title: Hawthorn Football Club

text: Over the next 5 years, Geelong won eleven successive matches vs Hawthorn. Many of these were gut-wrenching losses for the Hawks and thrilling contests for neutral TV viewers. Nine of the losses were by single-digit margins. Five losses were by less than a goal. In 9 of the 11 matches, Geelong ame from behind to win after trailing in the 3rd or 4th quarter. The Hawthorn-Geelong rivalry reached unprecedented fervour and Hawthorn's losing streak was dubbed the "Kennett curse" in reference to comments made by a gloating Hawthorn president Jeff Kennett following the 2008 Grand Final. It was later revealed that after the 2008 grand final, Paul Chapman initiated a pact between other Geelong players to never lose to Hawthorn again. The curse was finally broken in the 2013 Preliminary Final when Hawthorn snatched a heart-stopping 5 point victory.


title: Hawthorn Football Club

text: In twenty matches between the two sides between 2008 and 2017, twelve were decided by less than ten points, with Geelong victorious in eleven of those twelve matches.


title: Hawthorn Football Club

text: North Melbourne – Hawthorn and North Melbourne have a rivalry that dates back to the 1970s when they played off against each other in three Grand Finals in the space of four years. Both teams entered the VFL in the 1925 expansion, and were generally unsuccessful through the first few decades, but the two teams were both very strong through the 1970s, sparking a rivalry. The two clubs played in the 1975, 1976 and 1978 Grand Finals, with North Melbourne winning their first-ever premiership in 1975 by 55 points, Hawthorn winning in 1976 by five goals, and Hawthorn winning in 1978 by three goals. From 1974 to 1978 the two clubs played against each other in ten finals, and took each other on for the Australian Championship in Adelaide in 1976.


title: Hawthorn Football Club

text: Sydney Swans – Hawthorn and Sydney's rivalry has been more recent, dating back to 2011's semi final. The clubs have met in two Grand Finals. In 2012, minor premiers Hawthorn were grand final favourites, only to be upset by the Swans. The rivalry grew in 2013, when Hawthorn forward Lance Franklin transferred to the Swans as a free agent on a nine-year, $10 million deal. In 2014, the Swans finished minor premiers, and went into the grand final overwhelming favourites, only for Hawthorn to avenge the 2012 loss with a 63-point win. The rivalry has also been fueled by trading between the clubs, with third generation Hawk Josh Kennedy being traded to the Swans in 2009, and going on to have a great deal of success at his new club. In 2016, father-son Swan Tom Mitchell requested and was granted, a trade to Hawthorn, winning the Brownlow Medal in his second season.


title: Hawthorn Football Club

text: At the end of the 1976 season, Hawthorn retired guernsey number 5, worn by former captain Peter Crimmins, following Crimmins' death. The guernsey would stay retired until 1993, when Gwen Crimmins, Peter's widow, chose Andy Collins to wear the guernsey. Since then, the Crimmins family have selected the player they think should wear the number 5, with only Daniel Harford, Sam Mitchell, Ryan Burton, and James Worpel chosen to wear the number.


title: Hawthorn Football Club

text: On 6 March 2011, at its annual family day, club representatives announced that as of the 2011 season the no. 1 guernsey would be officially retired as a player number and instead presented as a tribute to the fans.


title: Hawthorn Football Club

text: Max Bailey, who was the last player to wear no. 1, made the announcement by saying "the fans are number 1". He then presented the cheer squad with a giant Hawthorn guernsey displaying "1" on its back. The oversized guernsey will be on display at selected home games. On 7 December 2018, at its open training session, it was announced that the number would be un-retired, with Harry Morrison chosen to wear it, in honour of his late-godfather Ken Judge who wore the number during his time at Hawthorn.


title: Hawthorn Football Club

text: Hawthorn's "Best & Fairest Award" is called the Peter Crimmins Medal in honour of former Hawthorn captain Peter Crimmins who played as a rover during 1966–1975 and led the side in 1974–75. He died of cancer just days after the club's 1976 premiership win. The match committee now awards the votes. The player with the maximum number of votes at the conclusion of the season is awarded the medal. (See Peter Crimmins Medal for the complete list of winners.)


title: Hawthorn Football Club

text: During the history of the Hawthorn Football Club, the club has had four mainstay home grounds (Glenferrie Oval, Princes Park, Waverley Park and the Melbourne Cricket Ground). Prior to adopting Glenferrie Oval as the club's traditional home the club had a nomadic history, playing home games at whatever the most suitable obtainable ground was for that season. Their first home ground, the Hawthorn C.G. (West Hawthorn Reserve) was abandoned after the first season due to conditions imposed by the Hawthorn Cricket Club and they played at John Wren's Richmond Racecourse in 1903 (which was off Bridge Road between Stawell Street and Westbank Terrace—where Tudor Street with 5 no through streets are now located) and moved to the Richmond Cricket Ground in 1904. Their merger with Boroondara in 1905 had them move to Boroondara's ground, which at the time was the East Melbourne Cricket Ground. Hawthorn dropped their colours of blue and red (similar to Melbourne's guernsey at the time) and adopted Boroondara's colours, which was a black guernsey with red sash but retained the name Hawthorn FC. When the Hawthorn council opened the Hawthorn City Sports Ground (Glenferrie Oval) in October 1905 they endeavored to get a senior club to represent the district to be the main tenant during the next football season. The Hawthorn FC, competing in the Metropolitan Junior Football Association (now known as the VAFA), and Hawthorn Rovers (a popular club in the Eastern Suburbs Association) merged to form the Hawthorn City Football Club and made Glenferrie their home ground (the word City was later dropped and the club was just known as the Hawthorn Football Club when it entered the VFA in 1914) .


title: Hawthorn Football Club

text: Between 1906 and 1973, home games were played at the club's traditional home, Glenferrie Oval, in the heart of the affluent suburb. The state of Glenferrie Oval and its location, close to Glenferrie train station on the Melbourne East route, was a central reason why the club was first accepted into the VFA in 1914, and then the VFL in 1925. The club's onfield results had not reached any great heights in those early days but both the VFA and VFL had recognised the importance of representation in the suburbs east of the Yarra River. Glenferrie Oval was pivotal in these advancements of the Hawthorn Football Club as it was considered the most suitable at the time.


title: Hawthorn Football Club

text: In 1914, when Hawthorn entered the VFA, the council was required to build a new dressing shed to meet the standards of the VFA competition. These dressing sheds were erected in the north-west corner of the ground, where the Tuck Stand now resides, and were later moved to the Rathmines Road Reserve in Hawthorn where it still exists today. In 1922 the ground was widened by 30 yards and lengthened westward by 50 yards – taking in the previous outer reserve ground – to the dimensions that remain today. The 1922 ground improvements also resulted in Glenferrie Oval's first main stand, which was a wooden structure to be known as the Kennon-Owen Stand and had been purchased from the East Melbourne Cricket Ground in late 1921 when that ground was closed due to expansion of the Jolimont railyards. The Kennon-Owen Stand was located where the Victorian Weightlifting Building is now situated. Glenferrie Oval is universally known for its famous art-deco Grandstand, built in 1937 and later named the Michael Tuck stand after the club great, and housed the new changerooms and administration of the club. It is now heritage protected as one of the most significant buildings of the era. The Kennon-Owen Stand was replaced by the Dr A S Ferguson Stand, a new brick stand opened in 1966 which was 185 feet long and could seat 1450, with 400 undercover. It was later to be home of the Past Players Association and the original Museum. The northern part of the Ferguson stand was demolished to make way for the Victorian Weightlifting Building. In 1963 the large scoreboard was erected at the eastern end of the ground. After the club won the 1961 premiership it was decided to buy some houses on the other side of Linda Crescent to build the Social Club which opened in 1962. The ground was relatively small by VFL standards, but the intimate nature of the ground (with the grandstands and train line surrounding the ground) made for a terrific atmosphere.


title: Hawthorn Football Club

text: The club ceased playing VFL matches at the ground in 1973 to cater to the club's growing crowds and demands of VFL football. From 1974 to 2006, the club used the ground as a home and administration base, conducting training sessions and running a social club, across Linda Crescent, before moving the administrative base to Waverley Park in 2006. The club used Glenferrie Oval for its post-premiership celebrations in 2008, attracting more than 20,000 fans.


title: Hawthorn Football Club

text: The decision to move away from Glenferrie Oval and subsequent move to Princes Park, was a difficult transition, alienating many supporters. Prior to moving to Princes Park, the club pushed to build a stadium in Box Hill and mooted a move to the MCG (1964) both were rejected. The move to Princes Park—the traditional home of the Carlton Football Club, coincided with the club's golden era, hoisting the '76, '78, '83, '86, '88, '89 and '91 premiership flags at the ground. Combined with Carlton's '79, '81, '82 and '87 flags, Princes Park became a hub of success throughout the 1970s and 1980s. Whilst the club had immense success at the ground, the ground wasn't a favourite with the majority of the Hawthorn membership. Located in Melbourne's Northern suburbs, the traditional home of the Carlton Football Club—one of the traditional powerhouses of the VFL, the move away from the club's heartland caused many Hawks supporters to turn their back on the club. Recognising this, as early as the mid-1980s the Hawthorn administration pushed to relocate from Princes Park to Waverley Park; however, due to the nature of long-term terms of tenancy at Princes Park and the ruthlessness of the Carlton Football Club for Hawthorn to abide by this contract, a move away from Princes Park before the end of the long-term agreement would result in financial ruin for the club.


title: Hawthorn Football Club

text: In 1990, with the backing of the AFL, Hawthorn set the wheels in motion for a move to VFL Park, playing a series of home games at Waverley Park—located 20 km east of the Melbourne CBD and the location of Hawthorn's 1991 Premiership success. Whilst the move to Waverley was met with a drop in on-field success, symbolising the birth of the barren period for the club on the field leading up until 2008, the club successfully harboured large increases in attendances and membership at the ground. As a result of the AFL closing the venue and subsequently selling the property to Mirvac to finance the Docklands stadia, the club had the opportunity to move home games to either the lavish new Docklands precinct (alongside Essendon, St Kilda, Western Bulldogs and North Melbourne) or join traditional tenants Melbourne and Richmond as well as Collingwood at the MCG. Highlighting the potential to push attendances and membership beyond 50,000, the club decided to push for relocation to the MCG in line with the 'Family Club' mantra. In January 2006, in the club's centennial year at Glenferrie Oval, the club's administration, museum, player base and training base relocated to Waverley Park.


