontinued in Japan in 2018.

## Tournaments

In 2013 Taiwan's official website for Gundam War continued to list sanctioned tournaments for players in the Gundam NEX-A format with various tournaments. The Taiwan tournaments used errata that were unchanged since 2002, with the rulebook being based on the 2001 Japanese rules.

## Reception

Anime Fringe magazine reviewed the game Gundam: MS WAR which was a separate game from the other US released Gundam War, back in 2001 and criticized its appearances, illogical and unfinished rules that need to be worked out to play the game and called it a blatant cash grab from Bandai.

## InfoBox

Gundam War Collectible Card Game
| Designers | Kentaro Kawashima |
| --- | --- |
| Publishers | Bandai |
| Players | 2 (may be adjusted to multiplayer play) |
| Setup time | \< 3 minutes |
| Playing time | ~ 15 minutes |
| Chance | Some |
| Age range | 12 and up |
| Skills | Card playing
Arithmetic
Simple text reading skills |


title: Townsonia

abstract: Townsonia, commonly called myrtle beech orchids is a genus of two species of flowering plants from the orchid family, Orchidaceae. They form small clusters of plants with their tubers connected, each tuber with one or two leaves. The flowers are inconspicuous.

text:
# Townsonia

***Townsonia***, commonly called **myrtle beech orchids** is a genus of two species of flowering plants from the orchid family, Orchidaceae. They form small clusters of plants with their tubers connected, each tuber with one or two leaves. The flowers are inconspicuous.

## Description

Orchids in the genus *Townsonia* are terrestrial, perennial, deciduous, sympodial herbs which grow in small groups with their tubers connected by a fleshy root. Each tuber produces one or two leaves. The leaves are very thin with wavy margins. Those on non-flowering plants have a relatively long, fleshy petiole near ground level. Flowering plants have a similar leaf but lack a petiole, the leaf on the side of a brittle flowering stem. The flowers are small and pale coloured and have a dorsal sepal wider than the lateral sepals. The petals are much smaller than the sepals. The labellum is much different in size and shape from the petals and sepals, folded lengthwise with a narrow, ridge-like callus along the mid-line.

## Taxonomy and naming

*Townsonia* was first formally described in 1906 by Thomas Frederic Cheeseman who published the description in *Manual of the New Zealand Flora*. Cheeseman described *T. deflexa* in the same publication making it the type species. The name *Townsonia* honours "Mr. W. Townson, of Westport", who discovered the species.

The names of three species of *Townsonia* are accepted by Plants of the World Online as at August 2022:

## InfoBox

| Myrtle beech orchids | |
| --- | --- |
|  | |
| *Townsonia deflexa* | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| Order: | Asparagales |
| Family: | Orchidaceae |
| Subfamily: | Orchidoideae |
| Tribe: | Diurideae |
| Subtribe: | Acianthinae |
| Genus: | *Townsonia*
Cheeseman |
|
| Type species | |
| *Townsonia deflexa*
Cheeseman, 1906 | |


title: Günther Morbach

abstract: Günther Morbach was a German classical bass in opera and concert. He performed major roles at German opera houses and on international tours.

text:
# Günther Morbach

**Günther Morbach** (26 November 1927 – 4 August 2009) was a German classical bass in opera and concert. He performed major roles at German opera houses and on international tours.

## Career

Born in Zehdenick, Morbach studied voice at the Musikhochschule Hamburg from the end of the 1940s with Prof. Korberg. He made his stage debut at the Stadttheater Flensburg in 1955, as the Polizeikommissar in *Der Rosenkavalier* by Richard Strauss. He was from 1956 a member of Stadttheater Augsburg, from 1959 of the Opernhaus Essen, from 1960 of the Oper Frankfurt, and from 1965 of the Opernhaus Dortmund. In 1966, when the new opera house was opened, he appeared as Sarastro in Mozart's *Die Zauberflöte*, conducted by Wilhelm Schüchter.

