title: Pogo stick

abstract: A pogo stick is a vehicle for jumping off the ground in a standing position—through the aid of a spring, or new high performance technologies—often used as a toy, exercise equipment or extreme sports instrument. It led to an extreme sport named extreme pogo or "Xpogo". It consists of a pole with a handle at the top and footrests near the bottom, and a spring located somewhere along the pole. The spring joins two sections of the pole, which extends below the footpads. The jumper places their feet on the footpads while balancing on the pole, then jumps up or down with a bending action of the knees to add or subtract energy in the spring. When the spring is at full compression or extension, the jumper is lifted by the recoil of the spring, being launched several inches or feet into the air. This process is repeated to maintain a periodic bounce. The pogo stick can be steered by shifting one's weight off the centerline of the spring in the desired horizontal direction thus producing horizontal locomotion.

text:
# Pogo stick

A **pogo stick** is a vehicle for jumping off the ground in a standing position—through the aid of a spring, or new high performance technologies—often used as a toy, exercise equipment or extreme sports instrument. It led to an extreme sport named extreme pogo or "Xpogo".

It consists of a pole with a handle at the top and footrests near the bottom, and a spring located somewhere along the pole. The spring joins two sections of the pole, which extends below the footpads.

The jumper places their feet on the footpads while balancing on the pole, then jumps up or down with a bending action of the knees to add or subtract energy in the spring. When the spring is at full compression or extension, the jumper is lifted by the recoil of the spring, being launched several inches or feet into the air. This process is repeated to maintain a periodic bounce.

The pogo stick can be steered by shifting one's weight off the centerline of the spring in the desired horizontal direction thus producing horizontal locomotion.

## Inventors

A spring stilt utilizing compression springs on each foot was patented in 1881 by George H. Herrington of Wichita, Kansas, "for leaping great distances and heights". This was an antecedent of the pogo stick as well as today's spring stilts.

The modern eponymously named pogo stick was invented by Max Pohlig and Ernst Gottschall, from Germany. A German patent was registered in Hanover in March 1920 for a device they called a "spring end hopping stilt". It is thought that the beginning two letters in these men's last names is where the word "pogo" comes from.

The two-handle pogo stick design was patented by George B. Hansburg in 1957. Hansburg described the origins of the Pogo name colloquially in a story of a young Burmese girl with the aforementioned name whose father had created a crude version of the device so that the daughter could travel to the local temple for prayers. An earlier design with a single upright vertical handle patented in 1955 posed something of a risk to the user's chin. Later improvements to the pogo stick have been made, including the Vurtego, Flybar, and the BowGo, which allow operators to jump much higher than with a simple coil spring pogo stick. Back flips and other tricks are now possible on some of these newer sticks, which has contributed to the growth of the new sport of Extreme Pogo ("Xpogo").

Whatever improvements or different types are made, the basic design idea of a person riding on a spring remains the same.

## Popularity and records

There have been shows performed with pogo sticks, marriages performed on them, jumping contests held, and world records set and reset numerous times. The record for continuous pogoing currently stands at 20 hours and 13 minutes with 206,864 bounces, set by James Roumeliotis.

In 2012, the pogo stick was gaining in popularity through the invention of extreme pogo sticks and the emerging sport of Xpogo.

## Xpogo

**Extreme Pogo**, or **Xpogo**, is an action sport which involves riding and performing tricks on extreme pogo sticks, defined as such by their durability and potential for height. Today's Xpogo sticks have the potential for over 10 ft (3 m) of height (measured from the ground to the bottom of the tip). Extreme pogo is a relatively new extreme sport and is currently emerging into popular culture as evidenced by the growing number of Xpogo athletes around the globe, growing sales from extreme pogo companies, the popularity of Xpogo athlete exhibition teams, positive feedback and continued interest in Xpogo content on sites such as YouTube, and the expanding scope of the annual World Championships of Xpogo, Pogopalooza.


title: Lithuanian accentuation

abstract: In the Lithuanian phonology, stressed heavy syllables are pronounced in one of two prosodically distinct ways. One way is known as the acute or falling accent: this may be described as "sudden, sharp or rough". In Lithuanian it is called tvirtaprãdė príegaidė, literally 'firm-start accent'. The second way is known as the circumflex or rising accent, which may be described as "continued, mild or smooth". In Lithuanian it is called tvirtagãlė príegaidė, literally 'firm-end accent'. Light syllables may be stressed or unstressed, but cannot be differentiated by accent. In written Lithuanian, various diacritic marks are used to mark the tonal accent and stress.

text:
# Lithuanian accentuation

In the Lithuanian phonology, stressed heavy syllables are pronounced in one of two prosodically distinct ways. One way is known as the *acute* or *falling* accent: this may be described as "sudden, sharp or rough". In Lithuanian it is called *tvirtaprãdė príegaidė*, literally 'firm-start accent'. The second way is known as the *circumflex* or *rising* accent, which may be described as "continued, mild or smooth". In Lithuanian it is called *tvirtagãlė príegaidė*, literally 'firm-end accent'. Light (i.e. short) syllables may be stressed or unstressed, but cannot be differentiated by accent.

In written Lithuanian, various diacritic marks (acute ´, tilde ˜, and grave \`) are used to mark the tonal accent and stress.

## Syllable weight

In Lithuanian, heavy (i.e. long) syllables include those containing:

* long vowels (monophthongs)
* diphthongs (/aw aj ɛj uj/) which end in a glide (/j/ or /w/)
* closed syllables ending in sonorants (/l m n r/)
* complex monophthongs (/ie/ and /uo/) behaving as a phonemic unit

Heavy syllables can be either stressed or unstressed.

In mixed acute diphthongs beginning with /i/ or /u/, the acute mark is replaced by a grave; this reflects the fact that, in the standard language (but not in some dialects), the first part of the diphthong is short. In complex diphthongs, the acute accent is marked by an acute ´ diacritic over the first letter and the circumflex by a tilde ˜ over the second letter. This indicates a perception that the letter is stronger in some way. For example, a higher pitch or a longer or louder sound, depending on the dialect and speaker. Stressed short vowels are marked by a grave diacritic \`.

## Stress

Stress is free and can occur on any syllable of the word. However, it rarely occurs more than four syllables before the end of the word. Some nouns and adjectives have *fixed stress*, that is, an accent remains on the same stem syllable in all the inflections. Other nouns and adjectives have *mobile stress* where the accent moves from place to place, particularly between stem and ending. In each declension of the noun or adjective, there are four accent classes, one fixed and three mobile, all with different patterns of movement.

Stress is a complex of various acoustic features, particularly loudness (strength and intensity). Other features such as duration, spectrum and pitch, are of lesser importance in normal speech.

The frequency of syllables stressed at various positions from the ends of words varies: the last syllable is stressed 28.67% of the time; the second last, 53.22% of the time (most commonly); the third last, 16.10%, the fourth last, 1.86% and the fifth last, 0.15% (least commonly)., which means that despite the apparent freedom of accentuation, more than 97% of words are in fact stressed on one of the last three syllables. The most distant syllable that can be stressed is the sixth.

Nouns stressed in this way are declined in the same manner as other polysyllabic nouns. For example,

* *pageležinkelė̃* meaning "place along the railway" and *pãgeležinkelei* meaning, "in the place along the railway" (*geležìnkelis* meaning "railway", from *geležìs* meaning "iron" and *kẽlias* meaning "road")

Polysyllabic compound words and prefixed words, usually have one or sometimes two secondary (or weaker) stresses. The further the secondary stress is from the main stress, the stronger it is. For example,

* *sep'tynias-dešim̃tas*, "the seventieth";
* *pasigerv-uogiáudamas*, "when picking blackberries" (masculine singular),
* *pasigerv-uogiáuti*, "to pick blackberries for oneself for some wanted period of time"
* *pagerv-uogiáuti*, "to pick blackberries for some time" (perfective verb - in the present tense the meaning is abstract)
* *gerv-uogiáuti*, "to pick blackberries" (imperfective), (*gérvuogė* meaning *blackberry* from *gérvė* meaning "crane" and *úoga* meaning "berry").

In international words, which consist of three poorly inter-flowing parts, two secondary stresses may occur. For example,

* *'mikro/"foto/grãfija* 1, "microphotograph"
* *'mili/"amper/mètras* 2, "milliampere meter"
* *'hidro/a"ero/dròmas* 2, "seadrome".

Long syllables, that is, those containing a long vowel, a diphthong, or a mixed diphthong which ends in a sonorant, may have one of two types of accents: the acute or the circumflex. In an unstressed position, the opposition of the two accents is neutralized and reflected by a circumflex accent.

In dialects, there are cases when words may be differentiated only by the use of accents on unstressed syllables. One example is where an accent determines the declensional case,

* *statýtám* sg. dat., *statýtam̃* sg. loc. This sg. loc. is a shorter form of *statýtame*.
* *statýtas*, meaning "built", the past participle (masculine sg. nom.) of *statýti*, meaning "to build (something)".

In standard language, such a difference would not be emphasized. The *m* might have an increased emphasis in the case of an ending *-e* drop in sg. locative.

## Syllable nucleus

Mixed and simple diphthongs are present only when they are followed by consonants or when they occur at the end of a word. When they are followed by a vowel, the diphthong is split into two syllables. For instance,

* *gul̃-ti* (infinitive), *gù-la* (third person present) and, *gù-lė* (third person past) (meaning "to lie on or in")
* *kél-ti*, *kẽ-lia*, *kė́-lė* ("to raise")
* *gui-ti*, *gu-ja*, *gu-jo* ("to harass or banish").

Diphthongs are distinguished from monophthongs (simple vowels) by the fact that they do not have short equivalents. Complex diphthongs differ from the others in that the second component is a vowel rather than a consonant, that is, a semivowel or sonorant, and they do not split into two syllables. For example,

* *príeangis*: the prefix is *prie*, not *pri-e*
* *núoara*: the prefix is *núo*, not *nú-o*.

Complex diphthongs also differ from monophthongs in that their rise is variable; they are longer than long vowels and, in comparison to *au*, *ai*, *ei*, an accent does not lengthen their parts.

When foreign words are adopted, and there are simple (*eu*, *oi*, *ou*) or mixed diphthongs (*o* or *e* with *l*, *m*, *n*, or *r*); the sounds of the *o* and the *e* are not lengthened. One exception is the mixed diphthong *or* which is found in old, nativized foreign words like *morkà* "carrot" and, *gõrčius* "measure of about three litres". In this case, the *o* is long and marked by a circumflex when stressed or written *ò* when short. (Both variants are used).