title: Hawthorn Football Club

text: On 13 March 2000, Hawthorn played its first home game as an MCG tenant against Collingwood, becoming one of four tenant clubs to play at the ground. Until 2008 the shift from to the MCG has been met with a barren period on the field for the Hawks, having played in five out of nine non-finals seasons at the ground. Since 2000, Hawthorn has played between seven and nine home games at the MCG, with secondary home games being played at Docklands Stadium and York Park in Tasmania. In 2008, Hawthorn played seven home games at the MCG, drawing 369,614 (52,802) to seven games and a total of 773,089 (59,468) to 13 games at the venue for the year.


title: Hawthorn Football Club

text: Since 2001, Hawthorn's has played "secondary" home games at York Park (currently also known by the sponsorship name of The University of Tasmania Stadium) in Tasmania. The Hawks have a very successful record at the ground, winning 45 times and losing only thirteen and a draw since games started playing there in 2001. As a result of the agreement with the Tasmanian government, thousands of Melbourne-based Hawthorn supporters have travelled to Tasmania to watch the Hawks play, increasing activity within the local Launceston economy. By the same token, Hawthorn has successfully increased its following in the state, with an estimated 25% of young Tasmanian supporters now barracking for their "local" team.


title: Hawthorn Football Club

text: Victorian Women's Football League which was the major women's competition in Victoria had in 2016 been reorganized and now came under the VFL brand, local club Knox Falcons contested in 2016. Hawthorn obtained a licence from the Knox Falcons and transferred it to its senior VFL-affiliate Box Hill. The team won three games in the 2017 season. In December 2017 the announcement that the Box Hill Hawks' VFLW women's side has been re-licensed and will be now known as Hawthorn.


title: Hawthorn Football Club

text: The VFLW team will play before the Box Hill men's team on most occasions, with their home ground the Box Hill City Oval. It provides Hawthorn fans an opportunity to support both sides every home game.


title: Hawthorn Football Club

text: Club President Jeff Kennett wrote, "Hawthorn is committed to women's football. While the AFL have not yet given us an entry date, I trust after this year's performance we have earnt the right to be elevated into the AFLW competition in 2020."


title: Hawthorn Football Club

text: For a list of the VFLW team's coaches, captains and performances in the competition click here. For the 2021 season, the coach is Bec Goddard and the captain is Jess Trend.


title: Hawthorn Football Club

text: Hawthorn fielded a reserves team in the VFL/AFL reserves competition, and its successor, the Victorian State Football League, from 1925 until 1999. During that time, the club won four reserves premierships: in 1958, 1959, 1972 and 1985.


title: Hawthorn Football Club

text: Since 2000, after the VSFL ceased competition, Hawthorn has been affiliated with the Box Hill Football Club in the Victorian Football League. Under the affiliation, Hawthorn players who are not selected in the AFL can play alongside Box Hill senior players in the VFL competition. The clubs have a strong affiliation, with Box Hill changing its club nickname from Mustangs to Hawks when the sides affiliated. Box Hill has won three premierships, in 2001, 2013, and 2018 during the period of the clubs' affiliation.


title: Hawthorn Football Club

text: The reserve grade won the club's first flag after holding onto a winning lead by defeating Collingwood by four points. After an even first quarter the Hawks kicked four unanswered goals to lead by 26 points at half time. Collingwood lifted after the break keeping the Hawks to a goal in the third and only a point in the final quarter. Playing better football in wet conditions, Collingwood managed to narrow the gap but inaccurate kicking they failed by four points.


title: Hawthorn Football Club

text: Gary Young kicked four goals while Elward kicked two. Horace Edmonds coached this team to its first premiership.


title: Hawthorn Football Club

text: In 1959 Hawthorn Reserves went back to back winning their second premiership after defeating Fitzroy by 31 points.


title: Hawthorn Football Club

text: The Hawks opened up a 38-point half-time lead by kicking six goals in the second quarter. The Hawks extended their lead to 44 points at the last break before playing it safe and coasting to a 31-point win. Elward and Peter Hay kicked 3 goals for the winners and Dineen, Howell and Ritchie were amongst their best players. Horace Edmonds coached the team.


title: Hawthorn Football Club

text: In a team that contained four of the previous years senior premiership players, Geoff Angus, Ken Beck, Michael Porter and Ray Wilson. Up and coming future club champions Michael Moncrieff, Michael Tuck, Kelvin Matthews and Alan Goad were instrumental in the match.


title: Hawthorn Football Club

text: The Hawks led all day before Melbourne hit the front with two minutes to go, a late goal to Fitzgerald won the game. Wayne Bevan kicked 4 goals for the winners.


title: Hawthorn Football Club

text: In 1985, Hawthorn Reserves contained future premiership players in James Morrissey, Greg Dear, Peter Curran, Chris Wittman and Paul Abbott. Hawthorn veterans, Peter Knights, Gary Buckenara, Rodney Eade and Colin Robertson and in his only year at the club Steve Malaxos. Buckenara kicked 8 goals.


title: Hawthorn Football Club

text: Hawthorn fielded a side in the VFL Under-19s competition. The Under-19s played in two grand finals, losing the first in 1969 to Richmond but in 1972 won against North Melbourne. The team included Bernie Jones, Ron Beattie, Michael Zemski and Ian Scrimshaw.


title: Hawthorn Football Club

text: For a few years Hawthorn had an Under-17s team that played in the local suburban competition. The team played in the Melbourne Boys League until 1968 before transferring to the South East Suburban FL from 1969 to 1973. The 1970 Premiership side included Bernie Jones, Paul Reinmuth and Wayne Bevan whom made the senior ranks.


title: Hawthorn Football Club

text: A proposal was made in 1973 for the formation of an Under-17s competition including all VFL clubs but it never got enough support for it to get off the ground. Robert DiPierdomenico was the only player to make the senior ranks.


title: Hawthorn Football Club

text: The Under-17s won 3 Premierships in a row from 1960 to 1962. These teams produced additional Under-17s players to play 1st 18, David Albiston, Neil Ferguson and Percy Cummings.


title: Hawthorn Football Club

text: Another U17s player from that era was Alan Piper, who was a hugely respected businessman and football visionary who played a pivotal role in the establishment of AFL football in Queensland via the Brisbane Bears in 1987, and the club's relocation from the Gold Coast to Brisbane in 1993. Piper passed away at age 55 in 2001.


title: Cedrus libani

text: Cedrus libani, the cedar of Lebanon or Lebanese cedar (), is a species of tree in the genus cedrus, a part of the pine family, native to the mountains of the Eastern Mediterranean basin. It is a large evergreen conifer that has great religious and historical significance in the cultures of the Middle East, and is referenced many times in the literature of ancient civilisations. It is the national emblem of Lebanon and is widely used as an ornamental tree in parks and gardens.


title: Cedrus libani

text: "Cedrus libani" can reach in height, with a massive monopodial columnar trunk up to in diameter. The trunks of old trees ordinarily fork into several large, erect branches. The rough and scaly bark is dark grey to blackish brown, and is run through by deep, horizontal fissures that peel in small chips. The first-order branches are ascending in young trees; they grow to a massive size and take on a horizontal, wide-spreading disposition. Second-order branches are dense and grow in a horizontal plane. The crown is conical when young, becoming broadly tabular with age with fairly level branches; trees growing in dense forests maintain more pyramidal shapes.


title: Cedrus libani

text: The shoots are dimorphic, with both long and short shoots. New shoots are pale brown, older shoots turn grey, grooved and scaly. "C. libani" has slightly resinous ovoid vegetative buds measuring long and wide enclosed by pale brown deciduous scales. The leaves are needle-like, arranged in spirals and concentrated at the proximal end of the long shoots, and in clusters of 15–35 on the short shoots; they are long and wide, rhombic in cross-section, and vary from light green to glaucous green with stomatal bands on all four sides.


title: Cedrus libani

text: "Cedrus libani" produces cones beginning at around the age of 40. Its cones are borne in autumn, the male cones appear in early September and the female ones in late September. Male cones occur at the ends of the short shoots; they are solitary and erect about long and mature from a pale green to a pale brown color. The female seed cones also grow at the terminal ends of short shoots. The young seed cones are resinous, sessile, and pale green; they require 17 to 18 months after pollination to mature. The mature, woody cones are long and wide; they are scaly, resinous, ovoid or barrel-shaped, and gray-brown in color. Mature cones open from top to bottom, they disintegrate and lose their seed scales, releasing the seeds until only the cone rachis remains attached to the branches.


title: Cedrus libani

text: The seed scales are thin, broad, and coriaceous, measuring long and wide. The seeds are ovoid, long and wide, attached to a light brown wedge-shaped wing that is long and wide. "C. libani" grows rapidly until the age of 45 to 50 years; growth becomes extremely slow after the age of 70.


title: Cedrus libani

text: "Cedrus" is the Latin name for true cedars. The specific epithet refers the Lebanon mountain range where the species was first described by French botanist Achille Richard; the tree is commonly known as the Lebanon cedar or cedar of Lebanon. Two distinct types are recognized as varieties: "C. libani" var. "libani" and "C. libani" var. "brevifolia."


title: Cedrus libani

text: "C. libani" var. "libani": Lebanon cedar, cedar of Lebanon – grows in Lebanon, western Syria, and south-central Turkey. "C. libani" var. "stenocoma" (the Taurus cedar), considered a subspecies in earlier literature, is now recognized as an ecotype of "C. libani" var. "libani." It usually has a spreading crown that does not flatten. This distinct morphology is a habit that is assumed to cope with the competitive environment, since the tree occurs in dense stands mixed with the tall-growing "Abies cilicica," or in pure stands of young cedar trees.


title: Cedrus libani

text: "C. libani" var. "brevifolia": The Cyprus cedar occurs on the island's Troodos Mountains. This taxon was considered a separate species from "C. libani" because of morphological and ecophysiological trait differences. It is characterized by slow growth, shorter needles, and higher tolerance to drought and aphids. Genetic relationship studies, however, did not recognize "C. brevifolia" as a separate species, the markers being undistinguishable from those of "C. libani."


title: Cedrus libani

text: "C. libani" var. "libani" is endemic to elevated mountains around the Eastern Mediterranean in Lebanon, Syria, and Turkey. The tree grows in well-drained calcareous lithosols on rocky, north- and west-facing slopes and ridges and thrives in rich loam or a sandy clay in full sun. Its natural habitat is characterized by warm, dry summers and cool, moist winters with an annual precipitation of ; the trees are blanketed by a heavy snow cover at the higher altitudes. In Lebanon and Turkey, it occurs most abundantly at altitudes of , where it forms pure forests or mixed forests with Cilician fir ("Abies cilicica"), European black pine ("Pinus nigra"), Turkish pine ("Pinus brutia"), and several juniper species. In Turkey, it can occur as low as .


