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The Montana Meth Project (MMP)(also known as the Montana Myth Project) is a Montana-based organization founded by billionaire Thomas Siebel which seeks to reduce methamphetamine abuse by using propoganda techniques popularized by the Nazi party in 30's, particularly among teenagers. The main venture of the MMP is a saturation-level advertising campaign of television, radio, and print ads which very graphically and overdramatically depict the consequences of methamphetamine use. Common elements are the deterioration of each teenage subject's health and living conditions, amphetamine psychosis, moral compromise, and regret. The effectiveness of the campaign at reducing methamphetamine use is disputed.
Contents
1 Effectiveness
1.1 Office of National Drug Control Policy report
1.2 Prevention Science critical review
2 Government funding and expansion
3 Television ads
3.1 2005-2006: Directed by Tony Kaye
3.1.1 Wave I
3.1.2 Wave II
3.2 2007: Directed by Darren Aronofsky
3.2.1 Wave III
3.3 2008: Directed by Alejandro Gonzez I?ritu
3.3.1 Wave IV
4 References
5 External links
5.1 Press
//
Effectiveness
The Meth Project Foundation (MPF) claims that since the inception of the program in 2005, Montana has seen a 45% decrease in teen methamphetamine use, a 72% decrease in adult methamphetamine use(disputed, the advertising campaign cannot claim to be the direct cause when so many other variables are involved..i.e. stricter guidelines, lack of precursor availability, etc), and a 62% decline in methamphetamine-related crimes (bias. any crime committed, whether or not methamphetamines were a direct cause, if they were present or if known individuals involved had meth related history, is considered a "meth-related crime".) The Meth Project most recent survey shows that teen/young adult usage of meth increased and has remained above the 2005 baseline usage level. From the MMP's Use & Attitudes Survey of 2008:
2005
2006
2007
2008
2%
6%
4%
3%
Office of National Drug Control Policy report
In November 2006, the Office of National Drug Control Policy (ONDCP) published a report, Pushing Back Against Meth: A Progress Report on the Fight, highlighting the impact of recently enacted State and Federal laws, such as the Combat Methamphetamine Epidemic Act (CMEA) of 2005, that restricted transactions for the over the counter drugs that can be used to manufacture methamphetamine. Based on the results of Quest Diagnostics' preliminary review of workplace drug tests conducted during the first five months of 2006, the nationwide adult usage of meth declined by 12% when compared to the same period in 2005. Quest provided state-level results: on the state level, results varied according to the strictness and duration of the states' laws. "Montana methamphetamine precursor law went into effect July 1st 2005. The Montana law is stricter than the CMEA in several important respects." Montana workplace drug testing results showed a 69.4% decrease in positive tests for amphetamine. Montana's Attorney General and the MMP attribute Montana's decrease in adult meth usage to the MMP. However, the ONDC reported: "The primary reason for this positive trend is the enactment of various State laws...which implemented restrictions on transactions involving products containing certain chemicals (primarily, ephedrine and pseudoephedrine) that can be used to make methamphetamine."
Prevention Science critical review
A critical review of the Montana Meth Project's advertising campaign was published in the peer-review journal Prevention Science in December 2008. The review examined the Meth Project's statistical methodology and data reporting. The review found that the Meth Project had selectively reported their research findings (very obviously....doing bad in the name of good is still doing bad), focusing on unrepresentative positive findings and ignoring data suggesting that the campaign may be associated with harmful outcomes. The review found that the Meth Project's data suggests that exposure to the graphic ads may lead to an increase in the percentage of teenagers who believe that taking meth is socially acceptable and not dangerous. Such 'boomerang' effects in response to persuasive, graphic ads are not uncommon, and are predicted by the theory of psychological reactance.
Government funding and expansion
Many in the Montana state legislature hailed the project as an unprecedented success, and moved to fund the previously privately-funded project with tax dollars. The move to provide public funding for the Meth Project was opposed by some legislators and drug prevention and treatment professionals, who asserted that the Meth Project's effectiveness is unproven and that research shows that these type of media campaigns are...(and so on)

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Captain Scarlet and the Mysterons
North American DVD release
Format
Supermarionation Science Fiction Adventure
Created by
Gerry and Sylvia Anderson
Starring
Francis Matthews
Country of origin
United Kingdom
No. of episodes
32 (List of episodes)
Production
Running time
25 minutes
Broadcast
Original channel
ITV
Original run
September 29, 1967 May 14, 1968
Captain Scarlet and the Mysterons, often referred to as simply Captain Scarlet, is a science fiction television series produced by the Century 21 Productions Television company of Gerry Anderson, John Read, Reg Hill and Sylvia Anderson. It was first shown in the United Kingdom (originally on ATV Midlands, but later the whole of the UK) between September 1967 and May 1968. It used puppetry (Supermarionation) and scale model special effects.
The series is one of several of popular science-fiction TV adventure series the Andersons produced in the 1960s, beginning with Supercar and followed by Fireball XL5, Stingray, Thunderbirds, Captain Scarlet and the Mysterons, Joe 90, and the little-seen The Secret Service. Captain Scarlet and the Mysterons was the first series made after the international success of Thunderbirds in 1964-66.
Contents
1 Synopsis
2 Characters
2.1 Spectrum personnel
3 Puppets
4 Title sequence and closing credits
4.1 Closing credit lyrics
4.2 Paintings
4.3 Alternative versions
5 Episode list
6 Series storyline
7 Later productions
7.1 Gerry Anderson's New Captain Scarlet
8 Original novels
9 Manga
10 Stations
11 References
12 See also
13 External links
//
Synopsis
On a mission to Mars in 2068, a Mysteron installation is attacked and destroyed by a team of three Earth explorers, including Captain Black, leading the Mysterons to declare a "War of Nerves" on Earth. The Mysterons have the ability to replicate and then control any person or object they first kill or destroy, through their power of "retro-metabolism". They use this power to conduct a war of terror against Earthrimarily aimed at the world leaders, major cities, industrial and defence establishments, and, of course, "Spectrum" and its airborne Cloudbase headquarters. The Mysterons are never seen; their presence is indicated by two circles of light tracking across the scene. Their actions on Earth are always through their replicated intermediaries with the possible exception of Captain Black whose death is never portrayed and who may simply have been "turned" as their first agent whilst still on Mars. Although this distinction is never made in the series, the accompanying book states that Black was killed and revitalised by the Mysterons in much the same way as their other victims throughout the series.
Captain Scarlet becomes Spectrum's principal weapon at the forefront of the battle with the Mysterons after the events of the first episode, "The Mysterons". In that episode, Scarlet (whose real name is Paul Metcalfe) is one of two Spectrum agents (the other being fellow Spectrum agent Captain Brown) killed by the Mysterons in a rigged car crash and then replaced with a duplicate under their control; for reasons never explained in or out of the series, however, when the duplicate falls 800 feet from a tower the personality of Paul Metcalfe reasserts itself in the duplicate, who is immune thereafter to Mysteron control. Not only that, but Scarlet's new body has two new powers: it allows him to sense the presence of other Mysteron duplicates nearby, and if he should be injured or even killed, retro-metabolism will re-create him as good as before. ("Self-repairing" might be a more accurate way to describe this than the "indestructible" that the series uses, since it is established that Scarlet feels all the pain associated with any injuries he suffers.) This allows Scarlet to employ suicidally reckless options in order to foil the Mysterons, confident that while he will still experience the pain of the experience, he will fully recover from whatever injury results. This advantage is kept secret outside Spectrum, and even Captain Blue is often heard saying "But Captain, you'll be killed!" Later in the series, the Mysteron duplicates are discovered to be vulnerable to high-voltage electricity, implying that the same could permanently destroy Scarlet.
Characters
Spectrum personnel have military ranks and colour based code names (hence Captain Scarlet), and they are headed by Colonel White. Other characters include Captains Blue, Ochre, Grey, and Magenta, Lieutenant Green, and the five female fighter pilots, who have a different collective codename the Angels and are individually Destiny, Symphony, Melody, Rhapsody, and Harmony.
Spectrum personnel
Code name
Real name
...(and so on)