Mixed diphthongs with long vowels can be found in compound words. For example,

* *dvárponis*
* *kérplėša*
* *žẽmuogė* (*žẽmė* meaning "earth" and *úoga* meaning "berry").

These can be compared to other mixed diphthongs where the long vowel is not present such as:

* *keliõnmaišis*, "a hold-all or haversack" (*keliõnė* meaning "trip" and *maĩšas* meaning "bag")
* *alkū́nkaulis*, "the ulnar bone" (*alkū́nė* meaning "elbow" and *káulas* meaning "bone").

## Differentiating between tone patterns

Heavy syllables and diphthongs (simple, complex or mixed) may have two accents. The presence of minimal pairs, indicates the role of the two accentual patterns. For example,

* *áukštas* \[ˈâʊ̯kʃtɐs\] “tall” vs. *aũkštas* \[ˈɒ̌ʊ̯ˑkʃtɐs\] “storey”
* *káltas* “chisel”; *kal̃tas* “guilty”
* *kóšė* “(he, she or they) filtered, was/were filtering”; *kõšė* “porridge”
* *rūgštìs* (sg. acc., *rū́gštį*) “acid”, *rū̃gštis* (sg. acc. *rū̃gštį*) “sourness”
* *sū́ris* “cheese”; *sū̃ris* “saltiness”

An accent represents a complex of acoustic features such as, sound quality (timbre), quantity, strength (intensity), fundamental frequency (pitch), and degree of pitch separation. These features may be varied in order to produce dialect and in order to differentiate between two accents when they are present.

The differentiation between two accents present in monophthongs and complex diphthongs is clearest in the Samogitian dialect. It is less so in western Aukštaitian and more assimilated in the eastern and southern Aukštaitian dialects. In the standard language, accents in monophthongs differ with longer circumflex vowels both in diapason (tonal grouping) and intensity. In practice, however, these distinctions are minor. Similarly, in complex diphthongs (*ie* and *uo*), and mixed diphthongs beginning with *i* and *u*, the first element of these diphthongs does not lengthen when stressed. On the other hand, simple and mixed diphthongs starting in *a* and *e* are clearly differentiated in the standard language. The first part of the diphthong becomes longer and more tense under the acute accent. In eastern and southern Aukštaitian, diphthongs starting in *i* and *u* lengthen similarly to those in *a* and *e*, and thus the accents can be easily differentiated.

In the Samogitian and western Aukštaitian dialects, variation of pitch and tone is an important way to differentiate accents. For instance, accents may differ in where they appear in time relative to the peak of the pitch and the peak of the diapason. In particular, the acute accent, when depicted as a graph, has a curve with pitch similar to the circumflex, but more sudden. The rise lasts for a shorter time and falls more rapidly. It starts when the pitch is higher and then, after a slight and quick rise, it falls. In comparison, the circumflex accent, when depicted as a graph, has a curve in which the rise lasts longer and falls less rapidly. It begins when the pitch is a little lower than that of the acute, rises slightly to a peak that is later than the acute and then falls at a similar rate but to a lesser extent. The Samogitian dialect also uses the "laužtinė priegaidė", a variant of the acute accent. It is similar to the Latvian broken tone and the Danish stød.

Choice of intonation is used in Lithuanian and other Indo-European languages to determine meaning. The other Indo-European languages include Latvian, Serbo-Croatian and Ancient Greek. Swedish and Norwegian also have tonal distinctions, but these latter are not Proto-Germanic in origin. Rather, they are a Scandinavian innovation where tonal differences have arisen when old monosyllabic words have received an additional vowel, but have kept their original tonal characteristics.

## Pronunciation

Friedrich Kurschat, in his "Grammar of the Lithuanian language" (*Grammatik der littauischen Sprache*, 1876) called the two accents "sudden" (*gestossene Betonung*) and "continued" (*geschliffene Betonung*). He described them as different variations (rise and fall) of tone and illustrated them with notes. The circumflex tone is described as a rise of a minor third interval and for the mixed diphthongs as a rise of a perfect fourth interval. The acute tone is described as a fall of a perfect fifth interval.

Kazimieras Jaunius describes strength of voice (more than tone) as an element differentiating between the two accents. The acute accent, *tvirtapradė priegaidė* changes from stronger and higher to weaker and lower. The circumflex accent, *tvirtagalė* changes from weaker and lower to stronger and higher.

Pronunciations of the two accents by speakers of dialects have minor differences. Vaitkevičiūtė studied the pronunciation of four words by speakers of different dialects. The words were the singular vocatives *rýte* ("morning"), *rỹti* (a male name), *sū́ri* ("cheese") and, *sū̃ri* ("saltiness"). The dialect speakers were from western Aukštaitians (Marijampolė, Vilkaviškis, Kazlų Rūda, Garliava), Veliuona, and Dzūkian.

### Western Aukštaitija

In this region, the acute accent is more intense and has a higher pitch; the threshold of pitch between the accented syllable and the following syllable nucleus is larger (56 Hz versus 51 Hz), and the length of the nuclei of the syllables is shorter (*rýte*, where *y* = 394 ms and *e* = 163 ms versus *rỹte* where *y* = 433 ms and *e* = 194 ms). Vowels with an acute are significantly shorter and less intense that vowels with a circumflex (*rýte*, where *y* length = 190 ms and *e* length = 102 ms versus *rỹte* where *y* length = 286 ms and *e* length = 80 ms).

### Veliuona

In this region, the acute accent is pronounced with a higher starting pitch, a shorter length and a similar intensity to the circumflex and the two accents are most easily distinguished (*sū́ri*, where *ū* length = 341 ms and *i* length = 170 ms versus *sū̃ri* where *ū* length = 526 ms and *i* length = 186 ms).

### Dzūkija

In this region, the acute accent over a vowel is shorter and the threshold of pitch between the stressed syllable and the following syllable is smaller than with the circumflex. In *rýte* and *rỹte*, the fundamental frequency of the next, unstressed syllable was 78 Hz after an acute accent, and by 88 Hz after a circumflex. The length in *rýte*, where *y* = 164 ms; and *e* = 125 ms versus *rỹte* where *y* = 255 ms *e* = 124 ms.

## Articulation and length

When a vowel with an acute is articulated, articulators in mouth tense, the resonance of the epiglottis decreases and the larynx rises. When a vowel with a circumflex accent is articulates, the articulators are less tense, the resonance of the epiglottis increases and the larynx moves down.

## Possibilities for accentuation

### Vowels

* Acute, long vowels: *ó*, *ą́*, *ę́*, *ė́*, *ý*, *ı̨̇́*, *ū́*, *ų́*
* Grave, short vowels: *à*, *è*, *ì*, *ù*
* Tilde, long vowels: *ã*, , *õ*, *ą̃*, *ę̃*, *ė̃*, , *ı̨̇̃*, *ū̃*, *ų̃*
* Tilde, short vowels: *ã*,

### Diphthongs

* Compound diphthongs: *ái–aĩ*, *áu–aũ*, *éi–eĩ*, *ùi–uĩ*
* Mixed diphthongs: *ál–al̃*, *ám–am̃*, *án–añ*, *ár–ar̃*, *él–el̃*, *ém–em̃*, *én–eñ*, *ìl–il̃*, *ìn–iñ*, *ìm–im̃*, *ìr–ir̃*, *ùl–ul̃*, *ùm–um̃*, *ùn–uñ*, *ùr–ur̃*, *ér–er̃*
* Complex diphthongs: *íe–iẽ* and *úo–uõ*.
* Foreign diphthongs used in Lithuanian: *èl–el̃*, *èm–em̃*, *èn–eñ*, *èr–er̃*, *òl*, *òm*, *òn*, *òr*, *èu*, *òi*, *òu*

The length of long vowels to complex diphthongs to simple diphthongs with different kinds of accentuation occurs in ratios of 1 : 1.12 : 1.25 with acute accentuation; 1 : 1.02 : 1.08 with circumflex accentuation; and, 1 : 1.09 : 1.15 with no accentuation.

When accentuated short vowels, such as *ã* or  occur in a non-desinential syllable (one that does end in an inflection), either open or closed, they lengthen and always have a circumflex intonation. Their lengthening is not to the extent of a long vowel. Similarly, in this form, they may constitute the first part of a simple or mixed diphthong. For example,

* rãtas and ratù (wheel) (sg. nom. - sg. inst.)
* kẽlias and keliù (road)
* rãštas and raštù (script) in closed syllables
* rãktas and raktù (key)
* ẽglė and eglè (spruce)

In pronominal forms (they have two endings) there is one case, masculine singular dative, where a stressed letter *a*, being not on the last ending, is acute, for example, a sg. dat. of gerasis – the good: ger-á-jam (\< \*ger-ám-jam) of indefinite ger-ám.

There are some cases where these two sounds do not lengthen. In verbs, for example: mèsti (\< \*met-ti) – to throw, mèstas (or mẽstas) – thrown (but mẽtamas - being thrown). In foreign words: tèmai (dative) – theme, subject (nominative is temà 2). The rule of these two root-lengthening sounds does also not fit for sounds stressed in the ending: spalvà 4 – color (instrumental is spalvà); galvà 3 – head (instrumental is gálva); sodè *loc.* – in a garden (nominative sõdas 2).

Lengthened vowels a, e (and ą, ę, which were nasal in earlier times) are of the quality \[aː\], \[aeː\]. Historically, there were long vowels ā, ē (\[aː\], \[aeː\]), which today are the narrower o, ė.

### Lengthening diphthongs

The contrast between the accents in diphthongs starting in a, e (au, ai, ei; a, e + l, m, n, r) is based on the quantity and quality. In acute accented cases, the first element is emphasized: it lengthens, is more tensed, open than the respective element in the circumflex cases. The second element of acute simple diphthongs is more open and less tensed than the respective element of the circumflex diphthongs.

In the circumflex cases the second element is emphasized and lengthened. But for the mixed diphthongs, the circumflex variant can also be pronounced without an emphasis and be understood only as shortness of a first element of a diphthong (in contrast to the acute, where the first element lengthens) in a standard language. In some cases, like in a word oppositional to várna 'crow': var̃nas 'raven', the r would occur more likely emphasized, than not. But in some, for example, var̃das 'name', it can occur either emphasized, or not (so that it would be understood by some as vàrdas in the latter case). Such pronunciation and understanding of a circumflex diphthong being more some like without emphasis of any of its two elements, but some like a shortness of a first element, could also fit for aũ, aĩ, eĩ diphthongs, but an emphasis of the second element (similarly to the acute case, where the first element is emphasized) is characteristic for them too. The first element of circumflex cases is similar to a short unstressed vowel – not tensed, more closed. In an  case a vowel *a* receives a slight *o* shade (becomes narrower).

