title: Saint Lucy's Day

text: Saint Lucy is considered the patron saint of dressmakers, who showed their talent making elaborate dresses out of paper.


title: Saint Lucy's Day

text: The celebration of St. Lucy's Day is popular among Scandinavian Americans, and is practiced in many different contexts, including (but not limited to) parties, at home, in churches, and through organizations across the country. Continuing to uphold this ritual helps people keep ties with the Scandinavian countries.


title: Saint Lucy's Day

text: In the Evangelical Lutheran Church in America (ELCA), which is the successor denomination to hundreds of Scandinavian and German Lutheran congregations, St. Lucy is treated as a commemoration on 13 December, in which red vestments are worn. Usually, the Sunday in Advent closest to 13 December is set aside for St. Lucy, in which the traditional Scandinavian procession is observed.


title: Saint Lucy's Day

text: The public St. Lucy celebration in Lindsborg, Kansas is a way to display the town's Swedish heritage, and serves as a rallying point for the community. It also brings visitors to the town, which benefits the town financially.


title: Saint Lucy's Day

text: Since 1979, Hutto, Texas, has held a St. Lucy celebration for their town at the Lutheran church. Every year a Lucy is picked from the congregation. The procession then walks around the church, sings the traditional St. Lucy song, and serves the traditional saffron buns and ginger cookies.


title: Saint Lucy's Day

text: Gustavus Adolphus College, as a school founded by Swedish immigrants, has celebrated the Festival of Saint Lucy annually since 1941. Six sophomore women are chosen to be a part of the Court of St. Lucy. The women are chosen by their peers honoring the qualities of the legendary Lucy. In an effort to keep the tradition relevant to today, the selection process changed in 2011 to be more based upon qualities of the legendary Lucy that can be universally celebrated. The selection of the court and Lucy is a two step process. First, the campus community is invited to submit nominations of any sophomore woman who exemplifies the qualities of courageous leadership, service to others, strength of character, and compassion and therefore is a light to others. These women do not have to have a Swedish connection or the ability to sing (since the court goes caroling in the early morning). Sophomore women then vote who should be on the court. The highest three nominees are included. Then the Guild of St. Lucy, a senior honors society, reviews the remaining nominations and selects up to three more women to serve on the court with the goal of having the court be representative of the sophomore class.


title: Saint Lucy's Day

text: The town of Mucuchíes in Mérida state, Venezuela, has chosen as their patron saints St. Lucy and St. Benedict the Moor. Patron saint festivities are held during the month of December.


title: Service stripe

text: A service stripe is an embroidered diagonal stripe worn on the sleeve(s) of some military and paramilitary uniforms. In the case of the United States military, service stripes are authorized for wear by enlisted personnel on the lower part of the sleeve of a uniform to denote length of service. Service stripes vary in size and in color.


title: Service stripe

text: The United States Army authorizes one stripe for each three-year period of service, while the United States Marine Corps, United States Navy, and United States Coast Guard authorize one stripe for each four-year period of duty.


title: Service stripe

text: In contrast to the Army, the Navy and Marine Corps Good Conduct Medals, a service stripe is authorized for wear by enlisted personnel upon completion of the specified term of service, regardless of the service member's disciplinary history. For example, a sailor or marine with several non-judicial punishments and courts-martial would still be authorized a service stripe for each four-year period of service, although the Good Conduct Medal would be denied.


title: Service stripe

text: In 1777, the French "ancien régime"-era army had used "Galons d'ancienneté", or "Seniority Braid" (cloth braid chevrons nicknamed "brisures" > "breaks") worn on the upper sleeves awarded for each seven years of enlistment. Soldiers who wore such emblems were called "briscards" ("breakers"). The practice was continued in Napoleon Bonaparte's army in which they were awarded for 10, 15, and 20 years of service. The French Army later moved them to the lower sleeves and the rank stripes to the upper sleeves. Service chevrons were worn on the lower left sleeve and Wound Stripes were worn on the lower right sleeve (influencing the U.S. Wound Chevron device).


title: Service stripe

text: In the United States, the concept of a service stripe dates back to 1782 when, during the American Revolution, George Washington ordered that enlisted men who had served for three years "with bravery, fidelity and good conduct" should wear "a narrow piece of white cloth, of angular form" on the left sleeve of the uniform coat. In the U.S. Army, sleeve stripes denoted a successful completion of a standard enlistment. They were the same color as the enlisted rank stripes and were "half-chevrons" (angled strips of cloth). Service during the American Civil War was denoted by a red stripe bordered by the rank stripe color (called a "Blood Stripe"). The artillery corps, who wore red stripes on their uniforms, wore a white stripe bordered red instead.


title: Service stripe

text: Sleeve stripes are worn only by enlisted personnel. U.S. Army soldiers, U.S. Navy sailors and U.S. Coast Guardsmen wear their stripes on the bottom cuff of the left sleeve, where U.S. Marines wear them at the bottom cuff of both sleeves. Since 1953 U.S. soldiers wear them on the left sleeve and Overseas Service Bars on the right one. Prior to 1953, Overseas Service Bars were worn on the left sleeve. Service stripes are only worn on formal uniforms, and are not seen on work uniforms.


title: Service stripe

text: Navy service stripes come in three colors and they are red, gold, and blue. They are 7 inches long and three-eighths of an inch wide for male chief petty officers; male sailors from rates seaman recruit to petty officer first class wear service stripes 5.25 inches long and three-eighths of an inch wide. Female navy sailors wear service stripes 5.25 inches long and a quarter-inch wide. They are worn two inches above the left sleeve cuff on jackets, and 1.5 inches above the cuff on service dress blue jumpers and the new summer white jumpers. On the old-style summer white jumpers they are worn two inches above the cuff. Multiple navy service stripes are worn a quarter-inch apart from each other.


title: Service stripe

text: For the U.S. Navy, Marine Corps, and Coast Guard, service stripes are given to service members for every four years of service.


title: Service stripe

text: The U.S. Navy authorizes gold service stripes for those sailors with over twelve cumulative years' of service. Until June 2019, the service had to have been free of disciplinary action in the U.S. Navy and U.S. Navy Reserve. During the period when that rule was in effect, in cases where a disciplinary infraction had occurred, the sailor was not denied a service stripe but simply was authorized the standard red stripe design only.


title: Service stripe

text: Like the U.S. Navy, the U.S. Coast Guard authorizes gold and red service stripes, however the color in the case of the latter does not depend on time in service, but rather on rank: Junior enlisted personnel (i.e. those in paygrades E-1 to E-6) wear red service stripes, whereas chief petty officers (i.e. those in paygrades E-7 to E-9) wear gold service stripes.


title: Service stripe

text: These stripes are also used on the sleeves of the full dress uniform worn by cadets of the United States Military Academy at West Point, which denote the number of years a cadet has been at the academy. This is also done by cadets of other military colleges and prep schools.


title: Service stripe

text: The United States Air Force is the only branch of service that does not authorize service stripes. The Air Force Longevity Service Ribbon is awarded instead. Historically, persons who were in the Army Air Forces and then became part of the Air Force when it was separated from the Army in 1947 could continue to wear their service stripes.


title: Service stripe

text: In many civilian law enforcement agencies in the United States, policemen, troopers, constables, and sheriff's deputies will often be awarded service stripes for wear on their long-sleeved uniforms, usually on the lower left sleeve. One stripe may be worn for varying lengths of time and differs by agency; for instance the Los Angeles Police Department issues one service stripe for every five years served.


title: Dungeon Family

text: The Dungeon Family is a musical collective, based in Atlanta, Georgia that specializes in Southern hip hop with heavy funk and soul influences. The group derives its name from "The Dungeon", the name given to record producer Rico Wade's studio, located in the basement of his mother's house, where many of the early members of the collective did their first recordings. Rico Wade, Ray Murray, and Sleepy Brown constitute the production/songwriting team Organized Noize, who have produced hits for the main popular Dungeon Family groups Outkast and Goodie Mob.