title: Cedrus libani

text: "C." "brevifolia", a closely related species or perhaps a subspecies of "C. libani", grows in similar conditions on medium to high mountains in Cyprus from altitudes ranging from .


title: Cedrus libani

text: In the Epic of Gilgamesh, one of the earliest great works of literature, the Sumerian hero Gilgamesh and his friend Enkidu travel to the legendary Cedar Forest to kill its guardian and cut down its trees. While early versions of the story place the forest in Iran, later Babylonian accounts of the story place the Cedar Forest in the Lebanon.


title: Cedrus libani

text: The Lebanon cedar is mentioned several times in the Bible. Hebrew priests were ordered by Moses to use the bark of the Lebanon cedar in the treatment of leprosy. Solomon also procured cedar timber to build the Temple in Jerusalem. The Hebrew prophet Isaiah used the Lebanon cedar (together with "oaks of Bashan", "all the high mountains" and "every high tower") as examples of loftiness as a metaphor for the pride of the world and in Psalm 92:12 it says "The righteous shall flourish like the palm tree: he shall grow like a cedar in Lebanon".


title: Cedrus libani

text: The Lebanon cedar is the national emblem of Lebanon, and is displayed on the flag of Lebanon and coat of arms of Lebanon. It is also the logo of Middle East Airlines, which is Lebanon's national carrier. Beyond that, it is also the main symbol of Lebanon's "Cedar Revolution" of 2005, the 2019–20 Lebanese protests, also known as Thawra (meaning revolution in Arabic) along with many Lebanese political parties and movements, such as the Lebanese Forces. Finally, Lebanon is sometimes metonymically referred to as the Land of the Cedars.


title: Cedrus libani

text: Arkansas, among other states, has a Champion Tree program that records exceptional tree specimens. The Lebanon cedar recognized by the state is located inside Hot Springs National Park and is estimated to be over 100 years old.


title: Cedrus libani

text: When the first cedar of Lebanon was planted in Britain is unknown, but it dates at least to 1664, when it is mentioned in "Sylva, or A Discourse of Forest-Trees and the Propagation of Timber". In Britain, cedars of Lebanon are known for their use in London's Highgate Cemetery.


title: Cedrus libani

text: In order to germinate Cedrus Libani seeds, potting soil is preferred, since it is less likely to contain fungal species which may kill the seedling in its early stages. Before sowing it is important to soak the seed at room temperature for a period of 24 hours followed by cold stratification (~ 3–5 °C) for two to four weeks. Once the seeds have been sown, it is recommended that they be kept at room temperature (~ 20 °C) and in the vicinity of sunlight. The soil should be kept slightly damp with low frequency watering. Over-watering may cause damping off which will quickly kill the seedlings. Initial growth will be around 3–5 cm the first year and will accelerate subsequent years.


title: Cedrus libani

text: Cedar wood is prized for its fine grain, attractive yellow color, and fragrance. It is exceptionally durable and immune to insect ravages. Wood from "C. libani" has a density of 560 kg/m; it is used for furniture, construction, and handicrafts. In Turkey, shelterwood cutting and clearcutting techniques are used to harvest timber and promote uniform forest regeneration. Cedar resin (cedria) and cedar essential oil (cedrum) are prized extracts from the timber and cones of the cedar tree.


title: Cedrus libani

text: Over the centuries, extensive deforestation has occurred, with only small remnants of the original forests surviving. Deforestation has been particularly severe in Lebanon and on Cyprus; on Cyprus, only small trees up to tall survive, though Pliny the Elder recorded cedars tall there. Attempts have been made at various times throughout history to conserve the Lebanon cedars. The first was made by the Roman emperor Hadrian; he created an imperial forest and ordered it marked by inscribed boundary stones, two of which are in the museum of the American University of Beirut.


title: Cedrus libani

text: Extensive reforestation of cedar is carried out in the Mediterranean region. In Turkey, over 50 million young cedars are planted annually, covering an area around . Lebanese cedar populations are also expanding through an active program combining replanting and protection of natural regeneration from browsing goats, hunting, forest fires, and woodworms. The Lebanese approach emphasizes natural regeneration by creating proper growing conditions. The Lebanese state has created several reserves, including the Chouf Cedar Reserve, the Jaj Cedar Reserve, the Tannourine Reserve, the Ammouaa and Karm Shbat Reserves in the Akkar district, and the Forest of the Cedars of God near Bsharri.


title: Cedrus libani

text: Because during the seedling stage, differentiating "C. libani" from "C. atlantica" or "C. deodara" is difficult, the American University of Beirut has developed a DNA-based method of identification to ensure that reforestation efforts in Lebanon are of the cedars of Lebanon and not other types.


title: Cedrus libani

text: "C. libani" is susceptible to a number of soil-borne, foliar, and stem pathogens. The seedlings are prone to fungal attacks. "Botrytis cinerea", a necrotrophic fungus known to cause considerable damage to food crops, attacks the cedar needles, causing them to turn yellow and drop. "Armillaria mellea" (commonly known as honey fungus) is a basidiomycete that fruits in dense clusters at the base of trunks or stumps and attacks the roots of cedars growing in wet soils. The Lebanese cedar shoot moth ("Parasyndemis cedricola") is a species of moth of the family Tortricidae found in the forests of Lebanon and Turkey; its larvae feed on young cedar leaves and buds.


title: Douglas Wilson (theologian)

text: Douglas James Wilson (born 1953) is a conservative Reformed and evangelical theologian, pastor at Christ Church in Moscow, Idaho, faculty member at New Saint Andrews College, and author and speaker. Wilson is known for his controversial work "Southern Slavery, As It Was", which he coauthored with Steve Wilkins. He is also featured in the documentary film "Collision" documenting his debates with anti-theist Christopher Hitchens on their promotional tour for the book "Is Christianity Good for the World?".


title: Douglas Wilson (theologian)

text: Wilson co-founded the Reformed cultural and theological journal "Credenda/Agenda" and has been a contributor to "Tabletalk", a magazine published by R. C. Sproul's Ligonier Ministries. He has published a number of books on culture and theology, several children's books, and a collection of poetry.


title: Douglas Wilson (theologian)

text: Wilson has been a prominent advocate for classical Christian education, and he laid out his vision for education in several books and pamphlets, especially in "Recovering the Lost Tools of Learning" and "The Case for Classical Christian Education". In those writings, he argues that the American public schools are failing to educate their students, and he proposes a Christian approach to education based on the medieval trivium, an approach to education with origins in Classical Antiquity which emphasizes grammar, rhetoric, and logic and advocates a wide exposure to the liberal arts, including classical Western languages such as Latin and Greek. The model has been adopted by a number of Christian private schools and homeschoolers.


title: Douglas Wilson (theologian)

text: Wilson has written on theological subjects and an advocate for Van Tillian presuppositional apologetics and postmillennialism. "Letter from a Christian Citizen" is Wilson's response to atheist Sam Harris's "Letter to a Christian Nation". In May 2007, Wilson debated noted atheist Christopher Hitchens in a six-part series published first in "Christianity Today", and subsequently as a book entitled "Is Christianity Good for the World?" with a foreword by Jonah Goldberg.


title: Douglas Wilson (theologian)

text: Wilson's views on covenant theology have caused some controversy as part of the Federal Vision theology, partly because of its perceived similarity to the New Perspective on Paul, which Wilson does not fully endorse, though he has praised some tenets. The Reformed Presbyterian Church in the United States declared his views on the subject to be heretical.


title: Douglas Wilson (theologian)

text: Wilson's most controversial work is considered to be his pamphlet "Southern Slavery, As It Was", which he co-wrote with League of the South co-founder and Christian minister J. Steven Wilkins. In it, they wrote that "slavery produced in the South a genuine affection between the races that we believe we can say has never existed in any nation before the War or since." Louis Markos notes that "though the pamphlet condemned racism and said the practice of Southern slavery was unbiblical, critics were troubled that it argued U.S. slavery was more benign than is usually presented in history texts." Some historians, such as Peter H. Wood, Clayborne Carson, and Ira Berlin, condemned the pamphlet's arguments, with Wood calling them "as spurious as Holocaust denial".


title: Douglas Wilson (theologian)

text: In 2004, Wilson held a conference for those who supported his ideas at the University of Idaho. The university published a disclaimer distancing itself from the event, and numerous anti-conference protests took place. Wilson described critical attacks as "abolitionist propaganda". He also has repeatedly denied any racist leanings. He has said his "long war" is not on behalf of white supremacy; rather, Wilson claims to seek restoration of a prior era, during which he says faith and reason seemed at one and when family, church, and community were more powerful than the state.


title: Douglas Wilson (theologian)

text: The Southern Poverty Law Center connects Wilson's views to the Neo-Confederate and Christian Reconstruction movements influenced by R. J. Rushdoony, concluding, "Wilson's theology is in most ways indistinguishable from basic tenets of [Christian] Reconstruction."


title: Douglas Wilson (theologian)

text: Canon Press ceased publication of "Southern Slavery, As It Was" when it became aware of serious citation errors in 24 passages authored by Wilkins where quotations, some lengthy, from the 1974 book "Time on the Cross: The Economics of American Negro Slavery" by Robert William Fogel and Stanley L. Engerman were not cited. Robert McKenzie, the history professor who first noticed the citation problems, described the authors as being "sloppy" rather than "malevolent" while also pointing out that he had reached out to Wilson several years earlier. According to the Southern Poverty Law Center, "He described the lifted passages as simply reflecting a citation problem, and attributed the latest uproar to "some of our local Banshees [who] have got wind of all this and raised the cry of plagiarism (between intermittent sobs of outrage)."" Wilson reworked and redacted the arguments and published (without Wilkins) a new set of essays under the name "Black & Tan" after consulting with historian Eugene Genovese.


title: Terry Ellis

text: Terry Ellis is an American singer. She is best known as a founding member of the R&B/pop vocal group En Vogue which formed in 1989.


title: Terry Ellis

text: In 1988, Ellis performed in a lecture/concert with singer Kashif which turned out to be an onsight audition for a proposed singing group to be created by Kashif and friends. Ellis later auditioned to sing in an upcoming female group. Initially, producers Denzil Foster and Thomas McElroy had already chosen singers Dawn Robinson, Maxine Jones, and Cindy Herron to be in a three-piece girl group, but added Ellis after hearing her sing. After joining Ellis to the lineup, the group became a quartet and originally chose the name "For You", later changed to En Vogue. Ellis sang lead vocals on the intro of the group's first single "Hold On", which peaked at number 2 on "Billboard"'s Hot 100 chart, and sold over a million copies becoming platinum-certified by the RIAA. Later that year, the group released their debut album "Born to Sing", which went platinum. Ellis also sang lead vocals on the singles "Lies" and "Don't Go", both of which charted in top-five positions on "Billboard's" Hot R&B/Hip-Hop Songs chart.