Morbach was a member of the Staatstheater Braunschweig from 1969 where he stayed until he retired from the stage in 1993. He performed more than 180 roles, of comic as well as serious characters. In the German repertoire, he was known for Don Alfonso in *Così fan tutte*, Rocco in Beethoven's *Fidelio*, van Bett in Lortzing's *Zar und Zimmermann*, Baculus in *Der Wildschütz*, Daland in Wagner's *Der fliegende Holländer*, König Heinrich in *Lohengrin*, Hunding in *Die Walküre*, Pogner in *Die Meistersinger von Nürnberg*. Main roles in the Italian repertoire were Bartolo in Rossini's *Der Barbier von Sevilla*, Dulcamara in Donizetti's *L'elisir d'amore*, Malatesta in *Don Pasquale*, Fiesco in Verdi's *Simon Boccanegra*, and the Inquisitor in *Don Carlos*. He appeared as Pimen in Mussorgsky's *Boris Godunov*, Pommersfelden in Hindemith's *Mathis der Maler*, Schigolch in Alban Berg's *Lulu*, and Oberlin in Wolfgang Rihm's *Jakob Lenz*. In the premiere of the chamber opera *Gestörte Frequenzen* by Harald Weiss in Braunschweig, he appeared as one of the Four Voices. He toured, mainly with the Oper Frankfurt, to London, Paris, Copenhagen, Athens, Barcelona and Rio de Janeiro.

Morbach was also active in concerts and oratorios. He sang the bass solo in Bach's *Christmas Oratorio* in a concert which Karl Richter conducted at the Salzburg Großes Festspielhaus on 10 December 1966, with Ursula Buckel, Hertha Töpper and Ernst Haefliger. He recorded the bass part in Beethoven's Missa solemnis, with Günter Wand conducting the chorus and orchestra of the Gürzenich in Cologne, alongside Leonore Kirschstein, Jeanne Deroubaix and Peter Schreier. He is remembered as an actor with stage presence who charmed even in small roles.

Morbach died on 4 August 2009. In 2010, the Braunschweig theatre showed a photo exhibition in his memory.

## InfoBox

| Günther Morbach | |
| --- | --- |
| Born | (1927-11-26)26 November 1927
Zehdenick, Germany |
| Died | 4 August 2009(2009-08-04) (aged 81)
Braunschweig, Germany |
| Education | Musikhochschule Hamburg |
| Occupation | Operatic bass |
| Organizations |  |


title: Nagycenk

abstract: Nagycenk is a large village in Győr-Moson-Sopron county in Hungary, on the Austrian border, near Sopron and the Lake Neusiedl/Lake Fertő.

text:
# Nagycenk

**Nagycenk** is a large village in Győr-Moson-Sopron county in Hungary, on the Austrian border, near Sopron and the Lake Neusiedl/Lake Fertő.

## Places of interest

Media related to Nagycenk at Wikimedia Commons

## InfoBox

| Nagycenk | |
| --- | --- |
| Large village | |
| Saint Stephen's Church and the statue of Count István Széchenyi, Nagycenk | |
|  | |
| Location of Győr-Moson-Sopron county in Hungary | |
| NagycenkNagycenk | |
| Coordinates: 47°36′00″N 16°42′00″E / 47.6000°N 16.7000°E / 47.6000; 16.7000 | |
| Country | Hungary |
| Region | Western Transdanubia |
| County | Győr-Moson-Sopron |
| District | Sopron |
| Area | |
| Total | 19.45 km2 (7.51 sq mi) |
| Population (2022) | |
| Total | 2,767 |
| Density | 142.26/km2 (368.5/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 9485 |
| Area code | (+36) 99 |
| Website | www.nagycenk.hu |


title: Nagycserkesz

abstract: Nagycserkesz is a village in Szabolcs-Szatmár-Bereg county, in the Northern Great Plain region of eastern Hungary.

text:
# Nagycserkesz

**Nagycserkesz (Veľký Čerkes, in Slovak)** is a village in Szabolcs-Szatmár-Bereg county, in the Northern Great Plain region of eastern Hungary.

## Geography

It covers an area of 41.5 km2 (16 sq mi) and has a population of 1778 people (2015).