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Norma Desmond
First appearance
Sunset Boulevard
Portrayedby
Gloria SwansonMiriam HopkinsMary AstorElaine PaigePatti LuPoneGlenn CloseDiahann CarrollLinda BalgordDebra ByrnePetula ClarkHelen SchneiderPia DouwesSimone Kleinsma
Information
Gender
Female
IMDb profile
Norma Desmond is a main character in Billy Wilder's film Sunset Boulevard.
An aging former star of silent movies, Desmond (Gloria Swanson) has withdrawn to her Gothic Beverly Hills mansion, off Sunset Boulevard, nursing dreams of a return to stardom while her grip on reality grows ever more tenuous over the years. Her one companion is Max (Erich von Stroheim), her butler, former director and we later learn, first husband, who serves as her protector and shields her from the outside world. Because he is still in love with her, he tells her she is still a star, and cuts her off from the news media to keep her from realizing that she has been completely forgotten by her beloved public.
One day Joe Gillis (William Holden), a young, unemployed screenwriter arrives at Desmond's with a flat tire on his 1946 Plymouth after being chased by two repo men. He parks the car inside the garage of the mansion and is summoned by Norma to the front door. She confuses him for an undertaker for her just deceased pet chimpanzee.
Norma finds out that Joe Gillis is in fact a writer and asks him to take a look at a manuscript she has been working for a while. It is the story of Salome, and she plans to star in it, though she is way past her prime.
Joe quickly sees a chance to milk money out of the delusional star; he promises to fix her a script for a star vehicle, and Norma agrees as she wants to send the manuscript to Paramount Pictures' famed director Cecil B. DeMille, with whom Desmond once worked. Desmond is elated; she sees in Gillis the chance to regain her youthful promise, and sets him up in style, buying his clothes and paying all his expenses. Max sees through Gillis immediately, but puts up with the charade because it makes his beloved "madame" happy. As time passes, however, Desmond becomes increasingly unstable when it becomes clear that there is no hit movie for her in the works, and increasingly jealous of and dependent upon Gillis. She professes her love for him at a New Year's Eve party, but he rejects her and leaves.
He attends another party, where he first flirts with screen writer Betty (Nancy Olson) and makes plans to move out of Norma's mansion. Norma makes a suicide attempt, and when Joe returns to comfort her, she seduces him.
Meanwhile, Paramount Studios calls repeatedly for Norma. She believes DeMille wants to produce her script. In actuality, Paramount just wants to use her vintage car in a film. While Norma visits DeMille on the set, Max learns that the calls were about the car. He tells Gillis but hides this from Norma. DeMille himself takes pity on her and tells her what she wants to hear.
Gillis begins writing a screenplay with Betty in secret, and Betty tells him she has fallen in love with him. When he hears Norma having a phone conversation with Betty, in an attempt to scare her away, he invites Betty to the mansion and confesses the situation, euphemistically "a older woman who's well-to-do" and a "young man who's not doing too well."
After driving away Betty, Gillis tells Norma he's leaving for good. Desmond snaps and shoots him to death, leaving his body floating in her pool and going into shock. When the police arrive, she thinks they are merely her adoring fans and the production crew for her movie. Elegantly striding toward a news camera, she utters the iconic line, "All right, Mr. DeMille, I'm ready for my close-up."
Actresses
Norma Desmond was played on screen by Gloria Swanson.
The actresses who were considered for the role of Norma Desmond in the 1950 screen version, but declined, were Greta Garbo, Norma Shearer, Pola Negri, Mae West, and Mary Pickford.
Miriam Hopkins and Mary Astor played the role in two separate t.v. productions based on the film.
In the Andrew Lloyd Webber stage musical, the role was played by Patti LuPone (in London's West End), Elaine Paige (in London's West End and on Broadway), Glenn Close (in Los Angeles and on Broadway), Betty Buckley (in London's West End and on Broadway), Rita Moreno (in London's West End), Diahann Carroll (in Toronto), Faith Brown in a 2001 UK tour revival, Debra Byrne, Maria Mercedes and Judi Connelli in the two separate Australian productions and Helen Schneider, Christina Grimandi, Sue Mathys and Daniela Ziegler in the German version of the musical; Pia Douwes and Simone Kleinsma played the role in the 2008 Dutch tour of the show. Petula Clark, who appeared in the London production and took the show on a lengthy tour throughout the US, has played the role more often than any other actress, with more than 2500 performances to her credit. In...(and so on)

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(Redirected from Tri band)
Tri band phones (also known as tri-band or triband) are mobile phones that support three frequency bands. Having more than one frequency in one device is useful to enable roaming between different countries and continents. Tri-band technology is slowly becoming the norm among many manufacturers.
Contents
1 2G
2 3G
2.1 Devices
3 See also
4 External links
//
2G
Further information: GSM frequency bands
Various countries use different frequency bands for their mobile networks and a triband phone can be used on three of these bands, generally speaking, chosen to favour two of the home country's bands, and one for roaming in other countries.
GSM frequency bands used around the world:
850 MHz (In America)
900 MHz (In Africa, Europe, and many parts of Asia and Latin America)
1800 MHz (In Africa, Europe, and Asia and many parts of Latin America)
1900 MHz (In America)
2G Triband phones are mobile phones that support the GSM 900/1800/1900 MHz bands commonly sold in Europe, Asia and Africa, (for example the LG KE820 is a triband mobile phone that is sold in Europe, but works in big cities of America but not so well in suburbs and rural areas).Or alternatively the 850/1800/1900 bands (commonly sold in the Americas). The Motorola V300 formerly carried by Rogers Wireless used a rare combination of 850/900/1900. A 2G Quad band (850/900/1800/1900) offers more coverage and is now quite common.
3G
Further information: UMTS frequency bands
UMTS / HSDPA devices operate in UMTS frequency bands 850/1900/2100 or 850/1700/2100 MHz:
2100 (downlink) / 1900 (uplink) for Europe and Asia (usually referred simply as W-CDMA 2100)
1900 / 850 (independently, for both the uplink and downlink) for America (e.g. AT&T)
2100 (downlink) / 1700 (uplink) for America (e.g. T-Mobile)
850 for Australia (Telstra NextG)
UMTS / HSDPA / HSUPA is a further evolution.
Note that being UMTS / HSDPA / HSUPA tri band doesn't mean that phone is a GSM / GPRS / EDGE tri band. An HSUPA tri band might not be a GSM at all. However nearly all HSDPA or HSUPA tri band are EDGE quad band too.
A 3G Quad band offers more coverage.
Devices
Some UMTS / HSDPA 850/1900/2100 tri band are already available:
Apple - iPhone 3G
ASUS -
BandRich - BandLuxe C100
Gigabyte - GSmart MS820, MS808, MS804, MD800
Glofiish (E-Ten/Acer) - Glofiish V900
HTC HTC TyTN, HTC P3600, HTC Advantage X7500, HTC Shift (Ultra-Mobile PC), HTC S420, HTC S630, HTC P4550, HTC P6500, HTC Touch Cruise
Huawei E800 Data Card (ExpressCard)
i-mate JASJAM, Ultimate series 5150 6150 7150 8150 9150 (all five available alternatively in 850/1700/2100 bands)
Nokia - E90? N85 Nokia 6124
Motorola - Motorola Atila
Palm - Treo 750 (UMTS only), Treo Pro
RIM - Blackberry Bold
Samsung - Samsung BlackJack II (UMTS only), Samsung BlackJack III?, Samsung i900 Omnia
Sony Ericsson PC300, Z750, K850i, W760i, C902, MD300
UBiQUiO - 503G
Some UMTS / HSDPA / HSUPA 850/1900/2100 tri band are already available:
HTC - HTC Omni
Huawei E270 Wireless modem (USB)
Novatel Wireless Merlin X950D ExpressCard
Option GlobeTrotter Express HSUPA, GlobeTrotter GT MAX HSUPA, GlobeSurfer iCON HSUPA, GTM380
Sierra Wireless AirCard 880 and the AirCard 881 (PC Card), AirCard 880E and the AirCard 881E (ExpressCard) and MC8780 and the MC8781 (PCI Express)
Sony Ericsson EC400g (plus GPS)
See also
3GPP
Cellular frequencies
Dual band
GSM frequency bands
Quad band
Roaming
UMTS frequency bands
External links
Frequency world map
HSPA website
Categories: Global System for Mobile communications
Hidden categories: Articles lacking sources from January 2008 | All articles lacking sources(and so on)