title: Dungeon Family

text: On October 7, 2011, it was announced that Arista, along with Jive and J Records, would be shut down. All artists on those labels, including The Dungeon Family, were moved to RCA Records.


title: Dungeon Family

text: On February 8, 2016, it was announced that on March 22, 2016, the documentary "The Art of Organized Noize" would premier on Netflix.


title: First Nehru ministry

text: After power transformation, on 15 August 1947, Jawaharlal Nehru assumed office as the first Prime Minister of India and chose fifteen ministers to form the First Nehru ministry.


title: First Nehru ministry

text: The Constituent Assembly was set up while India was still under British rule, following negotiations between Indian leaders and members of the 1946 Cabinet Mission to India from the United Kingdom. The provincial assembly elections had been conducted early in 1946. The Constituent Assembly members were elected to it indirectly by the members of these newly elected provincial assemblies, and initially included representatives for those provinces which came to form part of Pakistan, some of which are now within Bangladesh. The Constituent Assembly had 299 representatives, including nine women.


title: First Nehru ministry

text: The Interim Government of India was formed on 2 September 1946 from the newly elected Constituent Assembly. The Indian National Congress held a large majority in the Assembly, with 69 percent of all of the seats, while the Muslim League held almost all of the seats reserved in the Assembly for Muslims. There were also some members from smaller parties, such as the Scheduled Caste Federation, the Communist Party of India, and the Unionist Party. In June 1947, the delegations from the provinces of Sindh, East Bengal, Baluchistan, West Punjab, and the North West Frontier Province withdrew, to form the Constituent Assembly of Pakistan, meeting in Karachi. On 15 August 1947, the Dominion of India and Dominion of Pakistan became independent nations, and the members of the Constituent Assembly who had not withdrawn to Karachi became India's Parliament. Only 28 members of the Muslim League finally joined the Indian Assembly. Later, 93 members were nominated from the princely states. The Congress thus secured a majority of 82%.


title: First Nehru ministry

text: Jawaharlal Nehru took charge as the first Prime Minister of India on 15 August 1947, and chose 15 other members for his cabinet. Vallabhbhai Patel served as the first Deputy Prime Minister until his death on 15 December 1950. Lord Mountbatten, and later C. Rajagopalachari, served as Governor-General until 26 January 1950, when Rajendra Prasad was elected as the first President of India.


title: First Nehru ministry

text: There were members from Hindu, Muslim, Christian, Sikh and Parsi communities represented in India's first ministry. There were two members from the Dalit community represented as well. Rajkumari Amrit Kaur was the only female Cabinet minister. The following is a list of the ministers in the first Cabinet.


title: Athens Metro

text: The Athens Metro () is a rapid-transit system in Greece which serves the Athens urban area and parts of East Attica. Line 1 opened as a conventional steam railway in 1869 and electrified in 1904. In 1991, Attiko Metro S.A. constructed and extended Lines 2 and 3.


title: Athens Metro

text: It has significantly changed Athens by providing a much-needed solution to the city's traffic and air pollution problem, as well as revitalising many of the areas it serves.


title: Athens Metro

text: Extensions of existing lines are under development, as well as a new Line 4, whose central section began construction in October 2021.


title: Athens Metro

text: The Athens Metro is actively connected with the other means of public transport, such as buses, trolleys, the Athens Tram and the Athens Suburban Railway. The Athens Metro is hailed for its modernity (mainly the newer lines 2, 3) and many of its stations feature works of art, exhibitions and displays of the archaeological remains found during its construction. Photography and video-taking is permitted across the whole network and street photographers often work in Athens Metro. This is the only metro system in Greece, until the Thessaloniki Metro begins operation in 2023.


title: Athens Metro

text: Until 28 January 2000, Line 1 was the only rapid-transit line in Athens. The Athens and Piraeus Railway Company (SAP) opened a steam single-track mixed cargo and passenger railway line on 27 February 1869 and was run between and . It was electrified in 1904. On the 4th of February 1885 Lavrion Square-Strofyli steam narrow gauge single-track mixed cargo and passenger railway line opened and was run at the time from Attiki Square to Kifissia through Iraklio. These originally mixed cargo and passenger railway lines gradually merged and converted to a rapid-transit system. The section between Kifissia and Strofyli was abandoned.


title: Athens Metro

text: From 1869 to 1926 the line was operated by SAP. From 1926 to 1976 the line was operated by Hellenic Electric Railways (EIS). In 1976 the EIS was nationalized and renamed Athens-Piraeus Electric Railway Company (ISAP), which continued to operate what became line 1 of the Athens Metro until 16 June 2011.


title: Athens Metro

text: Since the current Line 1 opened, the government has proposed many expansions to the subway network, including a 1963 plan for a fourteen-line subway network. Construction of Lines 2 and 3 began in November 1992 to decrease traffic congestion and improve Athens' air quality by reducing its smog level. Both lines were constructed underground. Lines 2 and 3, built by Attiko Metro S.A. and operated until 2011 by Attiko Metro Operations Company, are known respectively as the red and blue lines and were inaugurated in January 2000. Line 3 was extended to the Eleftherios Venizelos International Airport in summer 2004, and Line 2 was extended to Anthoupoli and Elliniko in 2013.


title: Athens Metro

text: Until 17 June 2011, the operational management of the Athens Metro network was similar to that of the London Underground network before the creation of the London Passenger Transport Board and the absorption of the Metropolitan Railway on 1 July 1933. The Greek government attempted to absorb ISAP into Attiko Metro under Law 2669/1998 so the latter would be responsible for the whole network, but this initiative failed. Athens Metro operations were consolidated when the Greek government enacted Law 3920/2011, replacing AMEL, ISAP and Tram S.A. with Urban Rail Transport S.A. (STASY S.A.) (), a subsidiary of OASA S.A. (Athens Urban Transport Organisation S.A.).


title: Athens Metro

text: The Athens Metro consists of three lines totalling and 66 stations: Line 1 (Green) is long with 24 stations, Line 2 (Red) is long with 20 stations, and Line 3 (Blue) is long with 24 stations. STASY owns and operates 62 of the 66 stations: three other stations (, and ) belong to GAIAOSE and the station belongs to the operator of the Athens International Airport.


title: Athens Metro

text: The system has five interchanges, at , , , and , allowing all three to interchange with each other at least once. Each line also has at least one connection with the Athens Suburban Railway, and the Athens Tram.


title: Athens Metro

text: Line 2 and the Attiko Metro portion of Line 3 are entirely underground. Line 1 is primarily overground, with a tunnel section in central Athens. The airport section of Line 3, east of the tunnel portal near , is open. In the tunnel sections up and down lines share a common tunnel, except for approaches to stations with an island platform (such as Egaleo). Train maintenance facilities are located at Attiki, Faliro, Irini, Piraeus, Kifissia and Thissio for Line 1, and Doukissis Plakentias, Eleonas and Sepolia for Lines 2 and 3.


title: Athens Metro

text: The network uses standard gauge electric trains which in most places run on 750 V DC third rail, but the section of Line 3 running to the airport requires trains which can use overhead lines of 25 kV AC, 50 Hz.


title: Athens Metro

text: The Athens Metro classifies rolling stock by "batch" for Line 1 and "generation" for Lines 2 and 3 because ISAP and AMEL used different classification systems for rolling stock before consolidation. Six types of rolling stock operate on the network, all equipped with third rail current collection systems; however, only seven second-generation trains have the necessary overhead line equipment to serve Line 3 from to .


title: Athens Metro

text: The eighth batch (introduced in 1983) is the oldest rolling stock in passenger service, while the third generation (introduced in 2013) is the latest rolling stock in passenger service. The eighth- and tenth-batch stock is externally similar, but the former has split-flap headsigns in Johnston typeface and a cream-and-green interior colour scheme. An extensive refurbishment programme is planned for the 8th batch, and to cover for trains undergoing refurbishment, up to five 1st generation Line 2/3 trains have been borrowed to operate on Line 1.


title: Athens Metro

text: Line 1 halfsets have driving cabs at both ends, unlike the Line 2/3 halfsets which have a driving cab at the outer ends, but only basic driving apparatus for shunting purposes only at the inner ends; thus, they can only operate on their own inside depots.