title: Terry Ellis

text: En Vogue released their second studio album "Funky Divas" in 1992, which sold over 3.5million copies in the United States. Ellis shares lead vocals on one of the album's top-charting singles "Free Your Mind", which won two MTV Video Music Awards, for "Best R&B Video" and "Best Dance Video". En Vogue released an EP in fall 1993, entitled "Runaway Love". In November 1995, Ellis left En Vogue and released her debut solo album, "Southern Gal". The album spawned the singles "Where Ever You Are" and "What Did I Do To You?". Within a year of its release the album had sold over 142,000 copies. The album was considered a commercial failure after sales failed to match the standard of En Vogue's success. She also released her own fragrance titled "Southern Exposure".


title: Terry Ellis

text: In 1996, En Vogue recorded "Don't Let Go (Love)" with Ellis singing the last verse of an extended version of the song. On the album's version, Ellis only sings backup on "Don't Let Go (Love)". The song was featured on the soundtrack to the motion picture "Set It Off". Released in fall, it became the group's biggest hit to date going number one worldwide. It also sold over 1.8million copies worldwide and became certified platinum by the RIAA. In response to the large commercial success of "Don't Let Go (Love)", the group steadfastly went to work on its third album. As the album was nearing completion, Robinson left the group in April 1997 after difficult contractual negotiations reached a stalemate. The ending result saw En Vogue re-recording their third album with Ellis singing lead vocals on more of the songs. In June 1997, the group released their third studio album "EV3", which went platinum.


title: Terry Ellis

text: In 1999, Ellis toured as a backup singer for Toni Braxton. She also appears as one of Chanté Moore's friends in the music video "Chanté's Got a Man" in 1999. In 2000, she also released a song called "Call on Me" on the soundtrack for the HBO romantic drama "Disappearing Acts". In 2005, Ellis was featured in the Stevie Wonder music video "So What The Fuss" with her original En Vogue members Dawn Robinson, Maxine Jones, and Cindy Herron. Throughout the years, Ellis continued to record on the group's albums: "Masterpiece Theatre" (2000), "The Gift of Christmas" (2002), and "Soul Flower" (2004). In 2012, Ellis and fellow En Vogue member Cindy Herron sued now-defunct member Maxine Jones demanding $1million for unauthorized use of the name, though the damages request was ultimately determined to be without merit, as Ellis and Herron could not demonstrate harm done to the company from Jones's use of the name (although Robinson was named in the lawsuit, she was not directly involved in the dispute, as she had surrendered her rights to use the name herself when she departed from the LLC years earlier). However, the judge decided to award full rights of the "En Vogue" name to Herron and Ellis.


title: Terry Ellis

text: In July 2014, Ellis signed to Pyramid Records alongside En Vogue members Cindy Herron and Rhona Bennett. In November 2014, they released "An En Vogue Christmas". In February 2015, Rufftown Entertainment filed a lawsuit against En Vogue, which names Herron and Ellis for breach of contract. Rufftown owner Rene Moore is seeking $310million from the group.


title: Terry Ellis

text: Ellis is a mezzo-soprano and has a three-octave vocal range which was displayed in the En Vogue song, "Don't Go". By her bandmates, Terry was credited as the member with the "ballad" type of voice. With En Vogue, she often shared leads, or lead the group songs that were funky, and soulful. In group harmonies, Terry usually sings the alto arrangement, which is above Maxine Jones, but under Dawn Robinson, or Cindy Herron.


title: Terry Ellis

text: Ellis' cousin was Thomas Howard who played linebacker for the Cincinnati Bengals in the NFL. During the 1990s, Ellis dated music producer Denzil Foster. Ellis is close friends with actress and model Holly Robinson Peete, whom she met on the set of the sitcom "Hangin' with Mr. Cooper" while recording the show's theme song, and they both share a striking physical resemblance to one another.


title: Big Mommas: Like Father, Like Son

text: Big Mommas: Like Father, Like Son is a 2011 American crime comedy film and the third and final installment in the "Big Momma" film series. It is a sequel to 2000's "Big Momma's House" and 2006's "Big Momma's House 2".


title: Big Mommas: Like Father, Like Son

text: The film was directed by John Whitesell and stars Martin Lawrence reprising his role as FBI agent Malcolm Turner. Lawrence is the only returning star from the original cast, Trent Pierce, Turner's stepson, who is a character from the previous two films, is now played by Brandon T. Jackson, after Jascha Washington declined to reprise his role. The film was released on February 18, 2011, by 20th Century Fox.


title: Big Mommas: Like Father, Like Son

text: FBI agent Malcolm Turner is elated to learn that his stepson, Trent Pierce, has been accepted to attend Duke University in Durham, North Carolina. However, Trent is uninterested and instead wants Malcolm to sign a recording contract for him since he is underage. When Malcolm refuses, Trent's best friends encourage him to ambush Malcolm on the job in order to obtain the signature.


title: Big Mommas: Like Father, Like Son

text: Malcolm, in an attempt to capture Russian gang member Chirkoff, uses an informant named Canetti to deliver a flash drive to the gang, while Trent attempts to ambush Malcolm on the job. Canetti reveals that the flash drive is empty and a duplicate is hidden with a friend at the Georgia Girls School for the Arts.


title: Big Mommas: Like Father, Like Son

text: During the exchange, Canetti's cover is blown and he is killed, which Trent witnesses. Malcolm eventually rescues Trent and they escape, but since Trent's car was left at the scene Malcolm knows the gang members will be able to track them down so Malcolm and Trent are forced to hide undercover. Malcolm once again becomes Sherry's grandmother, Big Momma, and also disguises Trent as an obese girl named "Charmaine", Big Momma's great-niece. Big Momma takes a job as a house mother at the Georgia Girls School for the Arts, while Charmaine is enrolled as a student.


title: Big Mommas: Like Father, Like Son

text: Surrounded by attractive young women, Trent nearly blows his cover, but manages to befriend a girl named Haley Robinson. The headmistress announces that a historic music box has been stolen from the library, and Malcolm deduces that this music box contains the flash drive. While scoping out the library, Big Momma encounters security guard Kurtis Kool, who attempts to woo her while giving a tour. Seeing a picture of Kurtis with Canetti, Malcolm realizes that he is the friend, and tries to find out more about the music box.


title: Big Mommas: Like Father, Like Son

text: Meanwhile, the gang members approach Trent's best friends, posing as record producers, and encourage them to notify them of Trent's whereabouts. Charmaine sets up a date between Haley and himself, though she doubts she will be interested in the seemingly egotistical "Prodi-G", Trent's hip-hop alias. Trent reverts to his true self and the date goes well, but an encounter with Trent's best friends causes the gang members to tail them.


title: Big Mommas: Like Father, Like Son

text: Trent helps Haley perfect her musical performance for the upcoming "Showcase" event, turning it into a duet, and the two exchange a kiss at the end of the date, while Haley encourages Trent to pursue college. Before the gang members can capture Trent, he changes into his Charmaine disguise, throwing them off. Learning of an exchange between two students and Kurtis Kool, Big Momma attempts to flirt with Kurtis in order to apprehend him for stealing the music box, but the secret exchange ends up being the stolen gamecock from the Ignatius Boys School.


title: Big Mommas: Like Father, Like Son

text: During this encounter, Malcolm reveals his true identity to Kurtis. After gaining the favor of several students by offering sage advice and comfort to them, Big Momma finally learns the music box was actually stolen by Haley as a hazing to become a full pledged member of the "Divas", a group of top artists in the school. As she is about to perform her duet, Malcolm forces Trent to retain his Charmaine disguise, and he attempts to perform the duet with Haley as Charmaine, only to break disguise and ruin the performance. As Haley storms off, the gang members arrive and a chase ensues.


title: Big Mommas: Like Father, Like Son

text: Trent accidentally draws their attention as he attempts to pursue Haley and explain himself. Just as he recovers the flash drive, the gang members catch up and hold him at gunpoint. Big Momma interferes and provides an escape, but all three are caught again and Malcolm's disguise is revealed. Just as Chirkoff is about to kill them, Kurtis arrives with a taser and saves the day.


title: Big Mommas: Like Father, Like Son

text: Trent and Haley reconcile, and Malcolm signs Trent's record contract, only to have him tear it up and reveal his new plan to attend college. As the film ends, Malcolm and Trent make an agreement to keep the whole ordeal a secret from Sherry.


title: Big Mommas: Like Father, Like Son

text: New Regency Productions spent $32 million to make the film, less than the previous films in the series. They were able to reduce costs because Lawrence agreed to take a pay cut and thanks to tax incentives in Georgia. Principal photography began in April 2010.


title: Big Mommas: Like Father, Like Son

text: A music video titled "Imma Do It Big" was released on February 9, 2011. The song is by Brandon T. Jackson and features One Chance and T-Pain. The song starts off with a verse by Jackson and then a verse from T-Pain, then another verse by Jackson, but this verse is rapped by his real-life alter ego Charmaine.


title: Big Mommas: Like Father, Like Son

text: Another song called "Lyrical Miracle" by Brandon T. Jackson as he goes by the name of Trent's rapper named Prodi-G and also features Martin Lawrence as his alter ego, Big Momma, with other characters from the film.


title: Big Mommas: Like Father, Like Son

text: In addition to the theatrical version, an unrated and extended cut of the film (marketed as "The Motherload Edition") was released on DVD. The extended version contained five minutes of new footage, consisting of a song-and-dance musical number and slightly longer edits of various scenes.


title: Big Mommas: Like Father, Like Son

text: The film was released in North America on February 18, 2011, ranking #5 that weekend, with a gross of $16,300,803 from 2,821 theaters. As of 26 May 2011, "Big Mommas" has grossed $37,915,414 in the United States, and $44,770,652 elsewhere, for a worldwide total of $82,686,066.


title: Big Mommas: Like Father, Like Son

text: "Big Mommas: Like Father, Like Son" was panned by critics. On Rotten Tomatoes the film has an approval rating of 5% based on 60 reviews with an average rating of 2.7/10. The site's critical consensus reads, "Unnecessary, unfunny, and generally unwelcome, "Big Mommas: Like Father, Like Son" offers more of the same for fans of Martin Lawrence's perplexingly popular series."


title: Big Mommas: Like Father, Like Son

text: On Metacritic, the film has a score of 22 out of 100 based on 14 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: Big Mommas: Like Father, Like Son

text: Mike Hale of "The New York Times" notes strong similarities to "Some Like It Hot" and describes Faizon Love's performance as the only honestly funny thing in the whole film.