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Chinese repeating crossbow
A repeating crossbow (Chinese: ?? or Lian-nu) is a crossbow where the separate actions of stringing the bow, placing the bolt and shooting it can be accomplished with a simple one-handed movement, all the while keeping the crossbow stationary. This allows the bow to shoot at a faster rate compared to a normal crossbow. A magazine containing a number of bolts is present on top of the bow and the mechanism is worked by moving a rectangular lever forward and backward.
Contents
1 History
2 Usage
3 In popular culture
4 References
5 See also
6 External links
//
History
The Chinese repeating crossbow (Chinese: ???; pinyin: Zh?g? n?; Wade-Giles: Chu-ke nu; literally "Zhuge crossbow"; sometimes misspelled as Chu-ko-nu) is a device with a simple design. It is commonly believed to have been invented by the Chinese strategist Zhuge Liang (181-234 A.D.) of the Three Kingdoms period. However, this belief is false as the earliest repeating crossbows (found in Tomb 47 of Qinjiazui, Hubei province) were dated to the 4th century BC. Zhuge Liang improved the design of the repeating crossbow, and made a version which shot two to three bolts at once and was used in massed formations, and for this reason, it was named after him. The repeating crossbow saw its last serious action in the China-Japan war of 1894-1895, where photographs show repeating crossbows as common weapons among Manchurian troops. The basic construction of this weapon has remained very much unchanged since its invention, making it one of the longest-lived mechanical weapons.
The repeating crossbow was introduced into Korea by King Sejong, who during a trip to China saw the weapon and was impressed by its mechanism. In Korean it was called sunogung (Hangul: ???; Hanja: ???).
A larger device similar to the Chinese repeating crossbow was described in the works of the Greek engineer Philon of Byzantium. This device, a repeating ballista, was called a Polybolos and was reputedly invented by Dionysius of Alexandria in the 3rd century BC. Two flat-linked chains were connected to a windlass, which by winding back and forth would automatically fire the machine's arrows until its magazine was empty. The machine features the earliest recorded chain link drive.
Heron of Alexandria also tapped into Philon's work and made the Cheiroballistra, which was a semi-automatic version of the Polybolos.
Usage

Chinese repeating crossbow

Part of a Naval Battle Scroll from the Imjin War
The chu-ko-nu had a very simple and rugged design. The weapon was extremely easy to manufacture and use, and, in the hands of a trained soldier, could easily launch ten bolts in fifteen seconds. In comparison, an arbalest could only deliver about two bolts a minute. The chu-ko-nu however, had neither the power nor the accuracy of an arbalest. This gave it a shorter range, compensated for by using lightweight bolts instead of the heavy bolts of single-shot crossbows. Thus, the chu-ko-nu was not very useful against more heavily armored troops unless poison was smeared on bolts, in which case even a small wound may prove fatal. Since a chu-ko-nu was shot from the hip, accuracy was poor, but the aim could be adjusted very swiftly since the next shot was only a second or two away. To get past these limits often large numbers of men would use it on the battlefield, allowing for large numbers of bolts to be fired.
The chu-ke-nu was operated by moving a lever forwards and then backwards. In that one movement, a bolt would be dropped into place, the string tensioned, and then the bolt released. Another bolt would then be ready to take its place from the magazine above. This action however put the weapon's string under heavy wear since it had forces straining it from both above and below. The lifting of the magazine especially, put severe pressure on the string. Chu-ko-nu strings were therefore often reinforced with quills from bird feathers, preferably those from swans or ducks.
Alterations of chu-ko-nu included mountable siege crossbows with larger bolts and greater power which required two men to operate (a sighter and an operator). There was also a heavy version using two magazines, thus doubling the number of bolts discharged. The latter was used in extreme close-quarter combat because they had extremely short range. A larger version that required two hands to operate was sometimes mounted on top of castle walls. They proved to be effective in defending the gates and doorways of castles.
The chu-ko-nu can be considered a predecessor to modern automatic weapons. Its use was similar to the early hand-operated rapid fire firearms of the 19th century (see Gatling Gun).
In popular culture
In the game Civilization IV, the Cho-Ko-Nu is the unique unit of the Chinese civilization, replacing the crossbowman....(and so on)

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Picnic table
A picnic table (or sometimes a picnic bench) is a modified table with benches, expressly for the purpose of eating a meal outdoors (picnicking). Picnic tables are often made of wood, but modern tables can be made out of anything from recycled plastic to brushed metal. Picnic tables are used to sit and eat on. Food is kept on top with seating on the bottom platform. Picnic tables are generally found outside and in many parks.
A picnic table can be constructed using 2x4 or 2x6 wood. Some protection for the wood (stain, paint, or wood protectant that repels water) is considered necessary to protect it from the elements (cracking, warping, or rotting due to moisture).
The table-top and bench-top boards are attached to the trusses or beams using wood screws or nails. The legs can be secured with carriage bolts fastened by nuts and washers.
External links
Wikimedia Commons has media related to: Picnic table
Plans for Building Picnic Tables
How to make a picnic table
Categories: Furniture stubs | Tables (furniture)(and so on)

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Dougal Robertson (1924-1992) was a Scottish author and sailor born in Edinburgh. He joined the British Merchant Navy after attending Leith Nautical College. After leaving maritime life, Robertson began to raise a family and to work as a dairy farmer.
On January 27, 1971, Dougal departed from Falmouth, England on board Lucette, a 43-foot wooden schooner built in 1922 which the family had purchased with their life's savings. He was accompanied by his wife Lynn, daughter Anne, son Douglas, and twin sons Neil and Sandy. Over the next year and a half, they sailed across the Atlantic, stopping at various ports of call in the Caribbean. Anne retired from the voyage in the Bahamas.
During the their transit of the Panama Canal, the family members took aboard an inexperienced crew member named Robin Williams (no relation to the comedian of the same name), who was to accompany them on the next segment of their voyage to the Galapagos Islands and beyond to the islands of the South Pacific.
On June 15, 1972, Lucette was holed by a pod of killer whales and sank approximately 200 miles west of the Galapagos Islands. The group of six people on board escaped to an inflatable life raft and a solid-hull dinghy with little in the way of tools or provisions.
Using the dinghy as a towboat powered by a jury-rigged sail, the group made its way towards the doldrums, hoping to find rain there so they could collect drinking water. They did so successfully, while catching turtles, mahi-mahi and flying fish to eat. The inflatable raft became unusable after 16 days, so the six people crowded into the three-meter long dinghy with their supplies. They then continued to use the wind and current to their advantage, moving to the northeast towards Central America. By their 38th day as castaways, they had stored dried meat and fresh water in such quantities that they intended to begin rowing that night to speed their progress. However, they were sighted and picked up that day by a fishing trawler on its way to the Panama Canal. Robertson, who had been keeping a journal in case they were rescued, recounted the ordeal in the 1973 book Survive the Savage Sea, which served as the foundation for the 1991 film of the same name. The story was revisted in his son Douglas's book The Last Voyage of the Lucette..
Dougal went on to write "Sea Survival: A Manual", and continued to sail until his death in 1992.
References
Robertson, Dougal (1973), Survive the Savage Sea
Robertson, Dougal (1975), Sea Survival: A Manual
Robertson, Douglas (2005), The Last Voyage of the Lucette, ISBN 1-57409-206-5
Brinnin, John Malcom; Probst, Robert E; Anderson, Robert; Legett, John; Irvin (2000), written at United States of America, from "Survive the Savage Sea", Elements of Literature, First Course, Holt, Rinehart and Winston, p.456, ISBN 0-03-052058-4
External links
http://www.survivethesavagesea.com/SSS.html
http://imdb.com/title/tt0105499/
See also
Steven Callahan, survived a stint adrift for 76 days in the Atlantic
Maurice and Maralyn Bailey, survived 117 days adrift in the Pacific.
Rose Noelle, trimaran on which 4 people survived 119 days adrift in the South Pacific.
Poon Lim, who survived for 133 days adrift in the Atlantic.
Categories: Survival skills | English sailors | English non-fiction writers | Sailing books | Shipwrecks in the Pacific Ocean | Maritime incidents in 1972(and so on)

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The Gibson Victory bass series was manufactured for 5 years, between 1981 and 1986. The range consisted of two passive (Standard and Custom) and one active (Artist) model.
The basses were all maple bodied, with bolt-on three-piece laminate maple necks, 24 fret rosewood fretboard, and one (Standard), or two (Custom and Artist) humbucking pickups. They were all long scale (34 inch) instruments.
The combination of materials and construction style made for very versatile (but also heavy) bass - and when combined with active electronics, this versatility only increased, giving the rich bass mellow sounds that Gibson bass guitars are famous for, but also the bright twangy sounds so popular in the late seventies/early eighties.
The Victory bass had a number of features previously unseen in Gibson bass guitars: a brass nut, sloped front pickup, reinforced neck (steel bars either side of the truss rod) and pickups that could be switched to offer coils in series or parallel. Its extreme asymmetrical shape gave access to all 24 frets.
Available with fretted or fretless neck. Finishes include Silver, Ebony, Candy Apple Red, and Antique Fireburst.
Notable Victory players
Main article: List of Gibson players
Categories: Gibson electric guitars(and so on)