title: Athens Metro

text: Railcar codes: DM: driving motor car, DT: driving trailer, M: motor car, T: trailer, MD: motor car with auxiliary driving facility.


title: Athens Metro

text: Line 1 uses two-aspect red/green home signals, yellow/green distant signals and a passenger information system (PIS). The current system replaced 1950s-era semaphore signals.


title: Athens Metro

text: Lines 2 and 3 use the Alstom automatic train supervision system (ATS) and a passenger information system (PIS). Two-aspect red/white colour signals are used at points and junctions only.


title: Athens Metro

text: Fares are prepaid, either as short term tickets valid for 90 minutes, 24 hours, 3 days, 5 days, or as long term tickets. As of September 2020, there are two types of fare products, the ATH.ENA Ticket and ATH.ENA Card, both of which are validated using a contactless system (by scanning the ticket or card at the electronic validating machines). The tickets are valid on all modes of public transport in Athens except on trains and buses to the airport. Passengers cannot buy a fare on board the bus. To travel to or from the airport, passengers may buy a one-way ticket for €9 or a 3-day ticket for €20 which also includes unlimited local trips and a return trip to the airport. Arrival at the airport without having paid the appropriate fare will incur a €72 fine, reduced to €36 if you can pay within 10 days. Term tickets are available in 30, 90, 180, and 365 day periods and are available only with a personalized ATH.ENA Card. Reduced fares are available for university students, seniors, disabled and persons under 18. During a fare control the passengers that are entitled to a reduced fare have to show ID card, student card or passport. Children under the age of 6 are entitled to travel for free with all means of transportation. On buses and trams the ticket or card must be validated only when entering the vehicle/car by scanning the ticket at the electronic validating machines. At metro or Suburban Railway stations, the ticket or card must be validated at the electronic gates when entering and exiting the station.


title: Athens Metro

text: During construction of the metro tunnels, artifacts of archaeological interest were discovered and rescue archaeology was employed. Teams of archaeologists worked ahead of, then with, engineers for six years, protecting and recording archaeological finds (streets, houses, cemeteries, sanctuaries, public workshops, foundry pits, kilns, aqueducts, wells, cisterns, drains and sewage tunnels). This afforded new insight into the city's ancient topography, through unprecedented infrastructure development combined with the study and preservation of archaeological data. Exhibitions of ancient artifacts or replicas are found at a number of metro stations, including Monastiraki and Syntagma.


title: Athens Metro

text: <nowiki>*</nowiki>The current Kifissia terminal will be demolished and rebuilt as an underground station.


title: Athens Metro

text: <nowiki>**</nowiki>The Development Plan refers it as Line 4 branch but there are unofficial plans that this branch is part of the future Line 5.


title: Athens Metro

text: If and when these projects are completed, the Athens Metro is expected to reach in length and serve a total of 110 stations by 2040.


title: Athens Metro

text: A fourth line is planned for the Athens Metro and it has been incorporated in the roadmap of Athens's mass transit system since 2005. The new line in its totality will extend over a length of 38.2 km, adding thirty five (35) new stations to the Athens Metro system. The cost of the entire project is estimated at 3.3 billion EUR. The recommendation is for lighter rolling stock than the type used in existing lines of Athens Metro which would operate automatically without a driver. In November 2020, Alstom was chosen to supply the line with 20 4-car automated Metropolis trains, operated under Urbalis 400 signalling system.


title: Athens Metro

text: The first phase of Line 4 will be between "Alsos Veikou" and "Goudi" stations, predicting fifteen (15) new stations and a length of 12.8 km of new track. An invitation to tender for the construction of the first phase of Line 4 was issued in September 2018. The construction is expected to start by mid-2020 and the opening of the line by circa 2028. The estimated cost for constructing the first phase of the new line is 1.51 billion EUR. Currently, the project of the first phase is considered to follow a PPP scheme which might be extended for constructing the whole new line. An alternative solution is a mixed funding between the EIB and the Greek State. It is also a high-profile candidate project to be included in the Juncker Plan of EU that will include also the second phase of Line 4 of Athens Metro.


title: Athens Metro

text: On 15 November 2008, Greek newspaper "Ta Nea" reported that the Greek government was considering a circular line from Ano Ilisia to Faros, via and , as part of a "100 km" network. This proposal evolved to form part of what is now the long-term Athens Metro Future Regulatory Plan (or the Souflias plan) on 13 April 2009, which called for an network of eight lines and 200 stations.


title: Athens Metro

text: The Souflias plan was last revised in January 2012, and saw limited activity until October 2020, when Attiko Metro announced that they were reconsidering some extensions from the plan, including the extension of Line 1 from to Nea Erythraia, the extensions of Line 2 to and Glyfada, Line 6 from Melissia to Perama, and Line 7 from Haidari to Kalamaki. In December 2021, a part of the southern branch of Line 6 was reconsidered as a branch of Line 1 from to the SNFCC in Kallithea, with intermediate stations at Hamosternas, Plateia Davaki, and Lofos Filaretou.


title: Bobby Van

text: Robert Jack Stein (December 6, 1928 – July 31, 1980), known by his legalized stage name Bobby Van, was a musical actor and dancer, best known for his career on Broadway, in films and television from the 1950s through the 1970s. He was also a game show host and panelist.


title: Bobby Van

text: Van was born to Jewish vaudeville parents in The Bronx, New York City, and grew up backstage, witnessing many memorable Depression-era acts. Originally, Van took "King" as his stage name (after his father's stage name, from the trio "Gordon, Reed and King"). He finally opted for "Van", after seeing a Van Johnson poster hanging in his sister's bedroom. In a 1976 interview, Van said he had legalized his name change from 'Stein'.


title: Bobby Van

text: Van began his career as a musician, playing trumpet. When his band played a venue in the Catskills, Van was asked to fill in as a song and dance man for another act. His act drew rave reviews and gave Van a thrill performing live as a solo act. He went on to appear in several Broadway musicals.


title: Bobby Van

text: In the early 1950s, Van received a contract with Metro-Goldwyn-Mayer and made several films there, including the title role in "The Affairs of Dobie Gillis" in 1953 and roles in the musicals "Because You're Mine" and "Kiss Me, Kate". In 2010, reviewer Hal Erickson noted that "Van will always be remembered as the ecstatic young fellow who made like a human pogo stick during an expansive production number in "Small Town Girl" (1953)."


title: Bobby Van

text: In the 1960s, Van did comedy work with Mickey Rooney in films and television. He appeared in three episodes of Rooney's "Mickey" sitcom on ABC in the role of a freeloading brother-in-law. He also did some choreography, as had his father years earlier.


title: Bobby Van

text: Van frequently appeared with his second wife, Elaine Joyce, on 1970s game shows such as "Tattletales" and "Match Game". Van also hosted the game shows "Showoffs"," The Fun Factory", and "Make Me Laugh".


title: Bobby Van

text: Van starred in the 1971 Broadway revival of "No, No, Nanette", for which he was nominated for a Tony Award. In 1973 he appeared in the musical remake of "Lost Horizon", the last occasion on which he took his traditional song-and-dance persona to the big screen. His novelty dance number from "Small Town Girl" (1953) was featured in "That's Entertainment, Part II" (1976). In 1978, he played swindler Warren Custer in the episode "The Two-Million-Dollar Stowaway" of the NBC crime drama series "The Eddie Capra Mysteries". In 1979, he appeared in the original "Battlestar Galactica" episode "Greetings from Earth" as the robot Hector, working alongside veteran song and dance man Ray Bolger (Vector). Van also hosted a syndicated revival of the game show "Make Me Laugh" during the 1979–80 season.


title: Bobby Van

text: In June 1977, Van appeared in the musical "Anything Goes" as Billy Crocker at the Kenley Players in Dayton, Ohio.


title: Bobby Van

text: In August 1979, Van appeared in the musical "Damn Yankees" as Young Joe with the San Jose Civic Light Opera in San Jose, California. His co-star was Van Johnson. Bobby Van and wife Elaine Joyce appeared in a "Love Boat" episode titled "Gopher's Opportunity".