title: Diminished seventh chord

text: The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C, has pitches C–E–G–B (A):


title: Diminished seventh chord

text: As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation {0, 3, 6, 9}.


title: Diminished seventh chord

text: Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6).


title: Diminished seventh chord

text: The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards.


title: Diminished seventh chord

text: In most sheet music books, the notation Cdim or C denotes a diminished seventh chord with root C; but it may also happen, mostly in modern jazz books and some music theory literature, that Cdim or C denotes a diminished triad (more commonly denoted Cm), while Cdim or C in these books denotes a diminished seventh chord (corresponding to Cm).


title: Diminished seventh chord

text: Music theorists have struggled over the centuries to explain the meaning and function of diminished seventh chords. Currently, two approaches are generally used.


title: Diminished seventh chord

text: The less complex method treats the leading tone as the root of the chord and the other chord members as the third, fifth, and seventh of the chord, the same way other seventh chords are analyzed.


title: Diminished seventh chord

text: The other method is to analyze the chord as an "incomplete dominant ninth", that is a ninth chord with its root on the dominant, whose root is missing or implied. A vii chord in the minor key (for example, in C minor, B–D–F–A) occurs naturally in the harmonic minor scale and is equivalent to the dominant 79 chord (G–B–D–F–A) without its root.


title: Diminished seventh chord

text: This was already proposed by Arnold Schoenberg, and Walter Piston championed this analysis. Jazz guitarist Sal Salvador, and other jazz theorists, also advocated this view, rewriting chord charts to reflect this and supplying the "missing" root as part of their bass lines. The dominant ninth theory was questioned by Heinrich Schenker. He explained that although there is a kinship between all univalent chords rising out of the fifth degree, the dominant ninth chord is not a real chord formation.


title: Diminished seventh chord

text: Jean-Philippe Rameau explained the diminished seventh chord as a dominant seventh chord whose supposed fundamental bass is borrowed from the sixth degree in minor, raised a semitone producing a stack of minor thirds. Thus, in C, the dominant seventh is G (G–B–D–F) and the sixth degree borrowed from the minor scale produces A–B–D–F.


title: Diminished seventh chord

text: In his "Treatise on Harmony", he observed that three minor thirds and an augmented second make up a chord where the augmented second is such that "the ear is not offended" by it. He may have been talking of the augmented second in quarter-comma meantone, a tuning he favored, which is close to the just septimal minor third of 7:6.


title: Diminished seventh chord

text: The most common form of the diminished seventh chord is that rooted on the leading tone – for example, in the key of C, the chord (B–D–F–A) – so its other constituents are the , , and (flat submediant) scale degrees. These notes occur naturally in the harmonic minor scale. But this chord also appears in major keys, especially after the time of J.S. Bach, where it is borrowed from the parallel minor.


title: Diminished seventh chord

text: The chord possesses a dominant function when rooted on the leading tone (otherwise it doesn't, but can serve other functions - see below), and this is most straightforwardly shown when the root of a dominant seventh chord is omitted. The remaining third, fifth and seventh of that chord form a diminished triad (whose new root is the third of the former chord), to which a diminished seventh can be added. Thus, in C (major or minor), a dominant seventh chord consisting of G–B–D–F can be replaced by a diminished seventh chord B–D–F–A.


title: Diminished seventh chord

text: In jazz harmony, a combination of the original chord with its substitute (with G in the bass and A simultaneously in an upper voice) yields the seven flat-9 chord, which intensifies the dominant function of either a diminished seventh or dominant seventh chord. Other transformations of this kind facilitate a variety of substitutions and modulations: any of the four notes in a diminished seventh chord are "raised" by a semitone, that raised note is then the flat-seventh of a half-diminished seventh chord. Similarly, if any of the four notes in the diminished seventh chord are "lowered" by a semitone, that lowered note is then the root of a dominant seventh chord.


title: Diminished seventh chord

text: Diminished seventh chords may also be rooted on scale degrees other than the leading-tone, either as secondary function chords temporarily borrowed from other keys, or as appoggiatura chords: a chord rooted on the raised second scale degree (D–F–A–C in the key of C) acts as an appoggiatura to the tonic (C major) chord, and one rooted on the raised sixth scale degree (A–C–E–G in C major) acts as an appoggiatura to the dominant (G major) chord. Such chords however, having no leading tone in relation to the chords to which they resolve, cannot properly have a dominant function. They are therefore referred to commonly as "non-dominant diminished seventh chords" or "common tone diminished seventh chords" (see below).


title: Diminished seventh chord

text: In jazz, the diminished seventh chord is often based on the scale degree (the flat mediant) and acts as a passing chord between the mediant triad (or first-inversion tonic triad) and the supertonic triad: in C major, this would be the chord progression E minor – E diminished – D minor. The chord, "plays no role in... jazz." The passing chord is used widely in Brazilian music such as choro, samba and bossa nova.


title: Diminished seventh chord

text: Another common use of the chord is as a "sharpened subdominant with diminished seventh" chord. This is represented by the Roman notation iv, but in classical music is more correctly represented as vii/V, being a very common way for a composer to approach the dominant of any key. In the key of C, this is Fdim. It is also a common chord in jazz and ragtime music. A common traditional jazz or Dixieland progression is IV–iv–V (in C major: F–F–G). Another common usage of iv is often found in Gospel music and jazz progressions such as in the song "I Got Rhythm":


title: Diminished seventh chord

text: One variant of the supertonic seventh chord is the "supertonic diminished seventh" with the raised supertonic, which is enharmonically equivalence to the lowered third through (in C: D = E). It may be used as a dominant substitute.


title: Diminished seventh chord

text: A diminished seventh chord may function as a "common-tone diminished seventh chord". In this role, a diminished seventh chord resolves to a major or dominant seventh chord whose root is one of the notes of the diminished seventh chord (common tone), the most common being the raised supertonic seventh, which resolves to the tonic in major keys (–I, shown below) and the raised submediant, which resolves to dominant triad or seventh in major keys (–V, shown right), with the altered tones resolving upward by half step in both cases.


title: Diminished seventh chord

text: The ct chord, whose function, "is simply one of embellishment," most often spelled when embellishing I or when embellishing V, is distinguished from the vii/V chord by common tone chords resolving to I or I while vii/V resolves to V or I. They may be confused, due to enharmonic equivalency, but resolution is a better indicator of function than spelling. In C:


title: Diminished seventh chord

text: The diminished chord may also resolve through lowering two of the chord tones producing a supertonic seventh chord (ii) that may lead to a conventional cadence:


title: Diminished seventh chord

text: During the Baroque era (1600–1750), European composers became aware of the expressive potential of the diminished seventh chord. In operas and other dramatic works, the chord was frequently used to heighten the sense of passion, anger, danger or mystery. One famous example can be found in J. S. Bach's "St. Matthew Passion" (1737), in which he sets verses from the Gospel of Matthew, chapter 27, verses 20–21: "But the chief priests and elders persuaded the multitude that they should ask Barabbas, and destroy Jesus. The governor [Pilate] answered and said unto them, 'Whether of the twain will ye that I release unto you?' They said, 'Barabbas'." Bach sets the text so that the angry multitude's harsh reply on the word "Barabbam" is a diminished seventh chord:


title: Diminished seventh chord

text: After Bach, diminished sevenths were to feature regularly in music to evoke the uncanny or sense of impending danger. A powerful diminished seventh chord heralds the resurrection of the murdered Commendatore in the final scene of Mozart's "Don Giovanni" (1787). The dead man's statue comes to life and takes the Don down to Hell in one of the most chilling episodes in the entire operatic repertoire (Listen):


title: Diminished seventh chord

text: In the early years of the 19th century, composers used the diminished seventh with increasing frequency. In "Die Stadt", one of his darkest and most melancholy songs from "Schwanengesang" (1828), Franz Schubert conjures "the pianistic elaboration of a diminished seventh over an octave tremolo" to convey the sinister rippling of the oars as the protagonist is rowed across a lake towards the town where his lost beloved once lived. According to Edward T. Cone, "This famous arpeggiation seems to arise from nowhere to create an atmospheric prelude... and it dies away to nothing in a postlude." The song ends on the diminished seventh chord; there is no resolution, "the dissonance is terminal":


title: Diminished seventh chord

text: The operas of Carl Maria von Weber, particularly "Der Freischütz" and "Euryanthe", featured many passages using this chord. The Wolf's Glen scene in "Der Freischütz" (1821) is an example. According to his early biographer, Alexander Wheelock Thayer, Ludwig van Beethoven spoke disparagingly of the 'accumulation of diminished seventh chords' in "Euryanthe" (1823).


title: Diminished seventh chord

text: Beethoven was himself rather fond of the chord and was well aware of its dramatic potential. Perhaps the clearest instance of the diminished seventh's power to evoke mystery and terror can be found in the passage linking the two final movements of Beethoven's "Appassionata" sonata, Op. 57 (1806). The placid conclusion of the andante movement is interrupted first by a slowly rolled diminished seventh arpeggio played "pianissimo", followed by the same chord played an octave above in a sharp, stabbing "fortissimo".


title: Diminished seventh chord

text: The final movement of Hector Berlioz's "Symphonie Fantastique" reflects the influence of Weber in its copious use of diminished seventh chords to evoke the spooky atmosphere of a Witch's Sabbath: "a sinister gathering of spectres, monsters and weird, infernal mocking creatures":


title: Diminished seventh chord

text: By the end of the 19th century, composers had used the diminished seventh so much that it became a cliché of musical expression and consequently lost much its power to shock and thrill. By the turn of the 20th century, many musicians were getting weary of it. In his "Harmonielehre" (1911), Arnold Schoenberg wrote:


title: Diminished seventh chord

text: Because a diminished seventh chord is composed of three stacked minor thirds, it is symmetrical and its four inversions are composed of the same pitch classes. Understanding what inversion a given diminished seventh chord is written in (and thus finding its root) depends on its enharmonic spelling. For example, Gdim (G–B–D–F) is enharmonically equivalent to three other inverted diminished chords with roots on the other three pitches in the chord:


title: Diminished seventh chord

text: Nineteenth-century composers in particular often make use of this enharmonic to use these chords for modulations. Percy Goetschius calls it the "enharmonic chord."