### Not lengthening diphthongs

In the acute cases of the diphthongs starting in i, u (i, u + l, m, n, r; ui), the first element does not lengthen and tense in a standard language, but an emphasis remains. Since it does not lengthen, the acute accent is marked by a grave. The first element of acute mixed diphthongs e, o + l, m, n, r of a foreign origin, does not lengthen as well: hèrbas – coat of arms, spòrtas – sport.

In eastern and southern Aukštaitian, dialects these acute diphthongs are lengthened similarly to a, e starting diphthongs.

In the circumflex cases, articulation is like in a, e starting diphthongs: the second element is emphasized and lengthened.

### Long vowels, complex diphthongs

In acute complex diphthongs (i.e., uo), the first element is more tensed and closed and the second element more closed, but less tensed than in the circumflex cases, but the two elements do not differ much.

The acute long vowels, similarly, are much more closed and more tensed than the circumflex, but the contrast is lesser than in the complex diphthongs.

### Assimilation

The contrast between the two accents in vowels and complex diphthongs is disappearing, because the opposition between the two accents is not present in all the dialects. The base dialects of a standard language (western Aukštaitian) cover a smaller area. The standard language is being affected by different dialects, where speakers pronounce the two accents differently.

The mixed diphthongs starting in i, u and a simple diphthong ui are commonly pronounced without noticeable intensifying of one of the appropriate elements in both acute as well as circumflex cases. It is easy to intentionally intensify the second part in the circumflex accent, but it is common too, that it is impossible to extract, hear out them from the standard language, the sounds are pronounced without an attention on emphasizing some accentual oppositions. In a case of the mixed diphthongs starting in a, e the opposition can be understood at least by different quantity of these sounds: lengthened in the acute case, and not lengthen in the circumflex. Such lengthening helps to hold the two accents in the simple diphthongs (au, ai, ei) too (for example, in an ui case, where the first element is short, the opposition between accents is usually lost in a standard language), but in this case the lengthening, emphasis of the second element in the circumflex accentuation (similarly to the emphasis of the first element in the acute accentuation) is characteristic, not unusual.

Among the reasons of unification of accents in, for example, mixed diphthongs, there possibly is the absence of necessity to distinguish between them. For example, in the case of várna 'crow' - var̃nas 'raven', the r would probably usually be emphasized in var̃nas, but in a case of var̃das 'name', where there is no relative acute word, there can be no feeling for a speaker that they should emphasize a sound r. But in these cases the distinction can be understood through quantity of a sound – the acute variant has lengthened a, and the circumflex – not lengthened. So, in diphthongs, the problematic leave i, u starting diphthongs, where a standard language speaker has no means to hear, directly knows what type of the accent they should have (if they are stressed).

## Word part stress and accent

### Prefix

* apý-, ató-, núo-, pó-, príe-, príeš-, pró-, są́-, sám-, sán-, užúo-, when they are stressed, are acute in all parts of language, which have them.
* ap-, at-, pa-, pra-, be-, when they are stressed, are circumflex in nouns, ãp-, ãt-, pã-, prã-, bẽ-, and short in verbs and participles, àp-, àt-, pà-, prà-, bè-.
* nu-, pri-, už-, had by verbs, are short. In nouns made from these verbs they are either nuo-, prie-, or nu-, pri-, už-, but nu-, pri- are possibly used only with verbal abstracts endings in -imas, -ymas, -umas; nunèšti – to carry away, bear away, to take some thing somewhere, nùneša (present III person), nunešìmas – a carrying away, núonaša – a thing which is (being) carried away; primaišýti – to admix, primaĩšo, primaĩšymas, príemaiša – admixture; užkùrti – to kindle, start a fire, ùžkuria, užkūrìmas, ùžkuras – a portion of material which is (being) fired.
* pa- in adjectives, when stressed, is elongated for a part of them, and short for another part: pãdrikas – desultory, scattered, pàprastas – simple, ordinary.
* į-, when stressed, is circumflex in verbs and participles (į̃-), and acute (į́-) in nouns.
* per- is always stressed and is acute (pér-), except the nouns, made from other nouns (per̃-): per̃taras – expletive, per̃petė – shoulder-belt, per̃pietė – afterdinner nap, per̃teklius – surplus (but they are also pronounced as acute).

### Root

Short vowels a, e in a root of a word lengthen when stressed and have a circumflex accent: ã, ẽ: (sg. nom. - sg. inst.) kẽlias - keliù 'road', rãtas - ratù 'wheel'. But these vowels do not lengthen in foreign words, some forms of disyllabic verbs: temà - tèmos 'theme' (sg. nom. - pl. nom./sg. gen.); mèsti 'to throw', mèstas (or mẽstas) 'thrown (past passive participle)'

### Suffix

Some of the suffixes receive acute, some circumflex accents and some – either of the accents. But in the latter case the words having such suffixes have either the different endings, for example: kaimýnas – neighbour, lentýna – shelf and tėvỹnė – fatherland, lenktỹnės pl. – racing. Or the endings are same, but the words still have differences in meaning: viršū́nė – peak, summit, pinnacle, Valiū́nas, Mickū́nas (surnames) and klajū̃nė (*f*) – wanderer (the suffix has actor's meaning), klajū̃nas – wanderer, malū̃nas – mill.

### Ending

Long endings (long vowels and diphthongs), if stressed, are accented in a circumflex accent except a few cases where acute accent occurs – dative singular (unstressed in nouns): gerám (geras - good), pronominal gerájam (\< \*gerám-jam); gẽrai *f*, pronominal gẽrajai; dative plural: geríems, pron. geríesiems; geróms, pron. gerósioms; naktìms (naktis - night). And in pronominal forms, besides datives, there are more acute ending cases – instrumental singular masculine and feminine: gerúoju (indefinite form: gerù), gerą́ja (\< \*gerán-jan) (indefinite: gerà); pl. acc. masc. and fem.: gerúosius (indefinite: gerùs), gerą́sias (indefinite: geràs).

Historically, some endings which are short today, where acute: gerù 'sg. ins. of geras – good' (\< gerúo) : gerúoju (pronominal); keliù 'I am raising; I raise' (\< keliúo) : keliúosi 'I am getting up; I get up (reflexive of keliu)'.

In nouns the singular dative and accusative forms are never stressed in the ending. Some of the declensional cases, which in some of the four accentuation patterns are stressed, in other – not stressed, are short: singular feminine nominative -à (stressed in the II, III, IV accentuation patterns), singular instrumental and locative, plural accusative and locative.

## Nouns

Lithuanian nominal stems are divided into four accentual classes, usually referred to by their numbers. They are defined by the place and type (acute, circumflex accents of syllable, short stress) of the accent. The accent is either steady in the same syllable in all cases (the first pattern), or moves to the ending in one of the three patterns. Here follows the wording along the data, which is also seen in the tables below:

1. Fixed (columnar) accent on a non-desinential syllable. If the accent is on a pre-desinential syllable, it carries the acute (acute) tone. For polysyllabic words, when they are stressed in the further from the ending syllable than the pre-desinential one is, the type of an accent can be any of the three. When the syllable stressed is further from the ending than the pre-desinential, it is most usually the first syllable of a noun.
2. Alternation of stress on a short or circumflex (circumflex) pre-desinential syllable with desinential accentuation in a few cases. Only disyllabic nouns.
3. Alternation of stress on a non-desinential syllable with desinential accentuation. If the accent is on a pre-desinential syllable, it carries the acute tone. Polysyllabic nouns are accented in a further than the pre-desinential syllable from the ending by any kind of the stress. There are only a marginal number of polysyllabic nouns that have stress on a pre-desinential syllable. Place of a stress is in the ending in certain cases, resembling the fourth pattern. If the intonation is acute the word has a mark 3a, 34a, (35a, 36a) written by in dictionaries, and if a circumflex or short, the mark is 3b, 34b, (35b, 36b); the number three means the number of an accentuation pattern, the letter a means the acute intonation, the letter b is for a circumflex intonation or a short stress; if the accent is in a further than the third syllable from the ending the other digit is added, for instance, 34b means that the stress falls on the fourth from the ending syllable and (b) it is short or of circumflex intonation.
4. Alternation of stress on short or circumflex pre-desinential syllable with desinential accentuation (among these, all cases in plural number, except some in -a, -ė, -is (gen. -ies), -us types). The number of polysyllabic words of this pattern is marginal, two common nouns and few place names.

Relation between accent type and accentuation pattern (the certain stress places in the cases):

* The words having circumflex intonation (|\__̃|-|\__|) or short sound stress (|\_̀|-|\__|) in the pre-desinential syllable (in the stem accentuation cases; in other cases they have accent on the desinence) are accentuated in the second or the fourth patterns.
* The words having acute intonation (|\_́\_|-|\__|, |\_̀\_|-|\__|) in the next-to-last syllable (for the first accentuation pattern the accent falls only on the stem, for the third it moves to the ending in certain cases) are accentuated in the first or the third patterns.

### Accentuation tables


title: Facebook Instant Articles

abstract: Facebook Instant Articles is a feature from social networking company Facebook for use with collaborating news and content publishers, that the publisher can choose to use for articles they select. When a publisher selects an article for Instant Articles, people browsing Facebook in its mobile app can see the entire article within Facebook's app, with formatting very similar to that on the publisher's website.

text:
# Facebook Instant Articles

**Facebook Instant Articles** is a feature from social networking company Facebook for use with collaborating news and content publishers, that the publisher can choose to use for articles they select. When a publisher selects an article for Instant Articles, people browsing Facebook in its mobile app can see the entire article within Facebook's app, with formatting very similar to that on the publisher's website.

## History

### Prior to launch

Facebook initially approached selected publishers with the idea of Instant Articles, so as to get early feedback that would allow Facebook to build a product that meets publisher needs.

According to a *BuzzFeed* spokesperson, *BuzzFeed* VP of Product Chris Johansen told Facebook that they needed seven things in order to participate in the program, including compatibility with comScore, Google Analytics, and *BuzzFeed* tracking tools, preservation of key aspects of the look, feel, and functionality of the website, and monetization. In January, Facebook returned for talks, saying they had implemented all of the requests.