title: Bobby Van

text: Van married starlet Diane Garrett in September 1952, though the marriage was kept secret until January 1953.


title: Bobby Van

text: Van and Garrett attempted to have children for several years, and after losing a baby in 1956, they adopted a son in 1961 named Peter, nine months after taking him in as a five-day-old baby.


title: Bobby Van

text: In 1959, both Van and Garrett were injured when their car was rear-ended, and sued the other driver, seeking $107,000. Garrett said she was unable to move for three weeks after the accident; both she and Van claimed back injury. Van was awarded $1,500 and Garrett was awarded $5,000. Judy Garland, who was a passenger in the Vans' vehicle, testified in court for them.


title: Bobby Van

text: The couple separated in January 1964 and a divorce was final on September 27, 1966, despite rumors of an early reconsideration and a reconciliation in July 1964. Van had returned to town as his son was undergoing emergency hip surgery, not to reconcile. In November 1964, Walter Winchell wrote in his column that Van "(recently divorced after a dozen years) hopes to persuade actress Emmaline Henry to be his new spouse."


title: Bobby Van

text: Van married Broadway actress Elaine Joyce in 1968. Their marriage reportedly ran a difficult course – an announcement was made on October 30, 1967, that they had wed, but they had not. In November, a blurb in a Hollywood column said that Van said he and Joyce planned to marry on December 2, 1967, but her brother, Frank Pinchot, had chosen that date to get married, so they would choose another date. In February 1968, it was announced they would marry in Los Angeles on March 21. Van and Joyce were finally married in Las Vegas on May 1, 1968. One week later, Van filed for an annulment citing "fraud" and non-consummation, and that the actress "told him she wanted to have children but this was only to induce him into marriage". An article states that Bobby said that Elaine felt "so unhappy and insecure, it's the only thing to do." A preliminary divorce was filed in 1968 for Elaine Joyce and Bobby Van; Joyce is listed as Elaine J Pinchot, year of birth 1945. The divorce was never finalized, and the couple remained married until Van's death in 1980. Their daughter, Taylor, was born in 1976.


title: Bobby Van

text: In February 1980, as recalled by his wife in December 1981, Van began having headaches that continued for two weeks. On going to the hospital, an angiogram was done and his doctors were not optimistic, finding the pressure in his head was due to a malignant brain tumor. Van chose to hide his illness and continued to work as long as possible, including as host of that year's Mrs. America Pageant. He later lost control of his left side and was in a wheelchair. After a five-and-a-half-month battle with cancer, Van died in Los Angeles on July 31, 1980. He is interred at Mount Sinai Memorial Park Cemetery, a Jewish cemetery in Los Angeles. In a December 1981 interview, Joyce said, "Bobby and I would have been married forever. There was no question about it".


title: Bobby Van

text: The Vans' daughter Taylor attended Harvard-Westlake School in Los Angeles, where she met future husband Evan Meyer; they were married in October 2003, at which time she was employed as a television executive assistant for Paramount Pictures.


title: Pedal steel guitar

text: The pedal steel guitar is a console-type of steel guitar with pedals and knee levers that change the pitch of certain strings to enable playing more varied and complex music than any previous steel guitar design. Like all steel guitars, it can play unlimited glissandi (sliding notes) and deep vibrati—characteristics it shares with the human voice. Pedal steel is most commonly associated with American country music and Hawaiian music.


title: Pedal steel guitar

text: Pedals were added to a lap steel guitar in 1940, allowing the performer to play a major scale without moving the bar and also to push the pedals while striking a chord, making passing notes slur or bend up into harmony with existing notes. The latter creates a unique sound that has been popular in country and western music— a sound not previously possible on steel guitars before pedals were added.


title: Pedal steel guitar

text: From its first use in Hawaii in the 19th century, the steel guitar sound became popular in the United States in the first half of the 20th century and spawned a family of instruments designed specifically to be played with the guitar in a horizontal position, also known as "Hawaiian-style". The first instrument in this chronology was the Hawaiian guitar also called a lap steel; next was a lap steel with a resonator to make it louder, first made by National and Dobro Corporation. The electric guitar pickup was invented in 1934, allowing steel guitars to be heard equally with other instruments. Electronic amplification enabled subsequent development of the electrified lap steel, then the console steel, and finally the pedal steel guitar.


title: Pedal steel guitar

text: Playing the pedal steel has unusual physical requirements in requiring simultaneous coordination of both hands, both feet and both knees (knees operate levers on medial and lateral sides of each knee); the only other instrument with similar requirements is the American reed organ. Pioneers in development of the instrument include Buddy Emmons, Jimmy Day, Bud Isaacs, Zane Beck, and Paul Bigsby. In addition to American country music, the instrument is used in sacred music in the eastern and southern United States (called Sacred Steel), jazz, and Nigerian Music.


title: Pedal steel guitar

text: In the late 19th century, Spanish guitars were introduced in the Hawaiian Islands by European sailors and Mexican "vaqueros". Hawaiians did not embrace the standard guitar tuning that had been in use upon their introduction. Rather, they re-tuned the guitars to make them sound a major chord when all six strings were strummed, now known as an "open tuning". The term for this is "slack-key" because certain strings were "slackened" to achieve it. To change chords, they used some smooth object, usually a piece of pipe or metal, sliding it over the strings to the fourth or fifth position, easily playing a three-chord song. It is physically difficult to hold a steel bar against the strings while holding the guitar against the body and the Hawaiians laid the guitar across the lap and played it while sitting. Playing this way became popular throughout Hawaii and spread internationally.


title: Pedal steel guitar

text: Hawaiian lap steel guitars were not loud enough to compete with other instruments, a problem that many inventors were trying to remedy. In Los Angeles in the 1920s, a steel guitar player named George Beauchamp saw some inventions which added a horn, like a megaphone, to steel guitars to make them louder. Beauchamp became interested, and went to a shop near his home to learn more. The shop was owned by a violin repairman named John Dopyera. Dopyera and his brother Rudy, showed Beauchamp a prototype of theirs which looked like a big Victrola horn attached to a guitar, but it was not successful. Their next attempt yielded some success with a resonator cone, resembling a large metal loudspeaker, attached under the bridge of the guitar. Buoyed by their success, Beauchamp joined the Dopyera brothers in forming a company to pursue their invention. The new resonator invention was promoted at a lavish party in Los Angeles and demonstrated by the well-known Hawaiian steel player Sol Hoopii. An investor wrote a check for $12,000 that very night.


title: Pedal steel guitar

text: A factory was built to manufacture metal-body guitars with the new resonators. Money problems and disagreements followed, and the Doperyas won a legal battle against Beauchamp over the company, then went on their own to form "the Dobro Corporation", Dobro being an acronym for DOpyera and BROthers. Beauchamp was out of a job. He had been thinking about an "electric guitar" for years, and at least part of the dispute with the Dopyeras was over him spending too much time on the electrification idea and not enough on improving the resonator guitar. Beauchamp enrolled in electronics courses and, for his first effort, he made a single-string guitar out of a 2x4 piece of lumber and experimented with phonograph pickups, but had no success. He eventually came up with the idea of using two horseshoe magnets encircling the guitar strings like a bracelet, and six small metal rods wrapped with wire to concentrate the magnetic field (one under each guitar string).


title: Pedal steel guitar

text: When connected to an electronic amplifier and loudspeaker, it worked. He enlisted the aid of a skilled craftsman to fashion a guitar neck and body to connect to his device. The final construct, he thought, resembled a frying pan, and that is what the instrument was nicknamed. He applied for patent June 2, 1934 and received it on August 10, 1937. Beauchamp asked a nearby engineer named Adolph Rickenbacker to help manufacture the product and together they founded a company first named "Ro-Pat-In", soon changed to "ElectroString". The guitar brand was called "Rickenbacker" because they thought the name was easier to pronounce than "Beauchamp" (pronounced Beecham) and because Adolph's cousin, Eddie Rickenbacker, an American pilot and WWI flying ace, was a well-known name in the U.S. at that time.