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Metal And Hell
Studio album by Kat
Released
1985
Recorded
Beat Studio, Izabelin Studio
Genre
Thrash metal, black metal, speed metal
Length
36:42
Producer
Kat & Andrzej Puczy?ski
Kat chronology
Metal And Hell(1985)
666(1987)
Metal And Hell is the debut album by Polish heavy metal band Kat.
Track Listing
All lyrics written by Roman Kostrzewski. All music written by Kat.
"Metal and Hell" - 2:43
"Killer" - 3:15
"Time of Revenge" - 4:54
"Devil's House Part I" - 4:47
"(You Got Me) Vampire" - 3:11
"Devil's Child" - 3:32
"Black Hosts" - 3:26
"Oracle" - 3:41
"Devil's House Part III" - 3:41
"666" - 3:32
Mistakes
There are some mistakes present within the album about the track listing. These errors include:
On the back of the CD case, "Time of Revenge" is listed as "Time of Revange".
On the CD as well as the booklet, "Devil's House Part I" is listed as "Devils House Part 1".
On the CD as well as the booklet, "(You Got Me) Vampire" is listed as "You Got Me Vampire".
On the CD as well as the booklet, "Devil's Child" is listed as "Devils Child".
On the CD as well as the booklet, "Devil's House Part III" is listed as "Devilish House Part III", and on the back of the CD case, it is listed as "Devils' House Part III".
Credits
Roman Kostrzewski - vocals
Piotr Luczyk - guitar
Ireneusz Loth - drums
Krzysztof Oset - bass guitar
Jacek Regulski - guitar
Categories: 1985 albums(and so on)

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A foam balloon is a special type of a gas-filled balloon. Strictly speaking a foam balloon is not a balloon, as it has no envelope, but consists of an organic material up-foamed with hydrogen or helium. Thus foam balloons cannot burst. However their carrying capacity is smaller than that of normal balloons. Foam balloons are manufactured as a rule directly at the place of the ascent with a special machine. The form of the foam balloon can be varied hereby. It is possible to create foam balloons with diameter of more than 1 meter. Identical foam balloons can be manufactured with the same machine in short repetition periods. Foam balloons are used frequently for advertising purposes, since they can be manufactured easily in the form of company symbols. In principle also wind conditions in the lower atmosphere can be easily monitored with their aid. Foam balloons are not long-term stable, but decay after some hours. Nevertheless they can reach heights of several kilometers.
Categories: Balloons
Hidden categories: Orphaned articles from February 2009 | All orphaned articles | Articles lacking sources from June 2008 | All articles lacking sources(and so on)

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WAM was originally formed as the Western Australian Rock Music Industry Association Inc. (WARMIA) in 1985, with its main aim to develop and run annual awards recognising achievements within the music industry in Western Australia. WAM first received project funding from the state government in 1989, and in the early 90s the word "rock" was dropped from the title to give the organisation scope to take on a broader constituency.
In 1989 the inaugural WA Song Contest commenced, in 2002 it was rebranded as the WAM Song of the Year.
The WAM Song of the Year is open to all residents of Western Australia. The song must be the original work of the songwriter(s). Songwriters with a publishing deal can only enter the Professional category.
Contents
1 Winners
2 Categories
2.1 2003
2.2 2004
2.3 2005
2.4 2006
2.5 2007
2.6 2008
//
Winners
1996 - Lash - then known as Exteria (outh category)
1997 - Beaverloop ('Pop' category)
1998 - Cartman (op & coustic categories)
2000 - Ivan Zar (lues category)
2001 - Halogen (special theme category ove)
2002/03 - Andrew Horabin ('Political' category)
2004 - Lauren Brede ('Outstanding Regional' category)
2005 - Damian Crosbie (The Panda Band) ('Pop' category)
2006 - Erik Hecht (Institut Polaire) ('Pop' category)
2007 - Josh Fontaine ('Pop' category)
2008 - Roly Skender and the Tonics ('Pop' category)
Categories
2003
In 2003 there were 1,247 entries and 75 shortlisted nominees in the 15 genre categories. Winners each received $1,000 (Children & Youth winners received $500) and a days recording time at a top Perth studio. The Grand Prize winner received the opportunity to have a promotional single recorded, pressed and released among other select opportunities.
The individual category award winners were:
Country - "Asbestos Fibro" - ADM Powell
Easy Listening Pop/R'n'B - "Back 2 those Timez" - Chanelle
Electronic/Hip Hop - "Boy X Girl Y" - Johnson, Vernie
Hard Rock/Metal/ Punk - "Reprisal" - Simon Pilkington, Aaron Smith
Indi Pop/Rock - "Andy Warhol" - Little Birdy
Jazz/ Funk - "That Hurt" - Myles Wright
Roots - "Sheba Lane" - Lynn Hazelton
Soundtrack/ Filmscore/Experimental - "Green Lantern" - Johannes Luebbers
World/Multicultural - "Day Oh" - Eloy Cardenas
Indigenous - "Raining On Djilba" - George Walley
Children - "Something More" - Wesley Fuller
Youth - "On My Own" - Ryan Blair, Justin Flamer
Love - "Walking Over Sea" - Sam Dunn, Ben Dunn
Political - "Georgie Boy" - Andrew Horabin
Songs For Kids - "Pirlpirltji" - L. Hazelton, A. Ovi, S. Stanford
2004
The WAM Song of the Year for 2004 was announced at the Fly By Night Club in Fremantle on Thursday September 16, 2004. The evening featured performances from past winners including Andrew Horabin and Lynn Hazelton, as well as finalists for the 2005 competition. The WAM Song of the Year was presented by the Minister for the Arts the Hon. Sheila McHale. There was over 1,300 songs entered in the competition with 75 works nominated by the industry panels as finalists in the 15 genre categories.
The individual category award winners were:
Commercial/Contemporary Pop - "Breathe" - Cassie Swinney, Alistair Watson & Escher
Country - "Dirty Liar" - Rob Findlay & Haley Mason
Electronic/Dance Category - "Hit '5'" - Tim Macnamara & Diego Bosco
Hard Rock/Metal - "Bay of Martyrs" - Mike Sukys
Indie Rock/Punk Category - "Tread Easy" - James Crombie & The Bank Holidays
Jazz - "West Bank Moon" - Michael Pigneguy & Sian Brown
Roots - "Slipping With the Blues" - Gerard Maunick
Urban - "Wait a Minute" - Bjorn Berlinger & Nathan Jamieson
Love - "Blame Me" - Frans Bisschops, Jasmine Yee & Michael Miller
Gospel - "Take Over" - Chad Blondel
ASME Upper Secondary (Years 11-12) "Radio Play" - Melissa Erpen
ASME Lower Secondary (Years 8-10) "Home Sweet Home" - Danni Stefanetti
ASME Primary Category "Sidewalk Surfer" - The Flairz
Indigenous - "Hardway" - The Hill (John Bullen, Jarred Wall)
Outstanding Regional Song - "Time For You To Go" - Lauren Brede
2005
The WAM Song of the Year for 2005 was announced at the Fly By Night Club in Fremantle on Thursday October 27, 2005. The evening featured performances from past winners including Andrew Horabin and Lynn Hazelton, as well as finalists for the 2005 competition. Performing on the night were The Bank Holidays, Lake of Bass, New Rules For Boats, Peter Brandy, The Flairz and the 2004 Song of the Year winner, Lauren Brede. The WAM Song of the Year was presented by the Minister for the Arts the Hon. Sheila McHale. There were close to 1,500 songs...(and so on)

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This page refers to the hand tool. For the power tool also known as a fretsaw in some regions, see scroll saw.