### Launch (May–June 2015)

Instant Articles launched officially on May 12, 2015. Launch partners included *Woven Digital*, *BuzzFeed*, *The New York Times*, *National Geographic*, *The Atlantic, NBC News,* The Guardian*, BBC News, Bild,* and *Spiegel Online.* Facebook also created an Instant Articles landing page to showcase Instant Articles in reverse chronological order. It was initially available only on Facebook's iPhone app.

Despite the huge amount of initial media attention paid to Instant Articles, no Instant Articles were published for three weeks following May 13, as noted in *Business Insider*. *The Wall Street Journal* noted that the pace of publication of Instant Articles was expected to rise significantly in June. On June 9, an Instant Article from *The Guardian* was published.

### Monetization, greater compatibility with other tools, and global rollout (March–April 2016)

In late March 2016, Facebook announced that native ads and video ads would soon be allowed in Instant Articles.

In April 2016, Facebook Instant Articles became usable along with *Medium* and other publishing tools.

At the 2016 Facebook F8 conference, Facebook announced that Facebook Instant Articles would now be available to all publishers.

## Features

### Analytics

At launch time, Facebook announced that Instant Articles would be compatible with comScore, Google Analytics, and Omniture, as well as many publishers' internal tracking tools. In addition, Facebook would offer publishers its own rich analytics on user behavior on Instant Articles.

### Formatting

Facebook promised to preserve the look and feel of articles from the publisher's website when showing them as Instant Articles, but making them more minimalistic and also better suited to the user's device.

### Advertising

Facebook allows ads to appear inside Instant Articles. Publishers can keep 100% of the revenue if they sell the ads, and Facebook gets its standard 30% cut if it sells the ads.

With the launch of Instant Articles, Facebook provided guidelines regarding the ad formats supported by Instant Articles. One of the constraints was that no ads can appear above the fold (so that when somebody first opens an Instant Article, they will not see an ad). This would help with rapid initial loading of pages.

In late March 2016, Facebook announced an expansion in the permissible ad formats. In particular, support for native ads as well as video ads was announced.

### Load time

Facebook claimed that Instant Articles load ten times as fast as mobile web content, thereby creating a better user experience.

*The Wall Street Journal* reported that, according to tests done by Catchpoint Systems, Facebook's claim held true: the average load time for Instant Articles was between 0 and 300 milliseconds, compared with 3.66 seconds for similar articles on news publishers' websites. The difference was attributed to Facebook pre-loading articles as well as to Facebook allowing ads to be fetched without disrupting access to the content itself.

### No special treatment in News Feed

Facebook claimed that Instant Articles would not receive *ipso facto* special treatment in user's News Feeds. However, commentators noted that, due to the faster load times, people might engage more with Instant Articles, and this might in turn increase their visibility in users' feeds, implicitly pressing publishers to start using Instant Articles.

## Reception

### Reception by initial launch partners

*BuzzFeed* staff, who provided Facebook an initial list of requirements that Facebook needed to meet before they would try Instant Articles, praised Facebook's attitude, saying of the process: "It has felt extremely collaborative from the beginning."

James Bennet, editor-in-chief of *The Atlantic*, said he feared that publishing pieces through instant articles meant losing control of the means of distribution, but on the other hand, "we're trying to get out stories to as many people as possible, and at the same time, continue to build a core, loyal, enthusiastic audience." Bennet said *The Atlantic* was going into the deal cautiously, well aware that Facebook might later change the terms to ones less favorable to publishers.

A speed test by Catchpoint Networks, reported in *The Wall Street Journal*, confirmed Facebook's claims of Instant Articles loading ten times faster than mobile web articles.

The jengu group said that this Facebook feature is only for Facebook app users. Once Instant Articles is enabled on your Facebook page, Facebook will post all your news and articles as Instant Articles.

*TechCrunch* noted that, even if Facebook's terms for publishers were favorable at present, there was no guarantee that Facebook would continue to maintain these terms. It also noted that, if users engaged more with Instant Articles, this would cause them to be shown more often in users' feeds, implicitly forcing publishers to participate.

Vivian Schiller, a former executive at NBC, *The New York Times*, and Twitter, said that Facebook Instant Articles was too massive to ignore, as that's where the audience was.

Writing for The Awl, John Herrman identified some potential hazards of Facebook Instant Articles, and wrote that Facebook Instant Articles would make Facebook the default host for large portions of people's article-reading on mobile devices. This gave Facebook a lot of power and the company deserved closer scrutiny, just as Uber's position of immense power made it a legitimate target for scrutiny and criticism.

Writing for *PandoDaily*, David Holmes wrote that, even though he didn't expect Facebook Instant Articles to have immediate negative effects on online news publishing (largely because Facebook's rollout would be gradual), there were still concerns about Facebook becoming too powerful and using its position of power to strong-arm publishers at a later stage.


title: The Goods Line

abstract: The Goods Line is an 800 m-long (2,625 ft) linear park and shared pedestrian pathway and cycleway in the suburb of Ultimo, in the City of Sydney, New South Wales, Australia. The corridor connects Railway Square to Darling Harbour in the south and passes both the University of Technology Sydney Broadway campus and the Australian Broadcasting Corporation Sydney head office. The Goods Line terminates in the north at the corner of Sussex and Hay Streets, in the Sydney central business district.

text:
# The Goods Line

**The Goods Line** is an 800 m-long (2,625 ft) linear park and shared pedestrian pathway and cycleway in the suburb of Ultimo, in the City of Sydney, New South Wales, Australia. The corridor connects Railway Square to Darling Harbour in the south and passes both the University of Technology Sydney Broadway campus and the Australian Broadcasting Corporation Sydney head office. The Goods Line terminates in the north at the corner of Sussex and Hay Streets, in the Sydney central business district.

## Description

From the southern end, the Goods Line walkway commences at the southern end of Central station at the beginning of the Devonshire Street Tunnel. The tunnel is a 300 m-long (984 ft) pedestrian tunnel that was opened in 1906, joining Devonshire Street with Lee Street. From the exit of the tunnel one enters Henry Deane Plaza, which sits slightly below the level of Lee Street, and descends a ramp at the other end of the Plaza to enter the extension tunnel beneath Lee Street. The extension tunnel continues under Lee Street, Railway Square and George Street and, at each of these points, the extension tunnel can be exited or entered by stairs and escalators. There are no entry/exit points to the tunnel via any buildings.

The extension tunnel then continues under the TAFE Marcus Clark Building and opens behind the Wembley House at 841 George Street. To the west of the end of the extension tunnel, two steel rails appear from under a pair of large gates. The gates block entry to the northern end of the Railway Square road overbridge which in the past, provided access for trains using the railway line to Darling Harbour. From this point, the Goods Line walkway makes use of the former railway's infrastructure, including the Ultimo Road railway underbridge. The walkway exits the rail corridor near the Powerhouse Museum, crosses Darling Drive and terminates at the corner of Sussex and Hay Streets.

## Background

The Goods Line uses the route of a former freight railway line that connected Sydney Yard and the Sydney–Parramatta railway line to the shipping port of Darling Harbour. The railway line opened in 1855 and was extended to Dulwich Hill in 1922, providing a way for freight trains to access Darling Harbour without interfering with passenger trains. A short branch from Lilyfield to Rozelle served another goods terminal.

The port facilities at Darling Harbour closed down and the precinct was extensively redeveloped in the 1980s. In the following years, the Lilyfield – Sydney Yard section became disused and with the Inner West Light Rail that opened between Pyrmont and Central station in 1997 using part of its alignment. The light rail leaves the former railway corridor at Hay Street, leaving a short section of the corridor disused.

The section of the former goods line corridor from the northern end of the Devonshire Street Tunnel to Ultimo Road was converted into a pedestrian pathway and was originally called the Ultimo Pedestrian Network until it was renamed The Goods Line in 2012. Plans were then announced to expand the pathway through to Hay Street; this second section opened on 30 August 2015. The adjacent Dr Chau Chak Wing Building opened earlier in 2015; an entrance to the building is provided from The Goods Line.

## Design

The Goods Line was designed by ASPECT Studios and CHROFI. Design features include grassy lawns, dining tables, table tennis tables, study pods and a children's water play area with a sand pit. The design choices also took cues from the railways, and the designers suggested that instead of transporting materials and produce, the corridor now transports commodities of the modern economy: ideas, people, social and cultural interactions. Several rail artefacts have been preserved, including the Ultimo Road railway underbridge, built in 1879, and a lever frame from the Ultimo Street Signal Box. The design won a 2014 Australia Award for Urban Design in the Policies, Programs and Concepts – Small Scale category.

## Future

The original section, from Railway Square to Ultimo Road, will be upgraded. Transport for NSW is conducting a feasibility study on an extension towards the disused Regent Street railway station using the rail tunnel under Railway Square.

## InfoBox

| The Goods Line | |
| --- | --- |
| The Goods Line in August 2017 | |
|  | |
| Type | Urban linear park; public park |
| Location | Sydney (Map) |
| Coordinates | 33°52′57″S 151°12′09″E / 33.8826°S 151.2025°E / -33.8826; 151.2025 |
| Area | 800 m (2,625 ft) long |
| Created | 2012 (2012) |
| Operated by | Property NSW |
| Status | Open |


# List of number-one singles in Australia during the 1940s

The following lists the number one singles on the Australian Singles Chart during the 1940s.

The source for this decade is the "Kent Music Report". These charts were calculated in the 1990s in retrospect, by David Kent, using archival data. Before 1949, charts in Australia were only available on a monthly basis.