title: Pedal steel guitar

text: In 1931, the Great Depression was at its worst, and people were not buying guitars; in addition, the patent office delayed on the application, in part because they had no category for the invention—was it a musical instrument or an electrical device? Electrostring's competitors infringed on the patent, but the owners did not have the money to litigate the infringements. Beauchamp was ultimately deprived of economic benefit for his invention because his competitors rapidly improved on it making his specific patent obsolete. Electrostring's most successful product was the Hawaiian guitar (lap steel) A22 "Frying Pan", the first electrified instrument of any kind — made with a metal body, smaller than a traditional Spanish guitar, to be played on the musician's lap.


title: Pedal steel guitar

text: Two additional breakthroughs emerged: One, the guitar amplifier, which had to be purchased in order to use the invention; and two, perhaps unrealized at the time, that electrified guitars no longer had to have the traditional guitar shape—this profoundly influenced electric guitar designs forever forward.


title: Pedal steel guitar

text: The first lap steels had a smaller body, but still retained a guitar-like shape. Instrument makers rapidly began making them into a rectangular block of wood with an electric pickup, the precursor of the pedal steel. According to music writer Michael Ross, the first electrified stringed instrument on a commercial recording was a western swing tune by Bob Dunn in 1935. He recorded with Milton Brown and his Musical Brownies. Brown has been called "The father of western swing" The inherent limitation of the lap steel was its constraint to very limited chords not changeable during a performance without re-tuning. For that reason, scores of different tunings are available for lap steel players.


title: Pedal steel guitar

text: The next problem to be dealt with was the need to play with different voicings on the same guitar; i.e., the way the strings are tuned. The only way to accomplish this at the time was the addition of a duplicate neck and strings on the same instrument, tuned differently. Players continued to add more necks, eventually getting up to four. This meant a bigger and heavier instrument, now called a "console" which necessitated putting it on a stand or legs rather than the performer's lap. Noel Boggs, a lap steel player with Bob Wills, received the first steel guitar made by instrument maker Leo Fender in 1953. Fender relied on prominent performers to field test his instruments. Boggs was one of the first players to switch to a different neck during a solo. Leon McAuliffe, composer of "Steel Guitar Rag", also played with Bob Wills, and used a multi-neck steel guitar. When Wills said his well-known tag line, "Take it away, Leon", he was referring to McAuliffe. A Fender Stringmaster triple-neck console steel was heard in a number one hit song in 1959,"Sleep Walk", a steel guitar instrumental by Santo and Johnny, the Farina Brothers.


title: Pedal steel guitar

text: The expense of building multiple necks on the same instrument made them unaffordable for most players, and a more sophisticated solution was needed. At this point, the goal was simply to create a pedal that would change the pitch of all the strings at once to emulate a second neck. In 1939, a guitar called the "Electradaire" featured a pedal controlling a solenoid, triggering an electrical apparatus to change the tension on the strings. This was not successful. That same year, bandleader Alvino Rey worked with a machinist to design pedals to change the pitch of strings but was without success. The Harlan Brothers of Indianapolis created the "Multi-Kord" with a universal pedal that could fairly easily be configured to adjust the pitch of any or all strings, but was extremely hard to push when tensioning all strings at once. The Gibson Guitar Company introduced the "Electraharp" in 1940, which featured pedals radially oriented from a single axis at the instrument's left rear leg. The instrument was not popular and only 43 were sold before production was halted, but the U.S. entry into World War II played a part in lack of demand. After WW II, Gibson redesigned and reintroduced the Electraharp and Bud Isaacs used one on the song "Big Blue Diamonds" for King Records. The most successful pedal system from the various contenders was designed about 1948 by Paul Bigsby, a motorcycle shop foreman and racer who also invented the commercially successful Spanish guitar vibrato tailpiece. Bigsby put pedals on a rack between the two front legs of the steel guitar. The pedals operated a mechanical linkage to apply tension to raise the pitch of the strings.


title: Pedal steel guitar

text: Bigsby built guitars incorporating his design for the foremost steel players of the day, including Speedy West, Noel Boggs, and Bud Isaacs, but Bigsby was a one-man operation working out of his garage at age 56, and not capable of keeping up with demand. One of Bigsby's first guitars was used on "Candy Kisses" in 1949 by Eddie Kirk. The second model Bigsby made went to Speedy West, who used it extensively.


title: Pedal steel guitar

text: In 1953, Bud Isaacs received one of Bigsby's new creations, a double-neck steel which featured pedals to change the pitch of only two strings. Isaacs was the first to push the pedal while notes were still sounding. Other steel players strictly avoided doing this, because it was considered "un-Hawaiian". When Isaacs first used the setup on the 1953 recording of Webb Pierce's song "Slowly", he pushed the pedal while playing a chord, so notes could be heard bending up from below into the existing chord to harmonize with the other strings, creating a stunning effect which had not been possible with the older (non-pedal) lap steels. Of this recording of "Slowly", steel guitar virtuoso Lloyd Green said, "This fellow, Bud Isaacs, had thrown a new tool into musical thinking about the steel with the advent of this record that still reverberates to this day." It was the birth of the future sound of country music and caused a virtual revolution among steel players who wanted to duplicate it.


title: Pedal steel guitar

text: Also in the 1950s, steel guitar hall-of-famer Zane Beck added knee levers to the pedal steel guitar capable of bending notes downward. The player can move each knee either right, left or up (depending on the model) triggering different pitch changes. The levers function basically the same as foot pedals, and may be used alone, in combination with the other knee, or more commonly, in combination with one or two foot pedals. They were first added to Ray Noren's console steel. Initially, the knee levers just lowered the pitch, but in later years with refinements, could raise or lower pitch.


title: Pedal steel guitar

text: When "Slowly" was released, Bigsby was in the process of building a guitar for steel virtuoso Buddy Emmons. Emmons heard Isaacs' performance on the song, and told Bigsby to make his guitar setup to split the function of Isaacs' single pedal into two pedals, each controlling a different string. This gave the advantages of making chords without having to slant or move the bar, e.g., minors and suspended chords. Jimmy Day, another prominent steel player of the day, did the same thing, but reversed which strings were affected by the two pedals. This prompted future manufacturers to ask customers if they wanted a "Day" or an "Emmons" setup. In 1957, Emmons partnered with guitarist/machinist Harold "Shot" Jackson to form the Sho-Bud company, the first company devoted solely to pedal steel guitar manufacture.


title: Pedal steel guitar

text: Emmons made other innovations to the steel guitar, adding two additional strings (known as "chromatics") and a third pedal, changes which have been adopted as standard in the modern-day E9 instrument. The additional strings allow the player to play a major scale without moving the bar. He also developed and patented a mechanism to raise and lower the pitch of a string on a steel guitar and return to the original pitch without going out of tune. The Sho-Bud instruments of the day had all the latest features: 10 strings, the third pedal, and the knee levers.


title: Pedal steel guitar

text: The pedal steel continues to be an instrument in transition. In the United States, as of 2017, the E9 neck is more common, but most pedal steels still have two necks. The C6 is typically used for western swing music and the E9 neck is more often used for country music. The different necks have distinctly different voicings. The C6 has a wider pitch range than the E9, mostly on the lower notes.


title: Pedal steel guitar

text: Certain players prefer different setups regarding which function the pedals and levers perform, and which string tuning is preferred. In the early 1970s, musician Tom Bradshaw coined the term "copedent" ( ), a portmanteau of "chord-pedal-arrangement". Often represented in table form, it is a way of specifying the instrument's tuning, pedal and lever setup, string gauges and string windings.


title: Pedal steel guitar

text: There are proponents of a "universal tuning" to combine the two most popular modern tunings (E9 and C6) into a single 12 or 14-string neck that encompasses some features of each. It was developed by Maurice Anderson and later modified by Larry Bell. By lowering the C6 tuning a half-step to make it a B6, many commonalities with the E9 tuning are achieved on the same neck and it is called the E9/B6 tuning.