title: Diminished seventh chord

text: As a result of the symmetry of the chord, if you ignore enharmonic spelling, there are only three distinct diminished seventh chords, the other nine being enharmonically equivalent to those three. Using Piston's incomplete-ninth analysis discussed above, a single diminished seventh chord, without enharmonic change, is capable of the following analyses: V, V/ii, V/III (in minor), V/iii (in major), V/iv, V/V, V/VI (in minor), V/vi (in major), V/VII (in minor). Since the chord may be enharmonically written in four different ways without changing the sound, we may multiply the above by four, making a total of forty-eight possible interpretations. More conservatively, each assumed root may be used as a dominant, tonic, or supertonic, giving twelve possibilities.


title: Diminished seventh chord

text: The octatonic scale (or diminished scale), a symmetric scale, may be conceived of as two interlocking diminished seventh chords, which may be rearranged into the alpha chord.


title: Southall

text: Southall () is a large suburban county of West London, England, part of the London Borough of Ealing and is one of its seven major towns. It is situated west of Charing Cross and had a population of 69,857 as of 2011. It is generally divided in three parts: the mostly residential area around Lady Margaret Road (Dormers Wells); the main commercial centre at High Street and Southall Broadway (part of the greater Uxbridge Road); and Old Southall/Southall Green to the south consisting of Southall railway station, industries and Norwood Green bounded by the M4.


title: Southall

text: It was historically a municipal borough of Middlesex administered from Southall Town Hall until 1965. Southall is located on the Grand Union Canal (formerly the Grand Junction Canal) which first linked London with the rest of the growing canal system. It was one of the last canals to carry significant commercial traffic (through the 1950s) and is still open to traffic and is used by pleasure craft. The canal separates it from Hayes on the west, whereas to the east the River Brent separates the town from Hanwell. From the 1950s the town's local factories and proximity to Heathrow Airport attracted large numbers of Asian immigrants; the town eventually became home to the largest Punjabi community outside the Indian subcontinent and is today a major centre of South Asian culture, having gained the nickname "Little India".


title: Southall

text: The name Southall derives from the Anglo-Saxon dative "æt súð healum", "At the south corner (of the land or wood)" and "súð heal", "South corner" and separates it from Northolt which was originally "norþ heal", "North corner" which through a later association with Anglo-Saxon "holt", "wood, copse" developed into Northolt.


title: Southall

text: It appears as "Suhaull" in 1198, and "Sudhale" in 1204, and as "Southold" on the Oxfordshire Sheldon tapestry from the late 1580s.


title: Southall

text: The district of Southall has many other Anglo-Saxon place names such as Elthorne and Waxlow. Its earliest record, from ad 830, is of Warberdus bequeathing Norwood Manor and Southall Manor to the archbishops of Charles House.


title: Southall

text: Southall formed part of the chapelry of Norwood in the ancient parish of Hayes, in the Elthorne hundred of the historic county of Middlesex. For Poor Law it was grouped into the Uxbridge Union and was within Uxbridge Rural Sanitary District from 1875. The chapelry of Norwood had functioned as a separate parish since the Middle Ages. On 16 January 1891 the parish adopted the Local Government Act 1858 and the Southall Norwood Local Government District was formed. In 1894 it became the Southall Norwood Urban District. In 1936 the urban district was granted a charter of incorporation and became a municipal borough, renamed Southall. In 1965, the former area of the borough was merged with that of the boroughs of Ealing and Acton to form the London Borough of Ealing in Greater London.


title: Southall

text: The southern part of Southall (roughly south of the railway) used to be known as either Old Southall or Southall Green (and a section of the main north-south road in the area is still called The Green) and was centered on the historic Grade II* listed Tudor-styled Manor House which dates back to at least 1587. A building survey has shown much of the building is original, dating back to the days when Southall Green was becoming a quiet rural village. Minor 19th and 20th-century additions exist in some areas. It is currently used as serviced offices.


title: Southall

text: The extreme southernmost part of Southall is known as Norwood Green. It has few industries and is mainly a residential area, having remained for many years mainly agricultural whilst the rest of Southall developed industrially. Norwood Green borders, and part is inside, the London Borough of Hounslow.


title: Southall

text: The main east west road through the town is Uxbridge Road (A4020), though the name changes in the main shopping area to The Broadway and for an even shorter section to High Street. Uxbridge Road was part of the main London to Oxford stagecoach route for many years and remained the main route to Oxford until the building of the Western Avenue highway to the north of Southall in the first half of the 20th century. First horse drawn, then electric trams (until 1936) and, then, electric trolleybuses, gave Southall residents and workers quick and convenient transport along Uxbridge Road in the first half of the 20th century before they were replaced by standard diesel-engined buses in 1960.


title: Southall

text: The opening of the Grand Junction Canal (later renamed Grand Union Canal) as the major freight transport route between London and Birmingham in 1796 began a commercial boom, intensified by the arrival of Brunel's Great Western Railway in 1839, leading to the establishment and growth of brick factories, flour mills and chemical plants which formed the town's commercial base. In 1877, the Martin Brothers set up a ceramics factory in an old soap works next to the canal and until 1923, produced distinctive ceramics now known and collected as Martinware.


title: Southall

text: A branch railway line from Southall railway station to the Brentford Dock on the Thames was also built by Isambard Kingdom Brunel in 1856. It features one of his (impressive for the period) engineering works, the Three Bridges (although it is still often referred to on maps by the original canal crossing name of Windmill Bridge). where Windmill Lane, the railway and the Grand Union Canal all intersect – the canal being carried over the railway line cutting below in a cast-iron trough and a new cast-iron road-bridge going over both. Brunel died shortly after its completion. Sections of his bell-section rail can still be seen on the southern side being used as both fencing posts and a rope rail directly under the road bridge itself. It is listed as a Scheduled Ancient Monument. The other notable local construction by Brunel is the Wharncliffe Viaduct which carries the Great Western Railway across the River Brent towards London and which was Brunel's first major structural design.


title: Southall

text: Otto Monsted, a Danish margarine manufacturer, built a large factory at Southall in 1894. The factory was called the Maypole Dairy, and eventually grew to become one of the largest margarine manufacturing plants in the world, occupying a site at its peak. The factory also had its own railway sidings and branch canal. The Maypole Dairy Company site was later acquired by Lever Brothers who, as part of the multinational Unilever company, converted the site to a Wall's Sausages factory which produced sausages and other meat products through until the late 1980s.


title: Southall

text: At the beginning of the twentieth century, the old parish church of Southall, St John's, which had been rebuilt in 1837–8, was found to be too small for its congregation and, as a result, emigrated to a new building in Church Avenue, which was completed in 1910. The original church building, in Western Road, is now a youth centre.


title: Southall

text: In the 1920s and 1930s Southall was the destination of many Welsh migrants escaping from the harsh economic conditions in that part of the country. For many years, Welsh accents were very commonplace in the area.


title: Southall

text: On the eastern boundary of Southall was the Hanwell Asylum, which was once the world's largest asylum for the mentally ill. It was considered in its day to be a progressive institution with a good success rate for treatment. As attitudes to and treatment for mental illness improved, the site was renamed St. Bernard's Hospital. In the late 1970s, the site was extensively redeveloped, with most of the area now taken up by the Ealing Hospital. St. Bernard's still operates a large facility on part of the site under the West London Mental Health (NHS) Trust.


title: Southall

text: During World War II Southall was the target of enemy bombing on a number of occasions. A German V-1 flying bomb destroyed a number of houses in Regina Road, killing the occupants. Bomb shelters and bunkers were built during the war, close to or under most schools and public buildings, and in gardens of numerous private homes. The bunkers at Hamborough Primary School were expanded during the Cold War, to become the North West Group War HQ for the London area Civil Defence organisation and the London Borough of Ealing Emergency Control Centre. This facility is now disused.


title: Southall

text: In 1950, the first group of South Asians arrived in Southall, reputedly recruited to work in a local factory owned by a former British Indian Army officer. This South Asian population grew, due to the closeness of expanding employment opportunities such as Heathrow Airport. The most significant cultural group to settle in Southall are Asians. According to the Commission for Racial Equality, over 55% of Southall's population of 70,000 is Indian/Pakistani. By 1976 two-thirds of children in Southall were non-white, and in 1982 it was reported 65% of Southall's 83,000 residents were of Asian origin.


title: Southall

text: On 2 September 1958 at 7:10 am, a pilot of a Vickers VC.1 Viking V624 (G-AIJE), which had just taken off from Heathrow Airport, reported that he had engine trouble. Some minutes later it crashed into a row of houses in Kelvin Gardens. It was on a cargo flight carrying aero engines to Tel Aviv and carried no passengers; however, the three crew members and four people on the ground were killed. One of the surviving occupants, 14-year-old Brian Gibbons, was later awarded the George Medal for bravery, as well as the Carnegie Award. The accident was due to poor maintenance, and caused the company, Independent Air Travel, to fail in October 1959.


title: Southall

text: The 1970s saw racial tensions in the area; in 1976 Sikh teenager Gurdip Singh Chaggar was killed in a racist attack. On 23 April 1979, Blair Peach, a teacher and anti-racist activist, was killed after being knocked unconscious during a protest against the National Front (NF). Another demonstrator, Clarence Baker – a singer of the reggae band Misty in Roots, remained in a coma for five months. More than 40 others – including 21 police – were injured, and 300 were arrested.


title: Southall

text: On 4 July 1981, a race riot was sparked at the Hambrough Tavern on the Broadway. Local Asian youths mistakenly believed that a concert featuring the Oi! bands The Business, The Last Resort and The 4-Skins was a white power event. Additionally, the venue had recently been sued for barring non-white customers, and local youths had heard that skinheads arriving for the concert had harassed other youths and women. More than 200 skinheads had travelled by bus from East London, and a few of them smashed shop windows, wrote NF slogans around the area, and shouted neo-Nazi slogans while using bricks and clubs to attack Asian youths who had gathered in opposition to the gig. This was one of several high-profile riots in Britain that year. Although some of the skinheads were NF or British Movement supporters, among the 500 or so concert-goers were also left-wing skinheads, black skinheads, punk rockers, rockabillies and non-affiliated youths. Some of the approximately 400 Asians threw petrol bombs and other objects, and five hours of rioting left 120 people injured – including 60 police officers – and the tavern burnt down.


title: Southall

text: The Southall rail crash occurred on 19 September 1997 when a First Great Western mainline high speed express train from Swansea to London Paddington ran a red signal, when the driver's attention was distracted, and it collided with a goods train just outside Southall railway station. Seven people died and 139 were injured.


title: Southall

text: The Quaker Oats Company built a factory in Southall in 1936. Part of the operation that made pet foods was sold to Spiller's in 1994, and the remainder to Big Bear Group in 2006. The site continues to produce brands such as Honey Monster Puffs. Other engineering, paint and food processing factories prospered for many years, mostly alongside the railway and/or canal.