Note: during the 1940s, often more than one version of a particular song by different artists charted at the same time, thus more than one artist may be listed for a song. Different versions are separated by a semi-colon ;

## 1940

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Joe Loss; Carson Robison | "South of the Border (Down Mexico Way)" | 3 months |
| February | | | |
| March | | | |
| April | The Andrews Sisters; Joe Loss | "Beer Barrel Polka (Roll Out The Barrel)" | 1 month |
| May | Joe Loss; Glenn Miller | "Blue Orchids" | 3 months |
| June | | | |
| July | | | |
| August | Joe Loss | "Till the Lights of London Shine Again" | 3 months |
| September | | | |
| October | | | |
| November | Kate Smith; Glenn Miller | "The Woodpecker Song" | 5 months |
| December | | | |

## 1941

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Kate Smith; Glenn Miller | "The Woodpecker Song" | 5 months |
| February | | | |
| March | | | |
| April | The Tic-Toc Rhythm Orchestra; Dick Robertson | "Ferryboat Serenade" | 1 month |
| May | Vera Lynn; West End Players | "A Nightingale Sang in Berkeley Square" | 4 months |
| June | | | |
| July | | | |
| August | | | |
| September | Shep Fields; West End Players | "Down Argentina Way" | 1 month |
| October | Judy Garland; The Jesters | "It's a Great Day for the Irish" | 2 months |
| November | George Formby | "Bless 'em All" | 1 month |
| December | Judy Garland; The Jesters | "It's a Great Day for the Irish" | 2 months |

## 1942

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Glenn Miller & Joe Loss | "In the Mood" | 5 months |
| February | | | |
| March | | | |
| April | | | |
| May | | | |
| June | The Andrews Sisters; Sammy Kaye | "Daddy" | 1 month |
| July | Vera Lynn; Jean Cerchi | "(There'll Be Bluebirds Over) The White Cliffs of Dover" | 3 months |
| August | | | |
| September | | | |
| October | Horace Heidt; Ink Spots | "I Don't Want to Set the World on Fire" | 2 months |
| November | | | |
| December | Gene Autry; Horace Heidt | "Deep in the Heart of Texas" | 2 months |

## 1943

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Gene Autry; Horace Heidt | "Deep in the Heart of Texas" | 2 months |
| February | Harry James | "I Don't Want to Walk Without You" | 4 months |
| March | | | |
| April | | | |
| May | | | |
| June | Bing Crosby | "White Christmas" | 5 months |
| July | | | |
| August | | | |
| September | | | |
| October | | | |
| November | Dinah Shore | "Why Don't You Fall in Love With Me" | 1 month |
| December | Vera Lynn; Harry James | "I Had the Craziest Dream" | 1 month |

## 1944

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Ink Spots | "Ev'ry Night About This Time" | 1 month |
| February | Vera Lynn & Joe Loss | "You'll Never Know" | 3 months |
| March | | | |
| April | | | |
| May | Frank Sinatra; George Trevare | "Sunday, Monday or Always" | 2 months |
| June | | | |
| July | Ink Spots | "Whispering Grass (Don't Tell the Trees)" | 1 month |
| August | Dinah Shore; Glenn Miller | "Happy In Love" | 1 month |
| September | Bing Crosby & The Andrews Sisters | "Vict'ry Polka" | 1 month |
| October | Bing Crosby & The Andrews Sisters | "Pistol Packin' Mama" | 1 month |
| November | Joe Loss; Vera Lynn | "No Other Love" | 1 month |
| December | Ink Spots; Frank Sinatra | "A Lovely Way to Spend An Evening" | 1 month |

## 1945

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Geraldo; Lale Andersen | "Lili Marlene" | 1 month |
| February | Bing Crosby | "Amor, Amor" | 2 months |
| March | | | |
| April | Bing Crosby & Joe Loss | "Swinging on a Star" | 1 month |
| May | Bing Crosby; Dinah Shore | "Long Ago (and Far Away)" | 1 month |
| June | Bing Crosby; Dinah Shore | "It Could Happen to You" | 2 months |
| July | | | |
| August | Bing Crosby; Joe Loss | "I'll Be Seeing You" | 1 month |
| September | Bing Crosby & The Andrews Sisters | "Don't Fence Me In" | 3 months |
| October | | | |
| November | | | |
| December | Bing Crosby | "(Too Ra Loo Ra Loo Ral) That's an Irish Lullaby" | 1 month |

## 1946

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | The Organ, The Dance Band and Me; Les Brown | "My Dreams Are Getting Better All the Time" | 1 month |
| February | The Andrews Sisters | "Rum and Coca-Cola" | 2 months |
| March | | | |
| April | Ink Spots & Ella Fitzgerald | "Into Each Life Some Rain Must Fall" | 1 month |
| May | Bing Crosby; Frank Sinatra | "A Friend of Yours" | 2 months |
| June | | | |
| July | Ella Fitzgerald & The Ink Spots; Duke Ellington | "I'm Beginning to See the Light" | 1 month |
| August | Bing Crosby; Judy Garland | "On the Atchison, Topeka and the Santa Fe" | 2 months |
| September | | | |
| October | Bing Crosby; Freddy Martin | "Symphony" | 2 months |
| November | | | |
| December | Bing Crosby; Kate Smith | "Sioux City Sue" | 1 month |

## 1947

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Sammy Kaye; The Merry Macs | "Laughing on the Outside (Crying on the Inside)" | 1 month |
| February | Ink Spots; Perry Como | "Prisoner of Love" | 2 months |
| March | | | |
| April | Ink Spots; Freddy Martin | "To Each His Own" | 1 month |
| May | Frank Sinatra; Tex Beneke | "Five Minutes More" | 1 month |
| June | Bing Crosby; Dinah Shore | "You Keep Coming Back Like a Song" | 1 month |
| July | Bing Crosby; Perry Como | "They Say It's Wonderful" | 2 months |
| August | | | |
| September | Al Jolson; Bing Crosby | "The Anniversary Song" | 5 months |
| October | Frank Sinatra; Dick Haymes | "Mam'selle" | 1 month |
| November | Bing Crosby; Dick Haymes & The Andrews Sisters | "(There's No Business Like) Show Business" | 1 month |
| December | Al Jolson; Bing Crosby | "The Anniversary Song" | 5 months |

## 1948

| Date | Artist | Single | Months at number one |
| --- | --- | --- | --- |
| January | Al Jolson; Bing Crosby | "The Anniversary Song" | 5 months |
| February | | | |
| March | | | |
| April | Bing Crosby; Dick Haymes & The Andrews Sisters | "Near You" | 4 months |
| May | Perry Como; Joe Loss | "Chi-Baba, Chi-Baba (My Bambino Go to Sleep)" | 1 month |
| June | Bing Crosby; Dick Haymes & The Andrews Sisters | "Near You" | 4 months |
| July | | | |
| August | | | |
| September | Sammy Kaye; Geraldo | "Serenade of the Bells" | 1 month |
| October | Bing Crosby; Gracie Fields | "Now Is the Hour (Maori Farewell Song)" | 1 month |
| November | George Trevare; Art Mooney | "I'm Looking Over a Four Leaf Clover" | 1 month |
| December | Al Jolson; Perry Como | "When You Were Sweet Sixteen" | 1 month |

## 1949

| Week beginning | Artist | Single | Weeks at number one |
| --- | --- | --- | --- |
| 1 January | Dick Haymes & The Andrews Sisters | "Teresa" | 1 week |
| 8 January | Dinah Shore; Gene Autry | "Buttons and Bows" | 13 weeks |
| 15 January | | | |
| 22 January | | | |
| 29 January | | | |
| 5 February | | | |
| 12 February | | | |
| 19 February | | | |
| 26 February | | | |
| 5 March | | | |
| 12 March | | | |
| 19 March | | | |
| 26 March | | | |
| 2 April | | | |
| 9 April | Perry Como; Tony Pastor | "Rambling Rose" | 5 weeks |
| 16 April | | | |
| 23 April | | | |
| 30 April | | | |
| 7 May | | | |
| 14 May | Danny Kaye & The Andrews Sisters; Ray McKinley | "Put 'em in a Box, Tie 'em with a Ribbon" | 2 weeks |
| 21 May | | | |
| 28 May | Kay Kyser | "(I'd Like to Get You on a) Slow Boat to China" | 6 weeks |
| 4 June | | | |
| 11 June | | | |
| 18 June | | | |
| 25 June | | | |
| 2 July | | | |
| 9 July | Patty Andrews & Bob Crosby | "The Pussy Cat Song (Nyow! Nyot Nyow!)" | 4 weeks |
| 16 July | | | |
| 23 July | | | |
| 30 July | | | |
| 6 August | Ink Spots; Joe Loss | "Say Something Sweet to Your Sweetheart" | 2 weeks |
| 13 August | | | |
| 20 August | Bing Crosby; Joe Loss | "Far Away Places" | 5 weeks |
| 27 August | | | |
| 3 September | | | |
| 10 September | | | |
| 17 September | | | |
| 24 September | Evelyn Knight (singer); Sammy Kaye | "Powder Your Face with Sunshine" | 2 weeks |
| 1 October | | | |
| 8 October | Buddy Clark; Larry Green | "It's a Big, Wide, Wonderful World" | 4 weeks |
| 15 October | | | |
| 22 October | | | |
| 29 October | | | |
| 5 November | Vaughn Monroe; Bing Crosby | "Riders in the Sky" | 5 weeks |
| 12 November | | | |
| 19 November | | | |
| 26 November | | | |
| 3 December | | | |
| 10 December | Evelyn Knight (singer); Joe Loss | "A Little Bird Told Me" | 2 weeks |
| 17 December | | | |
| 24 December | Burl Ives; Dinah Shore | "Lavender Blue (Dilly Dilly)" | 6 weeks (4 weeks in 1950) |
| 31 December | | | |

## InfoBox

| Australian number-one singles of the 1940s1950s \> | |
| --- | --- |
| Australian top 25 singles | |
| 1940     1941     1942     1943     1944
1945     1946     1947     1948     1949 | |
| Australian top 25 albums | |
| 1940     1941     1942     1943     1944
1945     1946     1947     1948     1949 | |


title: Piano Quartet No. 1 (Mendelssohn)

abstract: Felix Mendelssohn's Piano Quartet No. 1 in C minor, Op. 1, for piano, violin, viola and cello was completed on 18 October 1822 and dedicated to Polish Prince Antoni Radziwiłł. Mendelssohn's three numbered piano quartets were the first works of his to be published, hence their opus numbers. The piece was published in 1823, when Mendelssohn was fourteen years old.

text:
# Piano Quartet No. 1 (Mendelssohn)

Felix Mendelssohn's **Piano Quartet No. 1 in C minor**, Op. 1 (MWV Q 11), for piano, violin, viola and cello was completed on 18 October 1822 and dedicated to Polish Prince Antoni Radziwiłł. Mendelssohn's three numbered piano quartets were the first works of his to be published, hence their opus numbers. The piece was published in 1823, when Mendelssohn was fourteen years old.