title: Pedal steel guitar

text: The pedal steel most commonly associated with American country music, but it is also sometimes heard in jazz, sacred music, popular music, nu jazz, and African music.


title: Pedal steel guitar

text: In the United States in the 1930s, during the steel guitar's wave of popularity, the instrument was introduced into the "House of God", a branch of an African-American Pentecostal denomination, based primarily in Nashville and Indianapolis. The sound bore no resemblance to typical American country music. The steel guitar was embraced by the congregation and often took the place of an organ. The first documented use of a pedal (rather than lap) steel in this tradition was in 1952, but it did not become


title: Pedal steel guitar

text: common until the early 1970s. This musical genre, known as "Sacred Steel" was largely unknown until, in the 1980s, a minister's son named Robert Randolph took up the instrument as a teenager, and has popularized it and received critical acclaim as a musician. Neil Strauss, writing in the "New York Times", called Randolph "one of the most original and talented pedal steel guitarists of his generation.


title: Pedal steel guitar

text: The pedal steel guitar became a signature component of Nigerian Juju music in the late 1970s. Nigerian bandleader King Sunny Adé featured pedal steel guitar in his 17 piece band, which, wrote "New York Times" reviewer Jon Pareles, introduces "a twang or two from American blues and country" Norwegian jazz trumpeter Nils Petter Molvaer, considered a pioneer of Future jazz (a fusion of jazz and electronic music), released the album "Switch", which features the pedal steel guitar.


title: Glossary of leaf morphology

text: The following is a list of terms which are used to describe leaf morphology in the description and taxonomy of plants. Leaves may be simple (a single leaf blade or lamina) or compound (with several leaflets). The edge of the leaf may be regular or irregular, may be smooth or bearing hair, bristles or spines. For more terms describing other aspects of leaves besides their overall morphology see the leaf article.


title: Glossary of leaf morphology

text: The terms listed here all are supported by technical and professional usage, but they cannot be represented as mandatory or undebatable; readers must use their judgement. Authors often use terms arbitrarily, or coin them to taste, possibly in ignorance of established terms, and it is not always clear whether because of ignorance, or personal preference, or because usages change with time or context, or because of variation between specimens, even specimens from the same plant. For example, whether to call leaves on the same tree "acuminate", "lanceolate", or "linear" could depend on individual judgement, or which part of the tree one collected them from. The same cautions might apply to "caudate", "cuspidate", and "mucronate", or to "crenate", "dentate", and "serrate."


title: Glossary of leaf morphology

text: Another problem is to establish definitions that meet all cases or satisfy all authorities and readers. For example, it seems altogether reasonable to define a mucro as "a small sharp point as a continuation of the midrib", but it may not be clear how small is small enough, how sharp is sharp enough, how hard the point must be, and what to call the point when one cannot tell whether the leaf has a midrib at all. Various authors or field workers might come to incompatible conclusions, or might try to compromise by qualifying terms so vaguely that a description of a particular plant practically loses its value.


title: Glossary of leaf morphology

text: Use of these terms is not restricted to leaves, but may be applied to morphology of other parts of plants, e.g. bracts, bracteoles, stipules, sepals, petals, carpels or scales. Some of these terms are also used for similar-looking anatomical features on animals.


title: Glossary of leaf morphology

text: Leaves of most plants include a flat structure called the blade or lamina, but not all leaves are flat, some are cylindrical. Leaves may be simple, with a single leaf blade, or compound, with several leaflets. In flowering plants, as well as the blade of the leaf, there may be a petiole and stipules; compound leaves may have a rachis supporting the leaflets. Leaf structure is described by several terms that include:


title: Glossary of leaf morphology

text: Being one of the more visible features, leaf shape is commonly used for plant identification. Similar terms are used for other plant parts, such as petals, tepals, and bracts.


title: Glossary of leaf morphology

text: Leaf margins (edges) are frequently used in visual plant identification because they are usually consistent within a species or group of species, and are an easy characteristic to observe. Edge and margin are interchangeable in the sense that they both refer to the outside perimeter of a leaf.


title: Glossary of leaf morphology

text: Leaves may also be folded, sculpted or rolled in various ways. If the leaves are initially folded in the bud, but later unrolls it is called vernation, ptyxis is the folding of an individual leaf in a bud.


title: Glossary of leaf morphology

text: The Latin word for 'leaf', , is neuter. In descriptions of a single leaf, the neuter singular ending of the adjective is used, e.g. 'lanceolate leaf', 'linear leaf'. In descriptions of multiple leaves, the neuter plural is used, e.g. 'linear leaves'. Descriptions commonly refer to the plant using the ablative singular or plural, e.g. 'with ovate leaves'.


title: Warm-blooded

text: Warm-blooded is an informal term referring to animal species which can maintain a body temperature higher than their environment. In particular, homeothermic species maintain a stable body temperature by regulating metabolic processes. The only known living homeotherms are birds and mammals, and the only living homeothermic lizard is the Argentine black and white tegu. Some extinct reptiles such as ichthyosaurs, pterosaurs, plesiosaurs and some non-avian dinosaurs are believed to have been homeotherms. Other species have various degrees of thermoregulation.


title: Warm-blooded

text: Animal body temperature control varies by species, so the terms "warm-blooded" and "cold-blooded" (though still in everyday use) suggest a false idea of there being only two categories of body temperature control, and are no longer used scientifically.


title: Warm-blooded

text: A large proportion of the creatures traditionally called "warm-blooded", like birds and mammals, fit all three of these categories (i.e., they are endothermic, homeothermic, "and" tachymetabolic). However, over the past 30 years, studies in the field of animal thermophysiology have revealed many species belonging to these two groups that do not fit all these criteria. For example, many bats and small birds are poikilothermic and bradymetabolic when they sleep for the night (or, in nocturnal species, for the day). For these creatures, the term heterothermy was coined.


title: Warm-blooded

text: Further studies on animals that were traditionally assumed to be cold-blooded have shown that most creatures incorporate different variations of the three terms defined above, along with their counterparts (ectothermy, poikilothermy, and bradymetabolism), thus creating a broad spectrum of body temperature types. Some fish have warm-blooded characteristics, such as the opah. Swordfish and some sharks have circulatory mechanisms that keep their brains and eyes above ambient temperatures and thus increase their ability to detect and react to prey. Tunas and some sharks have similar mechanisms in their muscles, improving their stamina when swimming at high speed.


title: Warm-blooded

text: Body heat is generated by metabolism. This refers to the chemical reactions cells use to break down glucose into water and carbon dioxide and, in so doing, generate ATP (adenosine triphosphate), a high-energy compound used to power other cellular processes. Muscle contraction is a type of metabolic process that generates heat energy, and heat is also generated through friction when blood flows through the circulatory system.


title: Warm-blooded

text: All organisms metabolize food and other inputs, but some make better use of the output than others. Like all energy conversions, metabolism is rather inefficient, and around 60% of the available energy is converted to heat rather than to ATP. In most organisms, this heat is simply lost to the environment. However, endothermic homeotherms (the animals generally characterized as "warm-blooded") both produce more heat and have better ways to retain and regulate it than other animals. They have a higher basal metabolic rate, and also a greater capacity to increase their metabolic rate when engaged in strenuous activity. They usually have well-developed insulation in order to retain body heat: fur and blubber in the case of mammals and feathers in birds. When this insulation is insufficient to maintain body temperature, they may resort to shivering—rapid muscle contractions that quickly use up ATP, thus stimulating cellular metabolism to replace it and consequently produce more heat. In general, in hot environments, they use evaporative cooling to shed excess heat, either by sweating (some mammals) or by panting (many mammals and all birds)—in general, mechanisms not present in poikilotherms.


title: Warm-blooded

text: It has been hypothesized that warm-bloodedness evolved in mammals and birds because it provided defense against fungal infections. Very few fungi can survive the body temperatures of warm-blooded animals. By comparison, insects, reptiles, and amphibians are plagued by fungal infections. Mammals and other warm-blooded animals pick up pathogens from other hosts. Those pathogens from the hosts are already adapted to the high temperature. Warm blooded animals have a defense against pathogens picked up from the environment since the environmental pathogens are not used to the difference in temperature.