47°58′N 21°32′E / 47.967°N 21.533°E / 47.967; 21.533

## InfoBox

| Nagycserkesz | |
| --- | --- |
| Country | Hungary |
| County | Szabolcs-Szatmár-Bereg |
| Area | |
| Total | 41.5 km2 (16.0 sq mi) |
| Population (2015) | |
| Total | 1,778 |
| Density | 42.8/km2 (111/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 4445 |
| Area code | 42 |


title: WMXL

abstract: WMXL is a commercial FM radio station licensed to Lexington, Kentucky. The station is owned by iHeartMedia, Inc., who determines its programming in New York using automation, non-local talent, and airs an adult contemporary radio format, switching to Christmas music for much of November and December. WMXL has an effective radiated power (ERP) of 85,000 watts, from a height of 194 meters (636 ft) above average terrain (HAAT). That gives it a nearly 90-mile broadcasting radius. Its signal is heard as far south as London, as far east as Morehead, as far north as Cincinnati and as far west as Louisville. The transmitter is on Russell Cave Road near Huffman Mill Pike in Lexington, amid the towers for other FM and TV stations. WMXL-FM was the fifth station in the Lexington radio market to begin broadcasting using HD Radio technology, after WUKY, WKQQ, WBUL-FM, and WLKT. The HD-2 digital subchannel plays country music.

text:
# WMXL

**WMXL** (94.5 MHz) is a commercial FM radio station licensed to Lexington, Kentucky. The station is owned by iHeartMedia, Inc., who determines its programming in New York using automation, non-local talent, and airs an adult contemporary radio format, switching to Christmas music for much of November and December.

WMXL has an effective radiated power (ERP) of 85,000 watts, from a height of 194 meters (636 ft) above average terrain (HAAT). That gives it a nearly 90-mile broadcasting radius. Its signal is heard as far south as London, as far east as Morehead, as far north as Cincinnati and as far west as Louisville. The transmitter is on Russell Cave Road near Huffman Mill Pike in Lexington, amid the towers for other FM and TV stations. WMXL-FM was the fifth station in the Lexington radio market to begin broadcasting using HD Radio technology, after WUKY, WKQQ, WBUL-FM, and WLKT. The HD-2 digital subchannel plays country music.

## History

### WLAP-FM

In 1940, the station signed on as WLAP-FM. It was the FM counterpart to WLAP 630 AM. The two stations mostly simulcast WLAP's programming. In the 1940s and 50s, WLAP-AM-FM were CBS Radio Network affiliates. They carried the line up of CBS dramas, comedies, news, sports, soap operas, game shows and big band broadcasts during the "Golden Age of Radio." In the 1960s, the two stations played contemporary hits.

In 1974, the simulcast ended. The AM station moved to a full service, adult contemporary sound, while WLAP-FM remained as at Top 40 outlet. The station was automated, without disc jockeys. It used TM's Stereo Rock format as *"The New WLAP 94 and a 12, The Music FM"* for many years. After transitioning to live programming in 1987, saw its peak of popularity in the late 1980s and early 1990s, shifting to a more rhythmic contemporary or "Churban" direction. At that time, the station was known as *"The New Power 94 and a 12, WLAP-FM"*. It was programmed by Lexington native Gregory "Barry Fox" Peddicord. In 1991, Dale O'Brian was named Program Director.

### Mix 94.5

On April 1, 1992, O'Brian oversaw a shift to Hot Adult Contemporary music and the name Mix 94.5. The station switched its call sign to WMXL to reflect its "Mix" name.

Dale O'Brian served as morning show host and program director for much of the early 1990s and was named *Billboard* Magazine's "Personality of the Year" in 1996. O'Brian left for the programming position at Z104 in Washington, DC in July 1996. At that point, Rick O'Shea arrived to guide the morning show, and Doug Hamand was given control of the programming. The O'Shea version of the station's Breakfast Club also featured local radio legend Matt Jaeger and former Miss Kentucky Kristie Hicks.

Other popular Mix 94.5 air talent during this period included Barry Fox and longtime Lexington air talent Mike Graves. Fox served as music director before assuming programming duties, and the station prospered during the late 1990s.

O'Shea left the station in 1998 and Matt Jaeger took over the lead role on the morning show, continuing to dominate the Lexington adult audience. It was during this time period that the station's owner, Jacor Broadcasting, began to replace live air talent with out-of-town recorded shows from within the company. As a result, audience share began to slowly erode, and WMXL has thus never been a market leader under iHeartMedia (which, as Clear Channel Communications, absorbed Jacor in 1999). Station programming today comes from iHeartMedia's "Premium Choice" "Soft Rock" program feed.

### Adult Contemporary

Barry Fox left Lexington to program WDJX in Louisville, and was replaced by T.R. Fox, who arrived from Rochester, New York. This Fox, no relation to Barry, programmed the station for several years, before giving way to the return of Dale O'Brian. T.R. Fox oversaw the shift from Hot AC to Mainstream Adult Contemporary.