## Structure

The work has four movements:

1. Allegro vivace (C minor)
2. Adagio (A-flat major)
3. Scherzo: Presto (C minor)
4. Allegro moderato (C minor)

A typical performance lasts just under half an hour.


title: Melanie Amna Abas

abstract: Melanie Amna Abas is a British psychiatric epidemiologist who is Professor of Global Mental Health at the Institute of Psychiatry, Psychology and Neuroscience. She is a consultant psychiatrist at the South London and Maudsley NHS Foundation Trust, co-director of the NIHR Global Health Research Group African Youth in Mind, and leads the National Institutes of Health TENDAI Clinical Trial.

text:
# Melanie Amna Abas

**Melanie Amna Abas** is a British psychiatric epidemiologist who is Professor of Global Mental Health at the Institute of Psychiatry, Psychology and Neuroscience. She is a consultant psychiatrist at the South London and Maudsley NHS Foundation Trust, co-director of the NIHR Global Health Research Group *African Youth in Mind*, and leads the National Institutes of Health TENDAI Clinical Trial.

## Early life and education

Amna Abas attended the University of Birmingham, where she studied medicine. She moved to the London School of Hygiene and Tropical Medicine for her graduate studies, earning a master's degree in epidemiology. Her doctoral research at the University of Auckland evaluated socio-economic deprivation and length of psychiatric inpatient stay. Long stays in hospital are associated with a poor health outcome, and Amna Abas demonstrated that greater deprivation is associated with longer stays in hospital.

## Research and career

Amna Abas has dedicated her career to understanding depression amongst different demographic groups. Her early research explored the social causes of depression amongst Zimbabwean women. She was the first to show how cross-cultural events could cause depression. For example, she studied the effectiveness of the friendship bench mental health programme, and showed that co-morbid anxiety was a predictor of persistent depression. She argued that the psychological treatments proposed for use in lower middle income country and resource-limited settings (e.g. problem solving and interpersonal therapy) do not target fear, avoidance and worry. Amna Abas expanded her studies to other regions, including Thailand, Sri Lanka and Moldova.

At the Institute of Psychiatry, Psychology and Neuroscience, Amna Abas established a research group focused on scalable global mental health interventions. It uses social science and cultural analysis to develop contextually appropriate interventions for low-income countries. She has explored how behavioural interventions impact adherence with medical advice for conditions including HIV.

## Academic service

Amna Abas has focssed on capacity building amongst African researchers. She has contributed to the US-African Medical Education Partnership Initiative, which provides training to early and mid-career researchers across Africa. She is the King's College London partner for the African Mental Health Research initiative.

## Selected publications

* Mazeda Hossain; Cathy Zimmerman; Melanie Abas; Miriam Light; Charlotte Watts (21 October 2010). "The relationship of trauma to mental disorders among trafficked and sexually exploited girls and women". *American Journal of Public Health*. **100** (12): 2442–2449. doi:10.2105/AJPH.2009.173229. ISSN 1541-0048. PMC 2978168. PMID 20966379. Wikidata Q51832402.
* Tom Reynolds; Graham Thornicroft; Melanie Abas; Bob Woods; Juanita Hoe; Morven Leese; Martin Orrell (1 May 2000). "Camberwell Assessment of Need for the Elderly (CANE). Development, validity and reliability". *British Journal of Psychiatry*. **176**: 444–452. doi:10.1192/BJP.176.5.444. ISSN 0007-1250. PMID 10912220. Wikidata Q44090156.
* Melanie A. Abas; Barbara J. Sahakian; Raymond Levy (1 August 1990). "Neuropsychological deficits and CT scan changes in elderly depressives". *Psychological Medicine*. **20** (3, 03): 507-520, 507. doi:10.1017/S0033291700017025. ISSN 0033-2917. PMID 2236360. Wikidata Q48923530.

## InfoBox

| Melanie Amna Abas | |
| --- | --- |
| Alma mater | University of Auckland <br>University of Birmingham |
| **Scientific career** | |
| Institutions | Institute of Psychiatry, Psychology and Neuroscience |
| Thesis | *Socio-economic deprivation and length of psychiatric inpatient stay* (2003) |
|  | |


abstract: Validation and verification are procedures that ensure that medical devices fulfil their intended purpose. Validation or verification is generally needed when a health facility acquires a new device to perform medical tests.

text:
# Validation and verification (medical devices)

**Validation and verification** are procedures that ensure that medical devices fulfil their intended purpose. Validation or verification is generally needed when a health facility acquires a new device to perform medical tests.

## Validation or verification

The main difference between the two is that validation is focused on ensuring that the device meets the needs and requirements of its intended users and the intended use environment, whereas verification is focused on ensuring that the device meets its specified design requirements.

For instance, a regulatory agency (such as CE or FDA) may ensure that a product has been validated for general use before approval. An individual laboratory that introduces such an approved medical device may then not need to perform their own validation, but generally still need to perform verification to ensure that the device works correctly.

## Workflow

## Standards

Standards for validation and verification of medical laboratories are outlined in the international standard ISO 15189, in addition to national and regional regulations.

As per United States federal regulations, the following analytical tests need to be done by a medical laboratory that introduces a new testing device:

| Parameter(s) | Verification of
FDA-approved device | Validation of a
laboratory-developed test |
| --- | --- | --- |
| Accuracy and precision | Yes | Yes |
| Reportable range | Yes | Yes |
| Analytical sensitivity | Yes | Yes |
| Analytical specificity |  | Yes |
| Reference range | Verification | Establishment |
| Carryover effect |  | Yes |
| Sample/materials stability |  | Yes |

To establish a reference range, the Clinical and Laboratory Standards Institute (CLSI) recommends testing at least 120 patient samples. In contrast, for the verification of a reference range, it is recommended to use a total of 40 samples, 20 from healthy men and 20 from healthy women, and the results should be compared to the published reference range. The results should be evenly spread throughout the published reference range rather than clustered at one end. The published reference range can be accepted for use if 95% of the results fall within it. Otherwise, the laboratory needs to establish its own reference range.


title: Listed buildings in Weddicar

abstract: Weddicar is a civil parish in the Borough of Copeland, Cumbria, England. It contains two listed buildings that are recorded in the National Heritage List for England. Of these, one is listed at Grade II*, the middle of the three grades, and the other is at Grade II, the lowest grade. The parish is to the southeast of the town of Whitehaven, and is mainly rural. Both listed buildings originated as farmhouses.

text:
# Listed buildings in Weddicar

Weddicar is a civil parish in the Borough of Copeland, Cumbria, England. It contains two listed buildings that are recorded in the National Heritage List for England. Of these, one is listed at Grade II\*, the middle of the three grades, and the other is at Grade II, the lowest grade. The parish is to the southeast of the town of Whitehaven, and is mainly rural. Both listed buildings originated as farmhouses.

## Key

| Grade | Criteria |
| --- | --- |
| II\* | Particularly important buildings of more than special interest |
| II | Buildings of national importance and special interest |

## Buildings

| Name and location | Photograph | Date | Notes | Grade |
| --- | --- | --- | --- | --- |
| Nether End Farmhouse
54°31′48″N 3°33′14″W / 54.52993°N 3.55379°W / 54.52993; -3.55379 (Nether End Farmhouse) |  | 1624 | The farmhouse has been considerably altered and extended, mainly in the 19th century. It is in rendered stone with a string course, moulded eaves, and slate roofs. There are two storeys, four bays of the original part remain, there is a recessed two-bay 19th-century extension on the right, and an outshut at the rear. Above the door is a decorated, inscribed and dated lintel. The windows were originally mullioned or mullioned and transomed, and some have been altered and sashes or casements inserted. | II\* |
| The Cross
54°31′47″N 3°33′25″W / 54.52972°N 3.55704°W / 54.52972; -3.55704 (The Cross) |  | Late 18th to early 19th century | A large farmhouse later divided into flats, it is in ashlar with a lintel band, moulded eaves, and a slate roof with stone copings. There are two storeys, cellars, a symmetrical five-bay front, and a rear outshut. A stone staircase with wrought iron railings leads up to a central doorway that has a pediment and a fanlight with Gothic tracery. The windows are sashes in architraves, there is a stair window on the west front with a segmental head and ogee tracery, and a small Venetian window in the attic. | II |
|

### Citations

### Sources

* Historic England, "Nether End Farmhouse, Weddicar (1137431)", *National Heritage List for England*, retrieved 4 August 2016
* Historic England, "The Cross, Weddicar (1086692)", *National Heritage List for England*, retrieved 4 August 2016
* Historic England, *Listed Buildings*, retrieved 4 August 2016


title: MTA1 World

abstract: MTA1 WORLD or just MTA1 is the first television channel of the MTA International satellite network. It was launched on 1 January 1994 and was a continuation of AMP or 'Ahmadiyya Muslim Presentation'. After the launch of sister channels, the channel was renamed as MTA1. However, it is still loosely referred to as MTA or MTA International.

text:
# MTA1 World

**MTA1 WORLD** or just **MTA1** is the first television channel of the MTA International satellite network. It was launched on 1 January 1994 and was a continuation of AMP or 'Ahmadiyya Muslim Presentation'. After the launch of sister channels, the channel was renamed as MTA1. However, it is still loosely referred to as MTA or MTA International.

## History

### Background

The channel was established by Mirza Tahir Ahmad and became the first Muslim channel to specifically broadcast a variety of Islamic programmes. Its programmes are broadcast on the Sky UK platform, through Astra 2. The purpose of the channel was initially to primarily broadcast the sermons of the Khalifa.

### Electronic program guide

In April 2001, MTA began its electronic program guide when the channel launched on the Sky UK platform as a free-to-air channel.

### HD Broadcast

MTA1 began its HD broadcast on the Astra 2 in May 2022.

## Programs

The channel broadcasts a variety of programs in various global languages for the benefit of its international community. Programs are broadcast mainly in Urdu or English, but several programs are also simultaneously translated and broadcast in other languages such as English, German, Bengali, French, Urdu and others. An example of this is the program Friday Sermon which is translated live simultaneously in at least 8 languages including Arabic, Swahili and Indonesian. This is later translated into more languages like Russian and Spanish etc.

### Friday Sermon

The Friday Sermon was the first program aired on MTA International in 1992 and is MTA's longest-running programme. The caliph, currently Mirza Masroor Ahmad, delivers the Friday Sermon, from the Mubarak Mosque in Tilford. Through MTA therefore, the Imam is able to address not just the congregation, but also the entire world. It gives the Imam a chance to advise all Muslims at the same time on urgent matters that face them.

### Question and Answer Session

Mirza Tahir Ahmad, the late Fourth Caliph of the Ahmadiyya Muslim Community answers questions from guests in sessions held around the world. Questions included, why do only women in Islam have to cover themselves? How can there be a prophet after the Prophet Muhammad? What is the future of western society? Are natural disasters a punishment from God? The Caliph’s style blended knowledge with humour allows for providing thought-provoking answers to common questions.