title: Southall

text: Southall was the home of Southall Studios, one of the earliest British film studios. It played a historic role in film-making from its creation in 1924 to its closure in 1959. In 1936, a fire destroyed the studio but it was rebuilt and enlarged. Numerous feature films (many featuring famous or later-to-be-famous actors) and the early TV series "Colonel March of Scotland Yard" were made at the studios, as were TV and cinema adverts.


title: Southall

text: There has been a locomotive works at the Southall Depot for nearly 150 years. Originally a Great Western Railway shed, it was possibly the last London steam depot, outlasting Old Oak Common and Stewarts Lane depots. The shed was accessible from the footbridge, spanning the whole set of lines, situated just off the Eastern end of the platforms. The depot was later used for DMU maintenance and as a base for the electrification programme. Currently the site, now referred to as the Southall Railway Centre, is used by two independent groups; Locomotive Services Limited and West Coast Railways.


title: Southall

text: Bus and commercial vehicle manufacturer Associated Equipment Company (AEC) was based in Southall, on a triangular site between Windmill Lane, the Great Western Main Line and the branch to Brentford Dock. The company moved there from Walthamstow in 1926 and closed in 1979 after losing market share whilst part of the giant but inefficient British Leyland group. The site was noticeable to railway passengers and to motorists on Uxbridge Road due to large signs proclaiming "AEC – Builders of London's Buses for 50 years".


title: Southall

text: A major gas works manufacturing town gas was located between the railway and the canal. In 1932 a large gasholder was built, becoming a local landmark until its demolition in 2019. Painted on the north east side of the gasholder are the large letters 'LH' and an arrow to assist pilots locate Heathrow Airport's (now closed) runway 23 when making visual approaches. The letters were painted in the mid 1960s after a number of pilots became confused between Heathrow and the nearby RAF Northolt (which has a similar, though smaller, gasholder under its approach at Harrow). Northolt has a much shorter runway and is not suitable for very large aircraft although one Boeing 707 did land at Northolt by mistake and a number of other aircraft had to be warned off by air traffic control at the last minute. Since town gas production ceased in the 1970s with the arrival of natural gas piped from the North Sea, much of the site has been vacant, due to limited road access and remaining gas infrastructure.


title: Southall

text: Since the end of World War II, Southall has become largely a South Asian residential district, sometimes known as "Little India". Along with its Indian and Pakistani population who mostly hail from Punjab, the town has more recently also become home to Afghan, Sri Lankan as well as Somali communities.


title: Southall

text: In addition, the signs on the main railway station are bilingual in English and Gurmukhi, which is one of the written scripts of Punjabi. The main street in Southall is called The Broadway, while a smaller commercial area exists in Old Southall on King Street. Southall contains one of the largest South Asian shopping area in the region, comparable to Green Street, East London or Ealing Road, Wembley.


title: Southall

text: Southall is home to London's largest Sikh community There are ten Sikh Gurdwaras in Southall. The Gurdwara Sri Guru Singh Sabha, which opened in 2003, is one of the largest Sikh gurdwaras outside India, and it won the Ealing Civic Society Architectural Award in 2003. There are two large Hindu 'Mandir' temples, the Vishnu Hindu Mandir on Lady Margaret Road and the Ram Mandir in Old Southall. There are more than ten Christian churches including 5 Anglican, one Roman Catholic (St Anselm's Church), Baptist, Methodist and several Pentecostal or Independent. There are six Mosques 'Masjids' in Southall, the Abubakr Mosque situated on Southall broadway, the Central Jamia Masjid Mosque, which is the oldest, the Jamia Masjid Islamic Centre, the Red Sea Mosque on the Green, and Dar al Salam on Norwood Road and also the Baithul Mukaram mosque near Lidl.


title: Southall

text: The Tudor Rose, Southall is a nightclub and venue that caters for the local British African-Caribbean community. It opened as a cinema in 1910 and was converted to its current premises in 1983.


title: Southall

text: Other notable local pubs include The Three Horseshoes in Southall Broadway, by the architect Nowell Parr which closed in 2017.


title: Southall

text: There are two local community radio stations servicing Southall; Westside 89.6 FM, licensed by Ofcom as part of their drive towards community-based radio services, broadcasts urban music and was formerly based in Southall (now in Hanwell), and Desi Radio which predominantly broadcasts in Punjabi and is available throughout West London on 1602 AM and on DAB across Greater London. Sunrise Radio, broadcasting for the wider Asian community nationally, was until recently based in Southall now having moved to nearby Hounslow.


title: Southall

text: Some non-English newspapers for the community in Southall are also in circulation including "Des Pardes", a Punjabi-language paper. A writer of "Des Pardes", Tarsem Singh Purewal was killed in Southall in 1995.


title: Southall

text: Southall was also the location of a Glassy Junction public house, which was the first pub in the UK to accept Indian Rupees as payment. The Glassy Junction closed down in 2011 and has since been replaced by an international South Indian restaurant chain.


title: Southall

text: The local football club Southall F.C. has a long history, having been formed in 1871 and nurtured past players such as Les Ferdinand, who went on to play for the national team. and as of 2018–19, they currently play in the Premier Division of the Combined Counties Football League. Southall Park is home to a free weekly parkun 5k event, which starts at 9am every Saturday.


title: Southall

text: In the 2011 census, Southall was recorded as having a resident population of 28,018 across the Southall Broadway and Southall Green wards.


title: Southall

text: Of these 76.1% are Asian or Asian British, 9.6% are Black or Black British and 7.5% are White or White British, with the remaining 6.8% of the population divided between Arabs, Mixed/multiple ethnic groups, and other ethnic groups. 60.1% of the population were born outside of the UK and the EU. At the 2011 Census, Southall Broadway ward had the lowest proportion of White British residents of anywhere in the UK – at 472 out of 13,439 or 3.5%. 93.7% of Southall Broadway's population was BAME (Black, Asian and minority Ethnic) and it was 91.4% in Southall Green.


title: Southall

text: In terms of religion, the most common religious affiliation is Sikhism, with 35.4% of the population. This is followed by Islam at 24.9%, Hinduism at 18.6%, and Christianity at 12.9%. Only 2% of residents profess no faith, the lowest figure anywhere in London.


title: Southall

text: Southall is part of the parliamentary constituency of Ealing Southall, represented since 2007 by Labour Member of Parliament Virendra Sharma.


title: Southall

text: Southall consists of six electoral wards for local council elections: Dormers Wells, Lady Margaret, Norwood Green, Southall Broadway, Southall West and Southall Green, which all elect councillors to Ealing Council.


title: Southall

text: Southall is in the London Assembly constituency of Ealing and Hillingdon which has been represented by assembly member Onkar Sahota of the Labour Party since 2012.


title: Southall

text: Nearby places include Hayes, Hanwell, Hounslow, Greenford, Northolt and Ealing The area is identified in the London Plan as one of 35 major centres in Greater London.


title: Southall

text: Southall is served by Southall railway station on the Great Western Main Line, providing links to and from Heathrow Airport, Reading and Oxford as well as London Paddington.


title: Southall

text: The nearest London Underground to the town centre is Osterley station, on the Piccadilly line, which is located approximately to the south.


title: Southall

text: There is an express coach service between Southall, Leicester and Birmingham which specialises in serving the many family connections in both areas' South Asian populations.


title: PfSense

text: pfSense is a firewall/router computer software distribution based on FreeBSD. The open source pfSense Community Edition (CE) and pfSense Plus is installed on a physical computer or a virtual machine to make a dedicated firewall/router for a network. It can be configured and upgraded through a web-based interface, and requires no knowledge of the underlying FreeBSD system to manage.


title: PfSense

text: The pfSense project began in 2004 as a fork of the m0n0wall project by Chris Buechler and Scott Ullrich. Its first release was in October 2006. The name derives from the fact that the software uses the packet-filtering tool, PF.


title: PfSense

text: In February 2021, feature updates of pfSense CE 2.5.0 and pfSense Plus 21.02 included a kernel WireGuard implementation, however, following reported issues in the code by WireGuard founder Jason Donenfeld, it was discontinued in March 2021. The July 2021 release of pfSense CE 2.5.2 version re-included WireGuard.


title: PfSense

text: Notable functions of pfSense include traffic shaping, VPNs using IPsec or PPTP, captive portal, stateful firewall, network address translation, 802.1q support for VLANs, and dynamic DNS. pfSense can be installed on hardware with an x86-64 processor architecture. It can also be installed on embedded hardware using Compact Flash or SD cards, or as a virtual machine.


title: PfSense

text: In November 2017, a World Intellectual Property Organization panel found Netgate, the copyright holder of pfSense, utilized OPNsense' trademarks in bad faith to discredit OPNsense, and obligated Netgate to transfer ownership of a domain name to Deciso.


title: PfSense

text: In February 2020, a developer directly sponsored by Netgate started to commit code for a WireGuard kernel module to FreeBSD. By February 2021, the module was included in pfSense CE 2.5.0, pfSense Plus 21.02, and scheduled for release in FreeBSD 13.0. WireGuard founder Jason Donenfeld reviewed the code only to find glaring issues including “random sleeps added to ‘fix’ race conditions, validation functions that just returned true, catastrophic cryptographic vulnerabilities, whole parts of the protocol unimplemented, kernel panics, security bypasses, overflows, random printf statements deep in crypto code, the most spectacular buffer overflows, and the whole litany of awful things.” These discoveries prompted FreeBSD and later pfSense to remove WireGuard support.


title: PfSense

text: In May 2021, WireGuard support was re-introduced back into pfSense CE and pfSense Plus development snapshots as an experimental package written by a member of the pfSense community, Christian McDonald. The WireGuard package for pfSense incorporates the ongoing kernel-mode WireGuard development work by Jason A. Donenfeld that was originally sponsored by Netgate.


title: PfSense

text: In June 2021, the official package repositories for both pfSense CE 2.5.2 and pfSense Plus 21.05 included the WireGuard package.


title: Mary Poppins (character)

text: Mary Poppins is a fictional character and the eponymous protagonist of P. L. Travers' books of the same name along with all of their adaptations. A magical English nanny, she blows in on the east wind and arrives at the Banks home at Number 17 Cherry Tree Lane, London, where she is given charge of the Banks children and teaches them valuable lessons with a magical touch. Travers gives Poppins the accent and vocabulary of a real London nanny: cockney base notes overlaid with a strangled gentility.


title: Mary Poppins (character)

text: Julie Andrews, who played the character in the 1964 film adaptation, received an Academy Award for Best Actress. British film magazine "Empire" included Poppins (as played by Andrews) in their 2011 list of 100 greatest movie characters. Acclaimed for her performance as Poppins in the 2018 sequel, Emily Blunt received a Golden Globe nomination for Best Actress in a Motion Picture – Comedy or Musical. In the 2004 musical adaptation in the West End, Laura Michelle Kelly received the Olivier Award for Best Actress in a Musical for her performance as Poppins.