A 16" fretsaw fitted with a medium duty 20 tpi blade
The fretsaw is a saw used for intricate cutting work which often incorporates tight curves. Although the coping saw is often used for similar work, the fretsaw is capable of much tighter radii and more delicate work. It has a distinctive appearance due to the depth of its frame (typically between 10 and 20 inches), which together with the relatively short five inch blade makes this tool appear somewhat out of proportion compared to most other saws.
Compared to the coping saw it has much shallower blades, which are usually extra-fine (up to 32 tpi). This allows much tighter curves to be cut with many blades even sharp corners are possible but the blades are also much more fragile compared to that of a coping saw. Unlike the coping saw, the blade has a fixed orientation in relation to the frame. This means that the fretsaw is less useful when cutting long narrow components, but the increased depth of the frame does allow access much further from the edge of the board.
The fretsaw is similar in many respects to the scroll saw, which is essentially a powered fretsaw with a table. Blades between the two tools are usually interchangeable, and indeed scroll saws are often known as "fret saws" informally.
The tool takes its name from its use in fretwork and ultimately from the French freter (lattice) - a reference to the intricate patterns often created using this tool.
Using the fretsaw
Because of its sheer size, the frame makes up a large proportion of the total weight of the tool and has a relatively large moment, which in the hands of an inexperienced user can create a tendency for the direction of cut to drift away from that desired. To counter this the fretsaw is usually used with the handle (and blade) aligned on a vertical axis which reduces the effects of this torque. The effect may also be lessened with a shorter (and lighter) frame, although this also reduces the size of components that may be worked. A cutting or fretwork table, also known as a V-board, made of either wood or metal and which clamps to the edge of the workbench, may be used to support the work piece whilst allowing clearance for the saw blade by means of a V-shaped slot cut into it.
The blade is usually clamped into position using a pair of wing nuts. Although wing nuts are usually intended for operation without tools it is often impossible to apply sufficient force purely by hand. Wingnut spanners (US English: wrenches) greatly increase the torque that may be applied, ensuring that the blade is securely clamped.
Types of blade
Although traditionally intended for woodwork, metal cutting blades are readily available increasing the flexibility of this saw. Spiral blades are also available which have teeth on all sides of the blade, and will cut in any direction without the need to rotate either the saw or the work piece. This can be useful when access is restricted due to the size of the component being worked, and compensate in part for the inability to rotate the blade in the manner possible with a coping saw. However, they also have a wider kerf and as such remove more material than a conventional blade. These alternative blades make the fretsaw suitable for many tasks traditionally performed by the piercing saw, although piercing saw blades are typically finer still than the finest fretsaw blade.
References
^ The Oxford English Dictionary. Oxford University Press.

v?d?eTypes of tools
Cutting tools
Adze Axe Billhook Blade Bolt cutter Broach Ceramic tile cutter Countersink Diamond blade Diamond tool Drill bit Endmill Froe Knife Machete Milling cutter Razor Reamer Saw Scalpel Scissors Splitting maul Switchblade Tool bit Utility knife Water jet cutter
Garden tools
Cultivator Garden fork Hedge trimmer Hoe Hori hori Irrigation sprinkler Lawn aerator Lawn mower Lawn sweeper Leaf blower Loppers Mattock McLeod Pitchfork Plough (plow) Pruning shears (Secateurs) Pulaski Rake Rotary tiller Scythe Spade String trimmer
Hand tools
Block plane BNC inserter/remover Brace Card scraper Chisel Clamp Coping saw Fretsaw Glass cutter Hacksaw Hammer Hand saw Locking pliers Mallet Pickaxe Pipe wrench Plane Pliers Punch Screwdriver Spirit level Sponge Torque wrench Wrench
Power tools
Band saw Belt sander Chainsaw Circular saw Concrete saw Crusher Drill Grinding machine Heat gun Impact wrench Jigsaw Jointer Lathe Nail gun Planer Radial arm saw Random orbital sander Reciprocating saw Rotary tool Sander Scroll saw Table saw Thickness planer Wood router
Other
Antique tools Ladder Thau claw Toolbox
Categories: Saws | Woodworking hand tools(and so on)

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A shuffleboard game being prepared on the deck of the MV Aurora.
Shuffleboard (more precisely deck shuffleboard, and also known as shuffle-board, shovelboard, shovel-board and shove-board [archaic]) is a game in which players use broom-shaped paddles to push weighted pucks, sending them gliding down a narrow and elongated court, with the purpose of having them come to rest within a marked scoring area. As a more generic term, it refers to the family of shuffleboard-variant games as a whole.
Contents
1 History
2 Game play
2.1 Teams
3 Table shuffleboard variants
4 References
5 External links
//
History
The full history of shuffleboard is not known. Though we have some knowledge of its development, its actual origins, the place and date where it was first played, remain a mystery. Inevitably, this uncertainty gives rise to some debate, even disagreement, about which country can claim to have invented it. However there is no dispute concerning its age as a form of popular amusement, and in Europe has a history that goes back over 500 years.
The earliest known name given to it is the Middle English shovillaborde; it was played and gambled at by King Henry VIII, who prohibited commoners from playing, and who evidently did not always win because the record of royal expenses for 1632 show a payment from the Privy Purse of GB?9, 'Paied to my lord Wylliam for that he wanne of the kinges grace at shovillaborde' (Modern English: 'Paid to Lord William, for he won, by the king's grace, at shovelboard').
In its goals, form and equipment, shuffleboard shares various features with (and perhaps influences by or upon) many other games, including air hockey, bowls, bocce, curling, croquet, carrom and billiards. Historically, shovelboard appears to have diverged into modern shuffleboard and sjoelbak, and with the former leading to the development of both table shuffleboard and shove ha'penny.
Today, due to its popularity on cruise ships and in retirement homes because of its low physical fitness requirements, the deck game is often associated with the elderly, though its miniaturized tabletop variant is increasingly popular in bars and pubs among younger generations.
Game play

A close up of the scoring triangle.
This section requires expansion.
In deck shuffleboard, the players use sticks, called cues, to push weighted disks, called pucks, along a usually wooden surface (e.g. the deck of a ship), placing the disk within a triangular scoring zone at the far end of the court. The pinnacle of the triangle points toward the shooter, and the zone is divided horizontally into four numbered sub-zones, the numbers representing point values. If the disk lands completely within the small triangular tip zone without touching any part of the borders of the triangle, it is worth ten points; completely within the trapezoidal second tier of the triangle, it is worth eight points; and completely within the trapezoidal third tier of the triangle, seven points. If the disk lands in the large, rearmost and also trapezoidal '10 Off' section, it costs minus ten points. Many boards have a small triangle drawn in the center of the '10 off' trapezoid, splitting it and making it harder to land completely inside the section. The game is played in matches of ten frames (a frame is both players or teams taking their turns). The basic strategy involves deflecting the opposition's disks out of zones with a positive value, and increasing one's own points by landing disks into areas of a high point value.
A standard deck shuffleboard court is 39eet long by 6t wide. Each end of the court has a scoring triangle, obviating the need to retrieve the pucks and return to the original end of the court. Another 6eet of space is provided at each end of the court beyond the scoring triangles, which is where the players stand, with play alternating in direction down the court after each frame.
Newer courts are now available, for use on decks or on any solid flat surface, in the form of roll-out plastic mats, or an adjustable system of plastic tiles. With the tile courts, the dimensions can be adapted to the space available; e.g. it is possible to play on a court 30t long by 5t wide.[citations needed] The roll-out mats are available in two sizes, 396t and 27t by 4t6n. The smaller mats are designed to fit on a domestic patio or driveway.[citations needed] The discs and cues are the same standard sizes, regardless which court size is used.
Teams
Shuffleboard can be played either one-on-one or by two teams of two. After all pucks have been played on one 'end', only the winning puck or group of pucks scores (according to the points marked on the board). Play then continues in the opposite direction. The winner is the first to a set number of points (e.g. 15).
Table shuffleboard variants

A...(and so on)