### Bustan-e-Waqfe Nau and Gulshan-e-Waqfe Nau

Mirza Masroor Ahmad, accompanies Waqfe Nau children in the class in a learning but welcoming environment. There are three types of classes with reference to Gulshan-e-Waqfe Nau.

* Bustan-e-Waqfe Nau: This is with boys and girls under the age of 12
* Gulshan-e-Waqfe Nau Atfal: This is with boys between the ages of 12 and 15
* Gulshan-e-Waqfe Nau Khuddam: This is with boys above the age of 15
* Gulshan-e-Waqfe Nau Nasirat: This is with girls above the age of 12

### Intekhab-e-Sukhan

Intikhab-e-Sukhan is hosted by Mubarak Suiddique that features popular videos and nazm, or poetry. Viewers can send messages to be read live on air and request particular nazms. The programme begins with a hamd, a poem expressing love and devotion to God, followed by a Naʽat praising the Prophet Muhammad. Intikhab-e-Sukhan includes poetry from some of the most exceptional poets of past and present. Couplets composed by Mirza Ghulam Ahmad are regularly featured.

### Faith Matters

An Interactive program in English which allows viewers the opportunity to ask questions relating to faith in general. Questions asked vary widely in nature.

### Rah-e-Huda

An Interactive program in Urdu which allows viewers the opportunity to ask questions relating to specifically Ahmadiyyat. Some of the questions asked include, concerning the second coming of the Messiah in the latter days, the prophecies, the death of Jesus and the Finality of Prophethood. The questions can be asked live via phone, fax, text or email.

### Shotter Shondane

An Interactive program in Bengali which allows viewers the opportunity to ask questions mainly relating to Ahmadiyyat. The questions can be asked via phone or fax.

## InfoBox

MTA1 WORLD
|  | |
| --- | --- |
| Country | United Kingdom |
| Broadcast area | International |
| Network | MTA International |
| Headquarters | United Kingdom |
| Programming | |
| Language(s) | English, Urdu, Arabic |
| Picture format | 1080i HDTV
(downscaled to 16:9 576i for the SDTV-satellite feed) |
| Ownership | |
| Sister channels | MTA2HD Europe
MTA3 العربية
MTA4 Africa
MTA5 Africa
MTA6 Asia
MTA7HD Asia
MTA8HD America
MTA 8+3 |
| History | |
| Launched | January 1994 |
| Former names | Ahmadiyya Muslim Presentation
MTA International
MTA1 Al-Awala
MTA1 |
| Links | |
| Website | www.mta.tv |
| Availability | |
|  | |
| Terrestrial | |
| RBN Network
Suriname | Channel 5.3 |
| Streaming media | |
| Website | Watch live
(International) |
| YouTube | Watch Live |
| TuneIn Radio | Listen Live
(Original & English & Urdu) |
|  | |


title: Pajares de la Lampreana

abstract: Pajares de la Lampreana is a municipality located in the province of Zamora, Castile and León, Spain. According to the 2004 census (INE), the municipality had a population of 496 inhabitants.

text:
# Pajares de la Lampreana

**Pajares de la Lampreana** is a municipality located in the province of Zamora, Castile and León, Spain. According to the 2004 census (INE), the municipality had a population of 496 inhabitants.

41°43′N 5°42′W / 41.717°N 5.700°W / 41.717; -5.700

## InfoBox

| Pajares de la Lampreana | |
| --- | --- |
|  | |
|  | |
| Country | Spain |
| Autonomous community | Castile and León |
| Province | Zamora |
| Municipality | Pajares de la Lampreana |
| Area | |
| Total | 27.95 km2 (10.79 sq mi) |
| Elevation | 696 m (2,283 ft) |
| Population (2018) | |
| Total | 336 |
| Density | 12/km2 (31/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Climate | Csb |


title: The Goodwill

abstract: The Goodwill was a post-hardcore band from Long Island, New York formed in 2001. They released two full-length albums- 'That Was a Moment' on Negative Progression Records in 2003 and 'Insult, Injury, Etc...' on Abacus Recordings in 2005.

text:
# The Goodwill

**The Goodwill** was a post-hardcore band from Long Island, New York formed in 2001. They released two full-length albums- 'That Was a Moment' on Negative Progression Records in 2003 and 'Insult, Injury, Etc...' on Abacus Recordings in 2005.

## Discography

### Albums

* "That Was a Moment" Released on February 11, 2003, on Negative Progression Records
* "Insult, Injury, Etc..." Released on March 8, 2005, on Abacus Recordings

## InfoBox

| The Goodwill | |
| --- | --- |
| Origin | Long Island, New York, United States |
| Genres | Post-hardcore
Pop-punk |
| Years active | 2001–2006 |
| Labels | Abacus Recordings
Negative Progression Records |
|  | |
| Past members | Travis Johnides
Greg Oechslin
Brian DiCosmo
Dan Sanchez
Josh Moskoviz
Jay Giacomazzo
Brian Barbuto |


title: List of number of conflicts per year

text:
# List of number of conflicts per year

This page tracks the number of military conflicts with more than 1,000 fatalities, a categorization used by the Uppsala Conflict Data Program. It covers past years. For a list of ongoing conflicts, see: List of ongoing armed conflicts.

## Number of conflicts per year

| Year | +10,000 | +1,000 | Map and evolution   Major wars, 10,000+ deaths in year  Wars, 1,000–9,999 deaths in year | Armed conflict-related fatalities by country |
| --- | --- | --- | --- | --- |
| **2018** | 4 | 7 |  | Rank Country Deaths  1  Afghanistan 35,941  2  Mexico 33,341  3  Yemen 22,201  4  Syria 20,130  5  Iraq 4,920  6  Nigeria 4,850  7  Somalia 3,862  8  Saudi Arabia 3,509  9  DR Congo 1,757  10  Mali 1,285  11  South Sudan 1,166  12  India 988  13  Cameroon 945  14  Ethiopia 886  15  CAR 842  16  Pakistan 736  17  Libya 727  18  Colombia 709  19  Sudan 600  20  Turkey 530 |
| **2017** | 4 | 15 |  | Rank Country Deaths  1  Syria 39,000  2  Mexico 31,174\*  3  Afghanistan 23,065  4  Iraq 13,187  5  Myanmar 6,700+  6  Somalia 4,969  7  South Sudan 3,528  8  Nigeria 3,432  9  Sudan 2,450  10  DR Congo 1,857  11  CAR 1,757  12  Libya 1,564  13  Egypt 1,506  14  Ethiopia 1,445  15  Philippines 1,429  16  Yemen 1,319  17  Pakistan 1,269  18  Mali 926  19  Turkey 802  20  India 700 |
| **2016** | 3 | 11 |  | Rank Country Deaths  1  Syria 49,742  2  Mexico 23,953\*  3  Iraq 23,898  4  Afghanistan 23,539  5  Somalia 5,575  6  Nigeria 4,684  7  Sudan 3,891  8  South Sudan 3,544  9  Libya 2,865  10  Turkey 2,013  11  Pakistan 1,803  12  Egypt 1,707  13  DR Congo 1,565  14  Yemen 1,375  15  Ethiopia 1,114  16  India 905  17  Ukraine 902  18  CAR 623  19  Burundi 461  20  Algeria 128 |
| **2015** | 4 | 10 |  | Rank Country Deaths  1  Syria  55,219  2  Afghanistan  36,345  3  Iraq  24,113  4  Nigeria  10,677  5  Mexico  8,122  6  Yemen  6,425  7  Pakistan  4,612  8  Ukraine  4,344  9  Somalia  4,087  10  South Sudan  3,258  11  Sudan  3,216  12  Egypt  2,836  13  Libya  2,706  14  DR Congo  1,699  15  Cameroon  1,429  16  Niger  986  17  Myanmar  881  18  Ethiopia  602  19  Burundi  551  20  India  534  21  Philippines  501  22  CAR  475  23  Mali  414  24  Colombia  410  25  Thailand  246  26  Russia  209  27  China  197  28  Israel/ Palestine  190  29  Lebanon  91  30  Iran  64 |
| **2014** | 5 | 10 |  | Rank Country Deaths  1  Syria  76,021  2  South Sudan  50,000  3  Iraq  24,000  4  Afghanistan  14,638  5  Nigeria  11,360  6  Mexico  7,504   7  Ukraine  5,798  8  Pakistan  5,496  9  Somalia  4,447  10  Sudan  3,892  11  Central African Republic  3,347  12  Libya  2,825  13  Israel/ Palestine  2,365  14  Yemen  1,500  15  Cameroon  1,366  16  DR Congo  1,235  17  Egypt  1,176  18  India  976  19  Kenya  618  20  China  500  21  Colombia  459  22  Philippines  386  23  Mali  380  24  Russia  341  25  Thailand  330  26  Ethiopia  309  27  Lebanon  297  28  Algeria  242  29  Bangladesh  76  30  Armenia/ Azerbaijan  71 |
| **2013** | 3 | 10 |  | Rank Country Deaths  1  Syria 73,447  2  Mexico 11,324  3  Afghanistan 10,172  4  Iraq 9,742  *5*  Sudan 6,816  6  Pakistan 5,739   7  Nigeria 4,727  8  South Sudan 4,168  9  Somalia 3,153  10  Central African Republic 2,364  11  DR Congo 1,976  12  India 885   13  Mali 870  14  Egypt 730  15  Kenya 705  16  Libya 643  17  Yemen 600  18  Russia 529   19  Thailand 455  20  Algeria 340  21  Philippines 322  22  Colombia 124  23  Myanmar 62 |
| **2012** | 2 | 6 |  | Rank Country Deaths  1  Mexico 18,061   2  Syria 14,825   3  Afghanistan 7,225   4  Iraq 4,622   5  Pakistan 5,211   6  Somalia 2,445   7  Yemen 2,328   8  Sudan 1,119   9  Nigeria 812   10  Turkey 811   11  India 803   12  Russia 700   13  DR Congo 611   14  Algeria 244   15  Colombia 211   16  South Sudan 137 |
| **2011** | 1 | 3 |  | Rank Country Deaths  1  Mexico 24,068  2  Libya 9,400  3  Pakistan 6,303   4  Iraq 4,153   5  India 1,073   6  Russia 750   7    Nepal 19 |
| **2010** |  |  |  | Rank Country Deaths  1  Pakistan 7,435   2  Iraq 4,167   3  India 1,902   4  Russia 749   5    Nepal 38 |
| **2009** |  |  |  | Rank Country Deaths  1  Sri Lanka 15,565   2  Pakistan 11,704   3  Iraq 5,369   4  India 2,232   5    Nepal 50 |
| **2008** |  |  |  | Rank Country Deaths  1  Sri Lanka 11,144   2  Iraq 10,271   3  Pakistan 6,715   4  India 2,619   5    Nepal 81 |
| **2007** |  |  |  | Rank Country Deaths  1  Iraq 26,036   2  Sri Lanka 4,377   3  Pakistan 3,598   4  India 2,615   5    Nepal 99 |
| **2006** |  |  |  | Rank Country Deaths  1  Iraq 29,451   2  Sri Lanka 4,126   3  India 2,770   4  Pakistan 1,471   5    Nepal 480 |
| **2005** |  |  |  | Rank Country Deaths  1  Iraq 16,583   2  India 3,259   3    Nepal 1,845   4  Pakistan 648   5  Sri Lanka 330 |
| **2004** |  |  |  | Rank Country Deaths  1  Iraq 11,736   2    Nepal 2,451   3  Pakistan 863   4  Sri Lanka 109 |
| **2003** |  |  |  | Rank Country Deaths  1  Iraq 12,125   2    Nepal 2,105   3  Pakistan 189   4  Sri Lanka 59 |