Under Program Director Dale O'Brian, WMXL was one of the first stations in the country to go with "All Christmas music" during the month of December. In later years, the station began to start Christmas music earlier. These days, from early November until December 26 of each year, WMXL flips to a Christmas format for the holiday season, branding itself as "MixMas on Mix 94.5." In 2023, MixMas began on October 31, which was the earliest that WMXL has ever started Christmas music in the history of the station, and the first non-stunting all-Christmas station in the United States that year (another station had flipped 12 days prior, but that station was later revealed to be stunting in anticipation of a change in format). WMXL's flip to Christmas music was ten days prior to its parent company iHeartMedia's other stations.

38°07′23″N 84°26′38″W / 38.123°N 84.444°W / 38.123; -84.444

## InfoBox

WMXL
|  | |
| --- | --- |
|  | |
| Broadcast area | Lexington Metro Area
Central Kentucky |
| Frequency | 94.5 MHz (HD Radio) |
| Branding | *Mix 94.5* |
| Programming | |
| Format | Adult contemporary |
| Subchannels | HD2: Country (iHeartCountry Top 20) |
| Ownership | |
| Owner |  |
| Sister stations | WBUL-FM, WKQQ, WLAP, WLKT, WWTF |
| History | |
| First air date | 1940 (1940) (as WLAP-FM) |
| Former call signs | WLAP-FM (1940–1992) |
| Call sign meaning | "Mix Lexington" |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 68208 |
| Class | C1 |
| ERP | 85,000 watts |
| HAAT | 194 meters (636 ft) |
| Links | |
| Public license information |  |
| Webcast | Listen Live
HD2: Listen Live |
| Website | mymix945.iheart.com |


title: WMXP-LP

abstract: WMXP-LP is a low-powered FM community radio station located in Greenville, South Carolina. The station broadcasts on 95.5 FM with an ERP of 100 watts. The station is silent as of July 16, 2023

text:
# WMXP-LP

**WMXP-LP** is a low-powered FM community radio station located in (and licensed to) Greenville, South Carolina. The station broadcasts on 95.5 FM with an ERP of 100 watts. The station is silent as of July 16, 2023

## Station history

WMXP-LP signed on the air June 10, 2007. The station is owned by the Malcolm X Grassroots Movement, founded by activist and attorney Efia Nwangaza. It was launched with the help of hundreds of local and national volunteers at the eleventh community radio barnraising of the Prometheus Radio Project. It is a non-commercial station, dedicated to African-American culture programming, claiming that it "will give a voice to the voiceless, and a home to knowledge, community enrichment and social justice advocacy."

According to the FCC database, WMXP-LP went silent on May 20, 2011. No official reason is known.

The station returned to the air on May 18, 2012 from a new transmitter site via FCC Special Temporary Authority (STA) for lower antenna height while new 120 foot tower is being constructed. Signal strength is strong in most of the city due to unique audio processing and temporarily monophonic signal.

On July 16, 2023, WMXP-LP went silent again due to WLTE (originally on 95.9 MHz) moving to 95.5 FM, and it is unknown if WMXP-LP will come back on a new frequency.

## InfoBox

WMXP-LP
|  | |
| --- | --- |
| Broadcast area | Upstate South Carolina |
| Frequency | 95.5 FM |
| Programming | |
| Format | Silent, was Urban Adult Contemporary, Urban Contemporary |
| Ownership | |
| Owner | Malcolm X Grassroots Movement |
| History | |
| First air date | June 10, 2007 |
| Call sign meaning | **M**alcolm **X** Ex**P**erience |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 132472 |
| Class | L1 |
| ERP | 86 watts |
| HAAT | 32.3 meters |
| Transmitter coordinates | 34°48′30″N 82°22′11″W / 34.80833°N 82.36972°W / 34.80833; -82.36972 |
| Links | |
| Public license information | LMS |
| Webcast | Listen live |
| Website | www.wmxp955.org |


title: NZR S class

abstract: The NZR S class was a class of seven 0-6-4T single Fairlie steam locomotives operated by New Zealand's Railways Department (NZR) between 1882 and 1927.

text:
# NZR S class

The **NZR S class** (later **WAGR I class**) was a class of seven 0-6-4T single Fairlie steam locomotives operated by New Zealand's Railways Department (NZR) between 1882 and 1927.