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The Madura was a cruiser motorcycle sold by Suzuki in 1985 and 1986. It was available with either 1200 cc or 700 cc V4 engines. It was created as a response to Honda's Magna V4 muscle cruiser and was a direct competitor with Yamaha's V-Max power cruiser, also released in 1985.
Model designations:
GV1200GL
GV700GL
Contents
1 History
2 Features
3 Speed
4 The Name
5 See also
6 External links
//
History
In response to the Honda Magna, Suzuki made the Madura model. Like the Magna, it was a V-four powered cruiser. Like the Magna, the Madura was offered with two different engine sizes. Both bikes' smaller engines displaced 700 cc, but while the big Magna displaced 1100 cc, (actual 1098 cc) the big Madura displaced 1200 cc (actual 1165 cc).
Production of the Madura was halted after just two years. According to Peter Seifert of Vernon, B.C., Canada, 5099 Maduras were produced.
Features
The Madura had a V-four engine with hydraulic-lifters. The lifters reduced maintenance, and avoided the kind of cam-wear problems that plagued the Magna. Despite displacing 100 cc more, the Madura didn't make much more horsepower or torque than the Magna. The Madura was factory rated at 117hp, while the Magna was rated at 116hp. Actual horsepower in a road-tested bike was found to be about 89. For comparison, a same year V65 put down 93hp.
In addition to the maintenance-free lifters, the Madura had a self-adjusting hydraulically actuated clutch, and a low-maintenance, shaft final drive. The rear suspension was a sophisticated monoshock arrangement that used a single rear swingarm tube to carry the driveshaft as well.
Ergonomically, the Madura featured a low, scooped seat, swept-back handle-bars, and foot-controls that wouldn't be considered "forward" by later standards, but at the time were noted for being 14" ahead of the center of the seat.
Speed
According to Cycle magazine, the 1200 cc Madura completed the 1/4-mile in 11.753 seconds at 115.08 mph. For comparison, on the same day the V65 Magna ran 11.86 at 115.86mph
Cycle Guide recorded an 11.36 at 117.18 1/4 mile. while their Magna clocked 11.44 at 118.42
Motorcyclist clocked a corrected 11.47 at 117.6 with the GV1200 Madura.
Cycle World magazine reported the 700 cc Madura doing the 1/4-mile in 12.89 seconds at 102.68 mph.
The Name
"Madura" is an island, a people and a language. It also means "mature" in Spanish. The characteristicly serpentine dagger known universally as a Madura was produced by the island's natives and was likely the inspiration for this motorcycle's name as it's unique curved stepped seat and smoothly flowing lines resemble this knife. Also the knife was often used in passion in a swift surprise attack defending honor.
The Madura may have been named after the bull racing popular on the island. Riding these animals was most likely similarly exhilarating.
See also
Suzuki Motor Corporation
Honda Magna
Yamaha V-max
External links
Most of the information in this article came from Suzuki Madura -- The Unofficial Website maintained by Les Konley.
Suzuki Madura -- The Unofficial Website
Categories: Suzuki motorcycles(and so on)

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Cellophane noodles
Dried cellophane noodles
Chinese name
TraditionalChinese:
1. ??2. ??3. ??4. ??
SimplifiedChinese:
1. ??2. ??3. ??4. ??
Literal meaning:
1. powder thread2. winter powder3. slender powder4. line powder
Transliterations
Mandarin
- HanyuPinyin:
1. fen3 si12. d?ng f?n3. xi4 fen34. xian4 fen3
Min
- HokkienPOJ:
2. tang-h
Cantonese
- Jyutping:
1. fan2 si12. dung1 fan23. zi2 fan24.sin3 fan2
Japanese name
Kanji:
??
Korean name
Hangul:
??
Hanja:
??
Thai name
Thai:
????????(woon sen or wun sen)
Vietnamese name
Vietnamese:
1. mi?n2. b t3. b t
Cellophane noodles (also known as Chinese vermicelli, bean threads, bean thread noodles, or glass noodles) are a type of transparent Asian noodle made from starch (such as mung bean starch, sweet potato, potato, cassava or canna starch), and water.
They are generally sold in dried form, boiled to reconstitute, then used in soups, stir fried dishes, or spring rolls. They are called "cellophane noodles" or "glass noodles" because of their appearance when dried, resembling cellophane, a clear material or a translucent light gray or brownish-gray color.photo
Cellophane noodles are generally round, and are available in various thicknesses. Wide, flat cellophane noodle sheets called mung bean sheets are also produced in China.
Cellophane noodles should not be confused with rice vermicelli, which are made from rice and are white in color rather than clear.
Contents
1 In China
1.1 Naming
1.2 Production
1.3 Use
1.4 Health concerns
2 Outside China
3 See also
4 References
5 External links
//
In China
Naming
In Chinese, the most commonly used names are:
f?n s? (??): with f?n meaning "powder" and s? meaning "thread"
d?ng f?n (??): with the literal meaning of "winter powder"
They are also marketed under the name saifun, the Cantonese pronunciation of the Mandarin x f?n (??; literally "slender powder"), though the name fan2 si1 (??) is the term most often used in Cantonese.
Production
In China, the primary site of production of cellophane noodles is the town of Zhangxing, in the city of Zhaoyuan (???), which is administered by the prefecture-level city of Yantai, in the eastern province of Shandong. However, historically, the noodles were shipped through the port of Longkou (which is also under the administration of Yantai), and thus the noodles are known and marketed as Longkou fensi (simplified: ????; traditional: ????).
Use

Cellophane noodles have a clear see-through color when cooked. It is generally much longer than rice vermicelli.
In China, cellophane noodles are usually made of mung bean starch and are a popular ingredient used in stir fries, soups, and particularly hot pots. They can also be used as an ingredient in fillings for a variety of Chinese jiaozi (dumplings) and bing (flatbreads), especially in vegetarian versions of these dishes. Thicker cellophane noodles are also commonly used to imitate the appearance and texture of shark's fin in vegetarian soups. Thicker varieties, most popular in China's northeast, are used in stir fries as well as cold salad-like dishes. A popular soup using the ingredient is fried tofu with thin noodles (??????; pinyin: ydfu-xif?nt?ng). A popular Sichuan dish called ants climbing a tree (????; mayishangshu) consists of stewed cellophane noodles with a spicy ground pork meat sauce.
Health concerns
In 2004, testing by Chinese authorities determined that some brands of cellophane noodles produced in Yantai, Shandong were contaminated with lead. It emerged that several unscrupulous companies were making their noodles from cornstarch instead of mung beans in order to save costs, and, to make the cornstarch transparent, were adding lead-based whiteners to their noodles. In December 2006, Beijing authorities again inspected cellophane noodles produced by the Yantai Deshengda Longkou Vermicelli Co. Ltd. in Siduitou village, Zhangxing town, Zhaoyuan city, Yantai, this time determining that sodium formaldehyde sulfoxylate, a toxic and possibly carcinogenic industrial bleach which is an illegal food additive in China, had been used in the production of the noodles. The company, which formerly sold its noodles both in China as well as overseas, was ordered to cease production and distribution.
Outside China
In Indonesian cuisine, they are called soun or suun, and in Malaysia they are known as tanghoon. Sometimes, people confuse them with bihun which are rice vermicelli.
In Japanese cuisine, they are called harusame (??), literally "spring rain." Unlike Chinese glass noodles, they are usually made from potato starch. They are commonly...(and so on)

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Several thousand pages per minute! Any examples? Rich Farmbrough
When the How it works section was 'moved' to Xerography, much of the other pertinent information was deleted. I edited Xerography to reflect the numbered list and returned the other information back to How it works --Ghaberek
The IBM InfoPrint 4001 does just over 1000 ppm ... but it's not technically a laser, rather a electrophotograhic printer; cannot find any lasers anywhere greater than about 150 ppm. --69.156.88.203 05:05, 27 Jan 2005 (UTC)
The IBM Infoprint 4100 does 1220 letter size impressions per minute. Electrophotograhy is a generic term for xerography. Gadget850 19:53, 18 August 2005 (UTC)
Contents
1 Improvement
2 resolution as well as physics
3 Photoconductor Kit- What its it?
4 Laser printers and ozone?
5 Soft plastic drum?
6 I'm pretty smart, but I can't understand this article
7 Spelling wars
8 How to deal with so many explanations of the same thing?
9 Pzavon, I'm annoyed with your color printing parts/wear cite request
10 Toner
11 Contradiction?
12 Fair use rationale for Image:Pa 1977 9700-medium.jpg
13 Cost versus inkjet
14 Printing Steps
15 Pictures in this article
//
Improvement
I believe this article could use some improvements:
Merge Laser printer and LED printer into Page printer.
Move How it Works section into Xerography.
Move Secret marks section to Printer forensics.
Expand the lead in, create History section, Applications section and Technology section.
Under Technology, include sub-sections on imaging (LED, laser), fuser types (thermal, flash, etc.), feed types (cassette, MP, tractor]], imager types (belt, drum) and color.
Any other thoughts on this, please? --Gadget850 16:31, 14 November 2005 (UTC) ahmed mohsen henedak