### Citations

### Notes

1. Data for African countries are based on ACLED, excluding riots/protests-related fatalities"ACLED Version 6 (1997–2015)". Armed Conflict Location & Event Data Project. Archived from the original on 18 January 2016. Retrieved 6 January 2016.


title: Piano Quartet No. 1 (Enescu)

abstract: The Piano Quartet No. 1 in D major, Op. 16, is a chamber music composition by the Romanian composer George Enescu, written in 1909 and first performed in Paris the same year.

text:
# Piano Quartet No. 1 (Enescu)

The **Piano Quartet No. 1** in D major, Op. 16, is a chamber music composition by the Romanian composer George Enescu, written in 1909 and first performed in Paris the same year.

## History

Enescu composed his First Piano Quartet in 1909: the first movement in Sinaia, the remaining two movements in Paris. The work was completed on 10 December, just over a week prior to the concert in which it was premiered, in the series Soirées d'Art on 18 December 1909—a programme that also included the premiere of the already ten-year-old Octet for Strings. The score is dedicated to Mme Ephrussi, the wife of the Parisian banker Michel Ephrussi.

There were only two further performances of the Quartet in the composer's lifetime: on 18 May 1910, and again in 1933, both times with the composer at the piano. It seems likely that Enescu had doubts about the work and might have wished to revise the score. This never happened, however, and the Quartet remained unpublished until 1965, a decade after the composer's death.

## Analysis

The quartet is in three movements:

* Allegro moderato
* Andante mesto
* Vivace

The opening movement, a sonata-allegro in D major, starts with the principal theme presented in the unison—a device of which Enescu was fond. This theme resembles the first theme of Enescu's Wind Decet, composed three years earlier, but its development occasionally looks forward to the heterophony characteristic of Enescu's later style.

The central Andante movement is a song form in the key of A-flat minor, a tritone away from the home key of the outer movements—a relationship that Enescu will explore again in the Second Symphony. The main theme is particularly expressive, with modal coloring, and is presented at the outset of the movement in the cello. The second theme group is largely derived from the first theme, but displays a scalewise melodic cell alternating semitones and whole tones, which will emerge as a full descending octatonic scale five bars after rehearsal 39. In the coda, the piano unexpectedly introduces the secondary theme of the first movement, which is the only cyclic feature found in this work.

The finale is, like the opening movement, in sonata-allegro form, but opens unexpectedly in D minor rather than major. It possesses a relentless rhythmic pulsation which, together with a vigorous cheerfulness, serves well the traditional function of a finale, but also that of a scherzo, a movement this work lacks.

### Cited sources

* Bentoiu, Pascal. 2010. *Masterworks of George Enescu: A Detailed Analysis*, translated by Lory Wallfisch. Lanham, MD: Scarecrow Press. ISBN 978-0-8108-7665-1 (cloth) ISBN 978-0-8108-7690-3 (ebook).
* Firca, Clemansa Liliana. 1965. Liner notes to the LP recording of the Quartet by Maria Fotino (piano), Daniel Podlovski (violin}, Alexandru Rădulescu (viola), and Ion Fotino (violoncello). 1 disc: 33⅓ rpm, stereo. Electrecord ECE 0271. Bucharest: Electrecord.
* Hoffman, Alfred, and Adrian Rațiu. 1971. "Muzician Internațional (1907–1913)". In *George Enescu: Monografie*, 2 vols., edited by Mircea Voicana, 331–404. Bucharest: Editura Academiei Republicii Socialiste România.
* Malcolm, Noel. 1990. *George Enescu: His Life and Music*, with a preface by Sir Yehudi Menuhin. London: Toccata Press. ISBN 0-907689-32-9.

## InfoBox

| Piano Quartet No. 1 | |
| --- | --- |
| Chamber music by George Enescu | |
| Enescu in the 1910s | |
| Key | D major |
| Opus | 16 |
| Composed | 1909 (1909) |
| Dedication | Mme Ephrussi |
| Performed | 18 December 1909 (1909-12-18) Paris |
| Published | 1965 (1965) |
| Movements | 3 |
| Scoring | * piano * violin * viola * cello |


title: Mekimi

abstract: Mekimi is a non-profit organization operating in Israel aimed at assisting families in financial distress so that they may regain their economic independence. Based in Jerusalem and established in 2011, Mekimi is not a sectorial organization yet the majority of families seeking help from Mekimi come from the National Religious segment. Mekimi works with the families and professionals such as lawyers, accountants, mortgage brokers, and even marriage counselours to restructure family debt which has so far included cases between 20 000NIS to 500 000NIS. One of Mekimi's unique features is to galvanize the community around the family in financial crisis and without the community knowing specifically who is being helped. Mekimi raises money to help the family settle debts from banks, lenders and even loan sharks and also teaches them to reduce usage or altogether stop using credit cards, cheques. The service is given free of charge. In April 2014, Petah Tikva was the location of Mekimi' opening a second branch. israel Livman, formerly the vice-president of operations at Paamonim, founded Mekimi in memory of both his father who had died and a brother who had been killed, and now serves as the organization's director. Livman explains the motivation behind forming a similar organization in that while Paamonim helps the vast majority of families that approach it, it ends up turning away some hard cases which it does not have the resources to assist. Livman took on the challenge to help those extreme cases. Some of the families get stuck in the vicious downward cycle of black market moneylenders and in these cases, Livman might meet with them in order to restructure and mediate a solution to pay off the loan. Mekimi has publicly called for banks to resist tempting customers to go further into debt and for families to make do with what they have even if it means selling a car or moving to a smaller home.

text:
# Mekimi

**Mekimi** is a non-profit organization operating in Israel aimed at assisting families in financial distress so that they may regain their economic independence.

Based in Jerusalem and established in 2011, Mekimi is not a sectorial organization yet the majority of families seeking help from Mekimi come from the National Religious segment. Mekimi works with the families and professionals such as lawyers, accountants, mortgage brokers, and even marriage counselours to restructure family debt which has so far included cases between 20 000NIS to 500 000NIS. One of Mekimi's unique features is to galvanize the community around the family in financial crisis and without the community knowing specifically who is being helped. Mekimi raises money to help the family settle debts from banks, lenders and even loan sharks and also teaches them to reduce usage or altogether stop using credit cards, cheques. The service is given free of charge. In April 2014, Petah Tikva was the location of Mekimi' opening a second branch.

israel Livman, formerly the vice-president of operations at Paamonim, founded Mekimi in memory of both his father who had died and a brother who had been killed, and now serves as the organization's director. Livman explains the motivation behind forming a similar organization in that while Paamonim helps the vast majority of families that approach it, it ends up turning away some hard cases which it does not have the resources to assist. Livman took on the challenge to help those extreme cases. Some of the families get stuck in the vicious downward cycle of black market moneylenders and in these cases, Livman might meet with them in order to restructure and mediate a solution to pay off the loan. Mekimi has publicly called for banks to resist tempting customers to go further into debt and for families to make do with what they have even if it means selling a car or moving to a smaller home.

## InfoBox

Mekimi
|
|  |
| Location | * Israel |
| Employees | 4 (as of 2013) |
| Website | www.mekimi.org.il/en |


title: Valérie (film)

abstract: Valérie is a 1969 black-and-white Canadian erotic film directed by Denis Héroux. It was the first Quebec film to show nudity. It turned an unprecedented gross of $1.68 million, making it the highest-grossing Canadian film of its time.

text:
# Valérie (film)

***Valérie*** is a 1969 black-and-white Canadian erotic film directed by Denis Héroux. It was the first Quebec film to show nudity. It turned an unprecedented gross of $1.68 million, making it the highest-grossing Canadian film of its time.

## Plot

Danielle Ouimet upon leaving a convent with the leader of a motorcycle gang, discovers the hippie culture of Montreal and turns to prostitution. This improbable storyline, made famous by the frank display of nudity and sexuality, came from a culture that was still labouring under a strong sense of Catholic guilt. It was the first of a group of films known as maple-syrup porn.

## Production

*Valérie* was filmed in August and September 1968, with a budget of $99,000 (equivalent to $827,282 in 2023).

## Release

The film was released in Montreal on 2 May 1969, by Cinépix, the producer and distributor. It was the highest-grossing of all-time in Canada with a gross of $1,684,000 and earned $2 million (equivalent to $15,949,239 in 2023) after being shown in forty countries. It was the most attended Quebec film since *Little Aurore's Tragedy*. The film was seen by 153,734 people in France.

## Works cited

## InfoBox

| Valérie | |
| --- | --- |
| Film poster | |
| Directed by | Denis Héroux |
| Written by | John Dunning (scenario)
Louis Gauthier (dialogue)
Denis Héroux (idea)
André Link (scenario)
Richard Sadler (scenario) |
| Produced by | John Dunning
André Link |
| Starring | Danielle Ouimet
Guy Godin |
| Cinematography | René Verzier |
| Edited by | Jean LaFleur |
| Music by | Joe Gracy
Michel Paje |
| Production
company | Cinépix |
| Distributed by | Cinépix |
| Release date | * 2 May 1969 (1969-05-02) |
| Running time | 96 minutes |
| Country | Canada |
| Language | French |
| Budget | $99,000 |
| Box office | $2 million |