title: Delilah (radio host)

text: Delilah Rene (born February 15, 1960, in North Bend, Oregon) is an American radio personality, author, and songwriter, best known as the host of a nationally syndicated nightly U.S. radio song request and dedication program, with an estimated 8 million listeners. She first aired in the Seattle market as Delilah Rene, though she is now known simply as Delilah.


title: Delilah (radio host)

text: In 1969, Delilah's family moved from Coos Bay, Oregon, to neighboring Reedsport, where she attended school. In 1974, she won a middle-school speech contest judged by owners of the local AM radio station. Delilah began her radio career there, at KDUN in Reedsport, doing school reports. She soon was creating advertising spots and then was given her own time slot during shifts before and after school. After graduating from high school in 1978, she worked at numerous stations in Oregon and in Seattle before creating the format she became known for at KLSY in 1984.


title: Delilah (radio host)

text: The show, known simply as "Delilah", begins at 7 p.m. and ends around midnight local time. She takes calls from listeners in her home studio, providing encouragement, support, and receiving musical dedication requests. It is based in the Pacific Northwest.


title: Delilah (radio host)

text: One of the cornerstones of the show is its use of callers. Most of the time the caller tells Delilah her situation or story and then Delilah chooses the song that she feels best matches the caller's situation. Callers are recorded during the show and replayed later, sometimes within the hour. Delilah also plays songs by direct request.


title: Delilah (radio host)

text: Originally heard only on weeknights, stations that carry the show have the option of carrying it six or even seven nights a week, with most stations airing at least one night of the weekend (usually Sunday) in addition to a weeknight show.


title: Delilah (radio host)

text: The show includes "Friday Nite Girls", a "fan club"-style feature in which she honors groups of her regular female listeners with prizes. She occasionally also calls certain "Friday Nite Girls" chapters and speaks with them live on the air. She also airs a "Delilah Dilemma" each evening in the first and third hours of the broadcast.


title: Delilah (radio host)

text: The program debuted on four stations at the beginning of 1996, finishing the year on a dozen stations. In 1997, Broadcast Programming started to distribute the program, which was later bought by Jones Radio Networks. Delilah moved to Premiere Radio Networks in 2004, where she remains to this day. There are nearly 170 radio stations, and the Armed Forces Radio Network, airing the program. Jane Bulman is the original executive producer and has been in that role for 20 years.


title: Delilah (radio host)

text: Many of the stations carrying the show are owned by Premiere parent iHeartMedia. In November 2006, WLTW in New York began carrying her. The version of the show that runs on WLTW is a separate, specially tailored version of the show produced just for that station, with music programmed by local WLTW Programming. In 2007, longtime lovesongs host Zoe Bonet was dropped from KODA Houston and replaced with her. In March 2012, she went on the air in Los Angeles on KFSH-FM, a Salem Broadcasting owned station playing Christian music. This addition debuted the Christian Music formatted version of the program. iHeartRadio has an online Delilah stream where listeners can hear the show all the time regardless of time zone or broadcast market. Delilah is also on the air at WYJB (B95.5FM), a radio station in Albany, New York in the evening for listeners coming home from work on the weekdays or on the weekends.


title: Delilah (radio host)

text: On January 26, 2018, Seattle soft AC station KSWD announced that Delilah would host middays on the station beginning January 29. The station also picked up her syndicated show for Friday, Saturday, and Sunday nights.


title: Delilah (radio host)

text: In 2021, Rene purchased KDUN in her hometown of Reedsport, Oregon, which carries her syndicated show.


title: Delilah (radio host)

text: The show is popular among women between the ages of 25 and 54. As many as eight million people tune in to listen to the program throughout the full week.


title: Delilah (radio host)

text: According to a Bloomberg interview, Delilah has seen her reported audience numbers plummet in cities where Nielsen Audio has adopted the Portable People Meter for tracking listenership.


title: Delilah (radio host)

text: The show plays a role in the Hallmark Channel television series "Cedar Cove", which is based on writer Debbie Macomber's book series and set in a fictional Pacific coast town in Washington state. Quotes and other inspirational pieces voiced by Delilah especially for the series set up some of the plot devices which occur in the course of each episode.


title: Delilah (radio host)

text: The show can also be heard in the 2018 film "I Can Only Imagine", the biographical story of MercyMe lead singer Bart Millard.


title: Delilah (radio host)

text: Delilah is a mother of 15 children, 11 of whom were adopted. Two of her children have died: a 16-year-old son, Sammy Young Dzolali Rene, died on March 12, 2012, of complications of sickle-cell anemia which had gone untreated most of his life until he was adopted by Delilah and brought to the US just 9 months before his death. On October 3, 2017, her 18-year-old biological son Zachariah died by suicide, following a brief, but intense period of depression.


title: Delilah (radio host)

text: Delilah has been married four times, and frequently jokes about, and refers to, her multiple divorces on her show. She is currently married to her longtime pal Paul Warner. The two were married at her home on October 27, 2012. The invited guests (and most of the staff) were told only that they were attending her annual Harvest party.


title: Dual wield

text: Dual wielding is the technique of using two weapons, one in each hand for training or combat. It is not a common combat practice. Although historical records of dual wielding in war are limited, there are numerous weapon-based martial arts that involve the use of a pair of weapons. The use of a companion weapon is sometimes employed in European martial arts and fencing, such as a parrying dagger. Miyamoto Musashi, a Japanese swordsman and "ronin", was said to have conceived of the idea of a particular style of swordsmanship involving the use of two swords.


title: Dual wield

text: In terms of firearms, especially handguns, dual wielding is generally denounced by firearm enthusiasts due to its impracticality. Though using two handguns at the same time confers an advantage by allowing more ready ammunition, it is rarely done due to other aspects of weapons handling. Dual wielding, both with melee and ranged weapons, has been popularized by fictional works (film, television, and video games).


title: Dual wield

text: Dual wielding has not been used or mentioned much in military history, though it appears in weapon-based martial arts and fencing practices.


title: Dual wield

text: Dimachaerus were a type of Roman gladiator that fought with two swords. The name is the Latin-language borrowing of the Greek word meaning "bearing two knives" ( "dual" + "knife") Thus, an inscription from Lyon, France, mentions such a type of gladiator, here spelled "dymacherus". The dimachaeri were equipped for close-combat fighting. A dimachaerus used a pair of siccae (curved scimitar) or gladius and used a fighting style adapted to both attack and defend with his weapons rather than a shield, as he was not equipped with one.


title: Dual wield

text: The use of weapon combinations in each hand has been mentioned for close combat in western Europe during the Byzantine, Medieval, and Renaissance era. The use of a parrying dagger such as a main gauche along with a rapier is common in historical European martial arts.


title: Dual wield

text: North American Indian tribes of the Atlantic northeast used a form involving a tomahawk in the primary hand and a knife in the secondary. It is practiced today as part of the modern Cree martial art Okichitaw.


title: Dual wield

text: All the above-mentioned examples, involve either one long and one short weapon, or two short weapons. An example of a dual wield of two sabres is the Ukrainian cossack dance hopak.


title: Dual wield

text: During the campaign Muslim conquest in 6th to 7th century AD, a Rashidun caliphate general named Khalid ibn Walid was reported to favor wielding two broad swords, with one in each hand, during combat.


title: Dual wield

text: Traditional schools of Japanese martial arts include dual wield techniques, particularly a style conceived by Miyamoto Musashi involving the katana and wakizashi, two-sword kenjutsu techniques he called "Niten Ichi-ryū". Eskrima, the traditional martial arts of the Philippines teaches "Doble Baston" techniques involving the basic use of a pair of rattan sticks and also Espada y daga or Sword/Stick and Dagger. Okinawan martial arts have a method that uses a pair of "sai".


title: Dual wield

text: Famed for his enormous strength, Dian Wei, a military general serving under the warlord Cao Cao in the late Eastern Han dynasty of China, excelled at wielding a pair of "ji" (a halberd-like weapon), each of which was said to weigh 40 "jin".