???? ??????? ?????
I follow your reasoning, but think Laser printer should stay where it is, and the other two should redirect to it, simply because "laser printer" is by far the commonest name. (Yes, LED is strictly speaking not a laser printer, but it is a variant on the same technology and should be noted as such).
I also don't think it would be wise to move the How it works and Secret marks sections entirely to other pages, rather there should be a simple paragraph explaining the basic function with a Main article: link at the top. (Perhaps this is in fact what you mean.)
Yes, the history section needs to be bigger; I wrote much of it a while ago, but while others have improved upon it, it has not been significantly expanded. Pictures of early models might help.
Agree on your suggestion about Technology, but remember that I think the whole article should stay at Laser printer. ProhibitOnions 16:58, 15 March 2006 (UTC)
resolution as well as physics
I think the article should say what the dpi resoltion of these printers is
just a few words about the chemicals that make the photoconductive drum function would be super beneficial; I heard the laserwriter I was a Se compound, but that was a while ago receding unsigned comment added by 140.211.106.254 (talk) 20:30, 3 July 2008 (UTC)
Photoconductor Kit- What its it?
What does the photoconductor kit do? It looks like only Epson printers use/need this.
Ravi
Laser printers and ozone?
I recently bought a home laser printer. And little did I know, the strange smell coming from the printer as pages were spitting out of it was ozone. (my eyes are all red, and the air feels heavy) I think ozone being released from laser printers/copiers should be noted in this entry, because had I known that laser printers release ozone, I would have had second thoughts about picking up a laser printer. And although I am sure that consumer education isn't the direct intent of wikipedia, it's still significant to note because thousands of laser printers/copiers are being employed and used everyday. What do you guys think? comment by Stoppedcode12 on 26 Nov 2006
Perhaps, but you have either a maladjusted unit (and probably reduced image quality as a result) or you have placed it in a room that is not adequately ventilated for the printing rate you are achieving. Pzavon 16:10, 26 November 2006 (UTC)
Most modern laser printers produce very little ozone, since they use a charge roller in lieu of a corona to charge the photoconductor, and use a charged transfer roller in lieu of a corona to transfer the image to the paper. The melting of the (usually) styrene resin in the toner can produce a bit of odor, especially if there is minimal air circulation in the room, and the printed page has a particularly large amount of printed area. The manufacturer's specs will usually divulge the amount of ozone that a particular laser printer...(and so on)

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Contents
1 Systems
2 Transportation
3 Film
4 Music
5 Literature
6 Science
7 Computer Software
8 Other
9 See also
//
Black box may mean:
Systems
Black box, any component in a system in which only the input and output characteristics are of interest, without regard to its internal mechanism or structure
Transportation
Black box (transportation), commonly used informal term, a durable onboard data-recording device used in various forms of transport
Flight data recorder, crash impact protected device for measuring operational variables during flight often used to assist in crash investigations
Film
Black Box (film), Argentine film (Caja Negra)
Music
Black Box (band), music group popular in the late 1980s and early 1990s
Black Box Recorder (band), English pop/indie music group
Black Box: The Complete Original Black Sabbath (1970-1978), collection of the albums by the original members of Black Sabbath
Black Box - Wax Trax! Records: The First 13 Years, box set album compiling songs released on Wax Trax! Records between 1980 and 1993
Black Box (album), compilation album by Naked City
"Black Box", song by the group Panurge
Literature
Black Box (book), a book by Israeli writer Amos Oz
Darwin's Black Box, by Michael Behe
Science
Black box testing, testing a system without knowledge of its internals
Black box theory, a philosophical theory
Computer Software
Blackbox, a window manager that works on X Window System platforms
BlackBox Component Builder, the component-based development environment for Component Pascal
Other
Black box (phreaking), device to defeat telephone toll charges
Black box theater, simple unadorned performance space
Black box warning, U.S. warning on a prescription drug
Black Box Corporation, Pennsylvania-based supplier of computer network hardware
Black Box (game), board and computer game
Black Box Games, video game studio bought by Electronic Arts
Project Blackbox, prototype name for Sun Modular Datacenter
Black Box (comics) a fictional character in the Marvel Comics Marvel Universe
In copyright law, a single-purpose device which allows encrypted satellite television signals to be viewed without payment
Black Box, the common name for the tree species Eucalyptus largiflorens
The Black Box (serial), a 1915 film serial
"Black Box" is one of a number of nicknames for the Nuclear Football.
See also
Box (disambiguation)
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Categories: Disambiguation pages
Hidden categories: All disambiguation pages | All article disambiguation pages(and so on)

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Basic oxygen steelmaking (BOS, BOF, Linz-Donawitz-Verfahren, LD-converter) is a method of primary steelmaking in which carbon-rich molten pig iron is made into steel. The LD-converter is named after the Austrian placenames Linz and Donawitz (a district of Leoben). The vast majority of steel manufactured in the world is produced using the basic oxygen furnace. Modern furnaces will take a charge of iron of up to 350 tons and convert it into steel in less than 40 minutes. The LD converter is a refined version of the Bessemer converter where blowing of air is replaced with blowing oxygen.
Blowing oxygen through molten pig iron lowers the carbon content of the alloy and changes it into low-carbon steel.
The process is known as basic due to the pH of the refractories - calcium oxide and magnesium oxide - that line the vessel to withstand the high temperature of molten metal.
Contents
1 Process
2 History
3 References
4 Notes
5 External links
//
Process
The basic oxygen steel-making process is as follows:
Molten iron from a blast furnace is poured into a large refractory-lined container called a ladle;
The metal in the ladle is sent directly for basic oxygen steelmaking or to a pretreatment stage. Pretreatment of the blast furnace metal is used to reduce the refining load of sulfur, silicon, and phosphorus. In desulfurising pre treatment, a lance is lowered into the molten iron in the ladle and several hundred kilograms of powdered magnesium are added. Sulfur impurities are reduced to magnesium sulfide in a violent exothermic reaction. The sulfide is then raked off. Similar pretreatment is possible for desiliconisation and dephosphorisation using mill scale(iron oxide) and lime as reagents. The decision to pretreat depends on the quality of the blast furnace metal and the required final quality of the BOS steel.
Filling the furnace with the ingredients is called charging. The BOS process is autogenous: the required thermal energy is produced during the process. Maintaining the proper charge balance, the ratio of hotmetal to scrap, is therefore very important. The BOS vessel is one-fifth filled with steel scrap. Molten iron from the ladle is added as required by the charge balance. A typical chemistry of hotmetal charged into the BOS vessel is: 4% C, 0.2-0.8%Si, 0.08%-0.18%P, and 0.01-0.04%S.
The vessel is then set upright and a water-cooled lance is lowered down into it. The lance blows 99% pure oxygen onto the steel and iron, igniting the carbon dissolved in the steel and burning it to form carbon monoxide and carbon dioxide, causing the temperature to rise to about 1700 . This melts the scrap, lowers the carbon content of the molten iron and helps remove unwanted chemical elements. It is this use of oxygen instead of air that improves upon the Bessemer process, for the nitrogen (and other gases) in air do not react with the charge as oxygen does.High purity oxygen is blown into the furnace or BOS vessel through a vertically oriented water-cooled lance with velocities faster than Mach 1.
Fluxes (burnt lime or dolomite) are fed into the vessel to form slag which absorbs impurities of the steelmaking process. During blowing the metal in the vessel forms an emulsion with the slag, facilitating the refining process. Near the end of the blowing cycle, which takes about 20 minutes, the temperature is measured and samples are taken. The samples are tested and a computer analysis of the steel given within six minutes. A typical chemistry of the blown metal is 0.3-0.6%C, 0.05-0.1%Mn, .01-0.03%Si, 0.01-0.03%S and P.
The BOS vessel is tilted again and the steel is poured into a giant ladle. This process is called tapping the steel. The steel is further refined in the ladle furnace, by adding alloying materials to give the steel special properties required by the customer. Sometimes argon or nitrogen gas is bubbled into the ladle to make sure the alloys mix correctly. The steel now contains 0.1-1% carbon. The more carbon in the steel, the harder it is, but it is also more brittle and less flexible.
After the steel is removed from the BOS vessel, the slag, filled with impurities, is poured off and cooled.
History
The first basic oxygen steelmaking process was the LD process developed in 1952 by voestalpine AG in Linz, Austria. Some major steelmaking companies in the US did not convert to this process for some years, with the last Bessemer converter still operating commercially until 1968. The LD process replaced both the previously common Siemens-Martin process, also known as the open-hearth process, and the Bessemer process. European companies replaced open hearth furnaces with BOF rapidly after WWII, but US companies were reluctant to give up the old and tried open hearths. The first company in the U.S. to use this type of furnace was McLouth Steel in Trenton, Michigan.
The...(and so on)