## History

During the 1870s, the railway network in New Zealand was a fragmented system of light railway lines built in rough country where short, steep grades and tight curves were common. The Fairlie type of steam locomotive was well-suited to working in such conditions. Earlier double-ended engines (known as Double Fairlies) suffered from frame breakages while operating in the Wanganui region, leading to the requirement for conventional engines with Fairlie's maneuverability. The Avonside Engine Company of Bristol, England was able to solve the problem by providing both the  and S classes of Single Fairlies, 18 of the former in 1878-79 and 7 of the latter in 1880-81.

The S class locomotives were manufactured with Avonside's works numbers 1279-1285. They were considerably larger than the R class, weighing six tons more and carrying two tons more water.

The locomotives were introduced into service between 1882 and 1887 and soon gained a reputation for being good steamers. Originally assigned within the Whanganui district as well as the Wellington-Summit section of the Remutaka Ranges, they were also utilized in the Taranaki and Wairarapa districts. Their smooth ride and roomy cab made them popular with engine crews over their older Double Fairlie counterparts.

### Withdrawals

In 1891, despite complaints of a lack of motive power, the resident chief mechanical engineer T.F. Rotheram made arrangements to ship three locomotives (Nos. 215-217) to the Western Australian Government Railways (WAGR). These were later known as the I class Nos. I25-I27 on the WAGR roster and continued in service until 1900. Over time, the remaining four members of the class were gradually phased out from NZR service, with one being withdrawn in March 1922, and the other three in March 1927. One, No. 212 was given away at no charge to the Manawatu County Council's Sanson Tramway for use as a spare.

### Citations

### Bibliography

## InfoBox

| NZR S class | |
| --- | --- |
| S class 0-6-4 steam locomotive, NZR number 213. Godber Collection, Alexander Turnbull Library. | |
| Type and origin  Power type Steam  Builder Avonside Engine Co., England  Build date 1880-1881 | |
| Specifications  Configuration:
   Whyte 0-6-4T  Gauge 3 ft 6 in (1,067 mm)  Driver dia. 36.5 in (0.927 m)  Adhesive weight 23 long tons (23 t; 26 short tons)  Loco weight 37.5 long tons (38.1 t; 42.0 short tons)  Firebox:   Grate area 14 sq ft (1.3 m2)  Boiler pressure 160 psi (1,103 kPa)  Heating surface 664 sq ft (61.7 m2)  Cylinders Two, outside  Cylinder size 13 in × 16 in (330 mm × 406 mm) | |
| Performance figures  Tractive effort 9,480 lbf (42.17 kN) | |
| Career  Operators New Zealand Railways Department  Number in class 7 | |


title: Gå & fiska!

abstract: "Gå & fiska!" is a song written by Per Gessle and recorded by Gyllene Tider for their 1996 eponymous EP. The song, together with the rest of the EP, was added to the 1996 re-release of the band's compilation album Halmstads pärlor, originally issued the year before. "Gå & fiska!" won Song of the Year at the 1997 Grammis as well as Swedish Song of the Year 1996 at the Rockbjörnen awards. Scoring a Svensktoppen hit for seven weeks, between 20 July and 31 August 1996, the track peaked at number five on the chart. It also charted on Trackslistan.

text:
# Gå & fiska!

"**Gå & fiska!**" ("Go and fish") is a song written by Per Gessle and recorded by Gyllene Tider for their 1996 eponymous EP. The song, together with the rest of the EP, was added to the 1996 re-release of the band's compilation album *Halmstads pärlor*, originally issued the year before.

"Gå & fiska!" won Song of the Year at the 1997 Grammis as well as Swedish Song of the Year 1996 at the Rockbjörnen awards.

Scoring a *Svensktoppen* hit for seven weeks, between 20 July and 31 August 1996, the track peaked at number five on the chart. It also charted on *Trackslistan*.

## Other versions

In 1998, the song was adapted and its title changed to "Gå & Smurfa" (go and Smurf) for the Smurf soundtrack album *Smurfarna – Smurfhits 4*.

## InfoBox

| "Gå & fiska!" | |
| --- | --- |
| Song by Gyllene Tider | |
| from the album  *Gyllene Tider EP* | |
| Language | Swedish |
| Released | 7 June 1996 (1996-06-07) |
| Genre | Swedish pop |
| Label | Parlophone |
| Songwriter(s) | Per Gessle |