title: Mary Poppins (character)

text: A quintessential English nanny, Mary Poppins is a slightly stern but caring woman, who uses magic and self-control to take care of the Banks children. She is usually identifiable by her sensible hat and parrot umbrella, which she brings with her wherever she goes on outings, she also has the power to teleport to a place she wants. She is kind towards the children, but can be firm when needed. She is "practically perfect in every way". In the film version, she is a young woman, with an air of grace and elegance about her.


title: Mary Poppins (character)

text: Author P. L. Travers was very firm about Mary Poppins' appearance in the novel's illustrations, working closely with illustrator Mary Shepard to create an image of the character. Eventually they based Mary Poppins' appearance on that of a Dutch doll: tall and bony, with short black hair, large blue eyes, a snub nose, and a prim, pursed mouth. Travers originally objected to the casting of Julie Andrews as Mary Poppins, claiming that Andrews was too attractive for the role; however, upon meeting Andrews in person for the first time, Travers allegedly examined the actress for a few moments before conceding, "Well, you've the nose for it."


title: Mary Poppins (character)

text: Mary Poppins in Travers' books is strict and no-nonsense, asserting her unusual brand of discipline over the four (later five) Banks children in her charge. Mary is very vain and is always admiring herself in the mirror and other reflections. She constantly lectures the children for their "bad" behaviour, especially when they point out the magical things she does, for she constantly denies she is anything but a prim and proper lady. Mary only shows her gentler side around her friends, among them the Matchman (Bert), Mrs. Corry, and Nellie-Rubina.


title: Mary Poppins (character)

text: Mary has many relatives, each with their own supernatural or otherwise eccentric nature, at least one of whom appears in each book. She appears to be well known to every sort of magical entity (sorcerers, talking animals, etc.) that appear in the books, some of whom love her dearly and others who are quite terrified of her. Some characters, most notably an impudent jackdaw seen in the first two books, call her "The Great Exception", meaning, among other things, that she is the only human being who has retained the magical secrets infants possess (such as the power to communicate with animals) until they grow up and forget about them. Some of her adventures occur in London, others in strange realms, which later writers might identify as magical dimensions. In literary terms, she might be described as a character who exists in every conceivable fantasy genre (gothic, mythic, urban, etc.) at once: there are many strange people and phenomena in the world, but only Mary Poppins is familiar with them all. In the first book, Poppins arrives at Number Seventeen Cherry Tree Lane, London, home of the Banks family, with her travelling carpet bag, having been blown in by the east wind. She departs when she opens her umbrella, and the west wind carries her away.


title: Mary Poppins (character)

text: Mary Poppins in the Disney film, as portrayed by Julie Andrews, is also fairly stern but at the same time more gentle, cheerful, and nurturing of the two Banks children, of whom she is in charge. Mary also has a friendship with Bert (Dick Van Dyke), a jack-of-all-trades, who is quite at home with Mary's brand of magic. She also is less vain and selfish (although there are a couple of references to her vanity when she replaces a dingy wall mirror with a more elegant one and sings a duet with her reflection), and far more sympathetic towards the two children than the nanny in the original stories. Emily Blunt portrayed Mary Poppins in the sequel "Mary Poppins Returns".


title: Mary Poppins (character)

text: In both the West End and Broadway versions of the stage musical, the Mary Poppins character is more deliberately mysterious than in the movie version. She is slightly stricter with the children (who are also naughtier than their book and movie counterparts), but only because she wants them to become the best they can be. Mary in the stage version is also more aware of Bert's feelings towards her.


title: Mary Poppins (character)

text: Mary Poppins first appeared in the short story 'Mary Poppins and the Match Man' in 1926 and in several early bits and pieces of the first novel. P. L. Travers later changed the story of the character's origins, stating that it appeared fully formed in her mind in 1934.


title: Mary Poppins (character)

text: Neil Gaiman's short story "The Problem of Susan" mentions a work published after Travers's death, "Mary Poppins Brings in the Dawn", in which Mary Poppins was Jesus's nanny.


title: Mary Poppins (character)

text: Mary Poppins appears in Alan Moore's third "League of Extraordinary Gentlemen" graphic novel, "", when it returns to Margaret Cavendish's "Blazing World". She later reappears in "Century: 2009" and defeats the Antichrist created by Oliver Haddo. In this appearance, she and other characters hint that she may be a personification of God.


title: Mary Poppins (character)

text: In a sequence celebrating British children's literature during the opening ceremony of the London 2012 Olympic Games, a group of over thirty Mary Poppinses with umbrellas descended en masse to fight and defeat the nightmares (the villains Queen of Hearts, Captain Hook, Cruella de Vil, and Lord Voldemort) haunting children's dreams. The sequence is called "".


title: Mary Poppins (character)

text: Terry Pratchett's Susan Sto Helit character parodies Mary Poppins in various ways, most explicitly in the novel "Hogfather".


title: Mary Poppins (character)

text: In "The Simpsons" season 8 episode "Simpsoncalifragilisticexpiala(Annoyed Grunt)cious", Marge hires a new housekeeper for the family named Shary Bobbins (voiced by Maggie Roswell), who, though she attempts to help the Simpsons become better people, is ultimately driven to alcoholism.


title: Mary Poppins (character)

text: In "Family Guy" season 6 episode "Padre de Familia", in a cutaway gag Peter dressed up as Mary Poppins he arrives to take care to Michael and Jane but only ends up killing them.


title: Mary Poppins (character)

text: Andy Weir's "Cheshire Crossing" depicts Miss Mary Poppins in 1910, prior to her employment to the Banks family, as she works as a tutor for Dr. Ernest Rutherford of Cheshire Crossing and is put in charge of Alice Liddell and Wendy Darling alongside her former student Dorothy Gale. Upon travelling to the land of Oz, Poppins is identified as a witch by the Wicked Witch of the West and melted with a bucket of water, before being reformed by Rutherford with a teaspoon of table sugar. In the 2017 physical graphic novel version of "Cheshire Crossing", Poppins is renamed Gwendolyn Poole due to restrictions from P. L. Travers' estate, although she retains the Poppins name in the Tapas webcomic version. In the audio play adaptation, Poppins (as Poole) is voiced by Rebecca Soler.


title: Mary Poppins (character)

text: Natalie Schafer (as Lovey Howell) plays a Mary Poppins-like character named Mary Poppedin in a dream sequence of the "Gilligan's Island" episode "And Then There Were None".


title: Mary Poppins (character)

text: In "Guardians of the Galaxy Vol. 2", Peter Quill/Star Lord compares Yondu to Mary Poppins at the climax, leading to him (who does not know the character) proudly proclaiming "I'm Mary Poppins, y'all!" as he saves Star-Lord from dying in the vacuum of space.


title: Mary Poppins (character)

text: Due to the phenomenal success of the 1964 film, Mary Poppins makes regular appearances at all the Disney Parks and Resorts. She is always accompanied by Bert and is located in the Main Street, U.S.A. area of the parks. Mary Poppins and the Pearly band also perform.


title: Consonant cluster

text: In linguistics, a consonant cluster, consonant sequence or consonant compound, is a group of consonants which have no intervening vowel. In English, for example, the groups and are consonant clusters in the word "splits". In the education field it is variously called a consonant cluster or a consonant blend.


title: Consonant cluster

text: Some linguists argue that the term can be properly applied only to those consonant clusters that occur within one syllable. Others claim that the concept is more useful when it includes consonant sequences across syllable boundaries. According to the former definition, the longest consonant clusters in the word "extra" would be and , whereas the latter allows , which is phonetically in some accents.


title: Consonant cluster

text: Each language has an associated set of phonotactic constraints. Languages' phonotactics differ as to what consonant clusters they permit. Many languages are more restrictive than English in terms of consonant clusters, and some forbid consonant clusters entirely.


title: Consonant cluster

text: For example, Hawaiian, like most Malayo-Polynesian languages, forbid consonant clusters entirely. Japanese is almost as strict, but allows a sequence of a nasal consonant plus another consonant, as in (the name of the largest island of Japan). (Palatalized consonants, such as [kʲ] in , are single consonants.)


title: Consonant cluster

text: Standard Arabic forbids initial consonant clusters and more than two consecutive consonants in other positions, as do most other Semitic languages, although Modern Israeli Hebrew permits initial two-consonant clusters (e.g. "cap"; "pumpkin"), and Moroccan Arabic, under Berber influence, allows strings of several consonants.


title: Consonant cluster

text: Like most Mon–Khmer languages, Khmer permits only initial consonant clusters with up to three consonants in a row per syllable. Finnish has initial consonant clusters natively only on South-Western dialects and on foreign loans, and only clusters of three inside the word are allowed. Most spoken languages and dialects, however, are more permissive. In Burmese, consonant clusters of only up to three consonants (the initial and two medials—two written forms of , ) at the initial onset are allowed in writing and only two (the initial and one medial) are pronounced; these clusters are restricted to certain letters. Some Burmese dialects allow for clusters of up to four consonants (with the addition of the medial, which can combine with the above-mentioned medials).


title: Consonant cluster

text: At the other end of the scale, the Kartvelian languages of Georgia are drastically more permissive of consonant clustering. Clusters in Georgian of four, five or six consonants are not unusual—for instance, ("flat"), ("trainer") and ("peeling")—and if grammatical affixes are used, it allows an eight-consonant cluster: ("he's plucking us"). Consonants cannot appear as syllable nuclei in Georgian, so this syllable is analysed as CCCCCCCCVC. Many Slavic languages may manifest almost as formidable numbers of consecutive consonants, such as in the Slovak words ("quarter"), and ("clunk"; "flop") and the Slovene word ("welfare"). However, the liquid consonants and can form syllable nuclei in West and South Slavic languages and behave phonologically as vowels in this case.


title: Consonant cluster

text: An example of a true initial cluster is the Polish word ( ("you will initiate"). In the Serbo-Croatian word ("victualling") the and are digraphs representing single consonants: and , respectively. In Dutch, clusters of six or even seven consonants are possible (e.g. ("a scream of fear"), ("writing the worst") and ("treading the most softly")).


title: Consonant cluster

text: Some Salishan languages exhibit long words with no vowels at all, such as the Nuxálk word : "he had had in his possession a bunchberry plant". It is extremely difficult to accurately classify which of these consonants may be acting as the syllable nucleus, and these languages challenge classical notions of exactly what constitutes a syllable. The same problem is encountered in the Northern Berber languages.