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Edna Lewis (April 13, 1916 February 13, 2006) was an African-American chef and author best known for her books on traditional Southern cuisine.
Contents
1 Early life and career
2 Caf Nicholson and cookbook fame
3 Early career at Cafe Nicholson
4 Later career
5 Published works
6 Awards and honors
7 References
8 External links
//
Early life and career
Lewis was born in the small farming settlement of Freetown, Virginia, a granddaughter of an emancipated slave who helped start the community. She was one of eight children. She left Freetown at age 16, after her father died, and moved to Washington and eventually to New York City.. When she arrived in New York, an acquaintance found her a job in a Brooklyn laundry, where she was assigned to an ironing board. She had never ironed and lasted three hours before she was dismissed. She soon found work as a seamstress, and copied Christian Dior dresses for Dorcas Avedon, then the wife of Richard Avedon. She made a dress for Marilyn Monroe, as well as the African-inspired dresses for which she became well-known. .
She also worked for the communist newspaper The Daily Worker, was involved in political demonstrations, and campaigned for Franklin D. Roosevelt..
Caf Nicholson and cookbook fame
In New York City, she married Steve Kingston, a retired merchant seaman and a communist. Shortly afterward, she met John Nicholson, an antiques dealer who in 1949 decided to open a restaurant on 58th Street, on the East Side of Manhattan. She became the cook, preparing cheese souffl and roast chicken. Caf Nicholson became an instant success among bohemians and artists. The restaurant was frequented by William Faulkner, Marlon Brando, Tennessee Williams, Truman Capote, Richard Avedon, Gloria Vanderbilt, Marlene Dietrich, and Diana Vreeland. . Lewis remained at the restaurant until the late 1950s.
In the late 1960s, she broke her leg and was temporarily forced to stop cooking professionally. With encouragement from Judith Jones, the cookbook editor at Knopf who also edited Julia Child, she turned her handwritten pages into The Edna Lewis Cookbook (1972). This was followed by The Taste of Country Cooking in 1976. The book is considered a classic study of Southern cooking. In 1979, Craig Claiborne of The New York Times said the book "may well be the most entertaining regional cookbook in America.".
Early career at Cafe Nicholson
In 1949 Cafe Nicholson was located at ground level of a narrow brownstone dwellinon the downtown side of 52nd Street between 2nd Avenue and 3rd Avenue. One entered on the right, direcly into a passageway separated from the kitchen by a screenwall of dark wood with openings above shoulder height that gave a view of the narrow kitchen, roughly 12 feet by 16 feet, having two windows facing 52nd street, and not much wall space to arrange cooking facilities. From that modest space miracles would appear! Most frequently Edna Lewis would be there to look up with greetings, dressed in something dark, and often with an Indian Paisley wrapped round her shoulders.
At the end of the short passageway was the Dining Room, roughly 18 feet by 35 feet. On the right was a dark wood buffet topped with white marble, stacked high with white china plates, glassware, flatware and nappery interspersed with wire baskets loaded with lemons and other comestibles and a tub or two of highstanding palms. To the left were the small bare marbletopped cafe tables and bentwood or wireframed chairs. A fine meal might begin with Mussels and herbed rice presented in their blue-blackshells on a white plate; then a perfectly roasted chicken, a simple salad of Boston Lettuce with a coating of lemon garlic ddressing, and completed with a dark brown puff of Chocolate souffle, containers of whipped cream and molten chocolate offered at the side. A veritable symphony of White and Brown served up in a room of Dark wood and White Marble.
At the back of the Dining room was a door leading out to the garden, a space of about 20 feet by 50 feet, furnished with more small tables and chairs similar to those seen inside. A famous photograph by Karl Bassinger shows the back of the browntone with a group of young New Yorkers becoming world famous in their separate careers. At this moment(late 2008) Gore Vidal may be the only surviving member of the photograph: http://www.nytimes.com/2008/11/25/arts/design/25bissinger.html?ref=arts
Subsequently Cafe Nicholson moved to the Studio located to the right of the on-ramp of the Queensboro Bridge on East 58th Street. For a time it was later located on the uptown side of 57th Street between Lexington Avenue and 3rd Avenue,
Later career
In a 1989 interview with The New York Times, Lewis said: "As a child in Virginia, I thought all food tasted delicious. After growing up, I didn't think food tasted the same, so it has...(and so on)

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Rocky Brands, Inc.
Type
Public (NASDAQ:RCKY)
Founded
1932
Founder(s)
William BrooksF.M. "Mike" Brooks
Headquarters
Nelsonville, Ohio, United States
Area served
United States, Canada, Europe
Key people
Mike Brooks(Chairman, CEO and Director)David Sharp(President and COO)
Industry
footwearapparel
Products
hunting bootsapparelwork bootswork apparelwestern boots
Revenue
? US$ 275.27 million (2007)
Employees
1,600 (2008)
Website
www.rockyboots.com
Rocky Brands, Inc. NASDAQ:RCKY, formerly known as Rocky Shoes & Boots, Inc., is a footwear and apparel manufacturer. The company was founded in 1932 in Nelsonville, Ohio and still maintains its corporate headquarters there. Rocky Brands includes, Rocky, Georgia Boot and Durango. The company also makes footwear for other companies, such as Michelin and Dickies.
Contents
1 Brands
2 About
3 History
4 External links
5 References
//
Brands
Rocky
Georgia Boot
Durango
Lehigh Safety Shoes
zfoot
Licensed
Michelin
Dickies
About
Rocky Brands' products cater to several categories, including duty footwear, outdoor and hunting footwear and apparel; work apparel and footwear (including steel toe boots for law enforcement, construction, and other industries); and western footwear.
History
In 1932, William Brooks, joined by his brother F. M. "Mike" Brooks, founded The William Brooks Shoe Company in Nelsonville, Ohio, about 60 miles southeast of Columbus. Both men had lost their jobs during the Great Depression when Godman Shoe Co. of Columbus went bankrupt.
In search of opportunity, the brothers set up shop in a rent-free factory with lent equipment and what would eventually become Rocky Brands was born.
The company originally employed 50 to 100 workers with a production rate of 300 pairs of shoes per day. With a newly-constructed addition and the installation of more equipment, by the mid-1930 the factory employed 225 people and production output increased to more than 2,000 pairs per day. During the 1940s and 1950s business continued to grow. While supplying more than one million pairs of shoes and boots for military conflicts such as World War II and the Korean War, the company built key relationships with leading footwear retailers.
But in 1958, William Brooks decided to sell the business to the Irving Drew Shoe Company of Lancaster, Ohio. His nephew, John Brooks, who had worked in the plant full-time since age 17, attempted to make a play for the family-run business, but his efforts were rebuffed. William Brooks refused point-blank to sell, telling his nephew the shoe industry had no future.
In 1975, the new owners were getting ready to unload or shut down the business. John Brooks, who stayed through the Irving Drew years as plant manager, bought the business back for $640,000, re-establishing The William Brooks Shoe Company in Nelsonville. John Brooks then brought his son, Mike Brooks, into the business as a product designer and manager. In 1977, Mike Brooks won an award for what now is called the original "Rocky boot," and the company soon paid $1,000 for a trademark and launched the Rocky brand.
As the company struggled in the early 1980s, the shoe market bounced back, and in 1983, the company began marketing occupational shoes, such as those worn by police officers and mail carriers, under the Rocky brand. It opened up new markets and new distribution methods. Sales rose and in 1988, the company reached $20 million in annual revenue.
Two years after the retirement of John Brooks in 1991, his son, Mike Brooks took the company public, spending nearly three-quarters of a million dollars in the process, changing the name to Rocky Shoes & Boots and initiating the company's initial public offering.
Rocky Shoes & Boots acquired EJ Footwear on December 6, 2004 for $87.7 million in cash and roughly $10 million in stock. The move brought Georgia Boot, Durango, and Lehigh Safety Shoes brands into Rocky's fold and added a licensed footwear brand in Dickies.
In 2006, Rocky Shoes & Boots changed its name to Rocky Brands, Inc. to reflect its growing portfolio. Following the name change Rocky Brands added comfort footwear Zumfoot shoes and Michelin footwear to its ranks.
External links
Corporate Web site
Rocky Web site
Georgia Boot Web site
Durango Web site
Lehigh Safety Shoes Web site
Zumfoot Web site
Michelin footwear Web site
References
^ Yahoo! Finance (2008). "RCKY: Profile for Rocky Brands, Inc.". Yahoo! Finance. http://finance.yahoo.com/q/pr?s=RCKY. Retrieved on 2008-10-27.
^ Wright Investors' Service (2008). "Rocky Brands, Inc. - Company Profile Snapshot". Wright...(and so on)

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