title: Dual wield

text: During Wei–Jie war, Ran Min, emperor of the short-lived Ran Wei empire of China, wielded two weapons, one in each hand, and fought fiercely, inflicting many casualties on the Xianbei soldiers while mounted on the famous horse Zhu Long ("Red Dragon").


title: Dual wield

text: The Thailand weapon-based martial art Krabi Krabong involves the use of a separate "Krabi" in each hand.


title: Dual wield

text: Kalaripayattu teaches advanced students to use either two sticks (of various sizes) or two daggers or two swords, simultaneously.


title: Dual wield

text: The use of a gun in each hand is often associated with the American Old West, mainly due to media portrayals. It was common for people in the era to carry two guns, but not to use them at the same time, as shown in movies. The second gun served as a backup weapon, to be used only if the main one suffered a malfunction or was lost or emptied.


title: Dual wield

text: However, there were several examples of gunmen in the West who actually used two pistols at the same time in their gunfights:


title: Dual wield

text: "MythBusters" compared many firing stances, including having a gun in each hand and found that, compared to the two-handed single-gun stance as a benchmark, only the one-handed shoulder-level stance with a single gun was comparable in terms of accuracy and speed. The ability to look down the sights of the gun was given as the main reason for this. In an episode the following year, they compared holding two guns and firing simultaneously—rather than alternating left and right shots—with holding one gun in the two-handed stance, and found that the results were in favor of using two guns and firing simultaneously.


title: History of United States postage rates

text: The system for mail delivery in the United States has developed with the nation. Rates were based on the distance between sender and receiver in the early years of the nation. In the middle of the 19th century, rates stabilized to one price regardless of distance. Rates were relatively unchanged until 1968, when the price was increased every few years by a small amount. Comparing the increases with a price index, the price of a first class stamp has been steady. The logo for the Post Office showed a man on a running horse, even as the railroads and then motorized trucks moved mail. In 1970, the Post Office became the Postal Service, with rates set by the Postal Regulatory Commission, and some oversight by the Congress. Air mail became standard in 1975. In the 21st century, prices were segmented to match the sorting machinery in use; letters too large for the machines required slightly higher postage.


title: History of United States postage rates

text: Initial United States postage rates were set by Congress as part of the Postal Service Act signed into law by President George Washington on February 20, 1792. The postal rate varied according to "distance zone", the distance a letter was to be carried from the post office where it entered the mail to its final destination. Rates were adopted in 1847 for mail to or from the Pacific Coast and in 1848 for mail sent from one place in the west to another place in the west. There were "double" and "triple" rates as a letter's size increased. There were ship fees which were also added (i.e. mail to Hawaii). The ship fee, including the ship rate on letters for delivery at the port of entry, were on a per letter basis, rather than weight. The United States issued its first postage stamps in 1847. Before that time, the rates, dates and origin of the letter were written by hand or sometimes in combination with a handstamp device.


title: History of United States postage rates

text: Since enactment of the Postal Reorganization Act of 1970, postage rates have been set by the Postal Regulatory Commission.


title: History of United States postage rates

text: The dark plot is the actual issued price of the stamp and the light plot is the price adjusted for inflation and is shown in 2019 US cents.


title: History of United States postage rates

text: This plot shows that, despite the nominal rise in the cost of a first-class stamp, the adjusted cost of a stamp has stayed relatively stable. Since at least the early 1980s, the price of a stamp has closely followed the consumer price index. The large jumps in the early 1900s are because a change by a single penny was large compared to the cost of the stamp.


title: History of United States postage rates

text: Additionally, while the cost of the stamp itself remained fixed, the adjusted price in 2019 dollars was not fixed over time which added to larger jumps in adjusted prices.


title: History of United States postage rates

text: Domestic parcel post service was adopted in 1913, 25 years after the Post Office had agreed to deliver international parcel post packages pursuant to the Universal Postal Union treaty and various bilateral agreements with other nations:


title: History of United States postage rates

text: Initially, few if any postal regulations governed packages mailed by parcel post. For example, to construct a bank in Vernal, Utah, in 1916, a Salt Lake City company ascertained that the cheapest way to send of bricks to the building was by parcel post, and the company proceeded to do so. For another example, Charlotte May Pierstorff, then a five-year-old, was mailed via parcel post in 1914; she survived, but the regulations were clarified to prohibit the use of parcel post for human transport.


title: History of United States postage rates

text: In 2007, First Class Mail was restructured to include variable pricing based on size, not just on weight. Shape-based postage pricing is a form of dimensional weight. Also at that time, International Parcel Post air service was re-branded as Priority Mail International, and Parcel Post surface service was discontinued for international destinations.


title: History of United States postage rates

text: Regular Air Mail service began in 1918 and over the years rates varied considerably depending on distance and technology. Domestic Air Mail, as a class of service, officially ended May 1, 1977. By that time all domestic First Class Mail was being dispatched by the most expeditious means, surface or air, whether or not the Air Mail postage had been paid.


title: History of United States postage rates

text: Additional charges for Special delivery existed from 1885 to 2001. Today, Express Mail Overnight is the most similar service level.


title: History of United States postage rates

text: During the summer of 2010 the USPS requested the Postal Regulatory Commission to raise the price of a first class stamp by 2 cents, from 44 cents to 46 cents, to take effect January 2, 2011. On September 30, 2010, the PRC formally denied the request, but the USPS filed an appeal with the Federal Court of Appeals in Washington DC.


title: History of United States postage rates

text: On September 25, 2013, the USPS announced a 3 cent increase in the First Class postal rate, to be effective January 26, 2014, increasing the price of a stamp to 49 cents. Bulk mail, periodicals, and package service rates were also increased by 6 percent. A loss of US$5 billion during the 2013 fiscal year was the reason given for the increase.


title: History of United States postage rates

text: The legislation which set the price to 49 cents was enacted as a temporary measure and as an "exigent surcharge for mailing products and services". However, this legislation was set to expire in April 2016. As a result, the Post Office retained one cent of the price change as a previously allotted adjustment for inflation, but the price of a first class stamp became 47 cents: for the first time in 97 years (and for the third time in the agency's history, the price of a stamp decreased.)


title: Sam Rivers (bassist)

text: Samuel Robert Rivers (born September 2, 1977, Jacksonville, Florida) is the bassist and backing vocalist of the band Limp Bizkit, and one of its founding members.


title: Sam Rivers (bassist)

text: Rivers' musical career started fairly early on, with him playing the tuba in a band in Arlington Middle School. He got into music initially because of John Otto, who played jazz-style drums.


title: Sam Rivers (bassist)

text: Many have said that Otto is a cousin of Rivers, but during a documentary that was recorded of the band recording their second album, Rivers admits that they initially thought they were cousins but realised neither parents were related.


title: Sam Rivers (bassist)

text: He attended Bishop Kenny High School. He played guitar before he played bass, but switched at the suggestion of his music teacher.


title: Sam Rivers (bassist)

text: Rivers first met Fred Durst while working at a Chick-fil-A in a mall in Jacksonville. The two started talking, and found they shared several interests, including skateboarding and music. They decided to get together for a jam session. Rivers was becoming an accomplished bass guitarist, and Durst was to be a vocalist. Together with several other people they formed a short-lived band called Malachi Sage. (Rivers' talents on guitar would later come into play in Limp Bizkit's Results May Vary album, the only album not featuring longtime guitarist Wes Borland, with Rivers playing both guitar and bass on select songs such as "Creamer" and "Lonely World".)


title: Sam Rivers (bassist)

text: When the band did not work out, the two decided to try again, and this time Otto came into the picture to be the drummer at the suggestion of Rivers. In 1994, the three formed Limp Bizkit. Later on guitarist Wes Borland came into the fold, as well as DJ Lethal, in 1996. Rivers was the youngest member of the band. When their first album "Three Dollar Bill, Yall" was released, he was 19 years old.


title: Sam Rivers (bassist)

text: In 2015, Rivers reportedly left Limp Bizkit following a diagnosis of degenerative disc disease. However, Rivers revealed in 2020 his departure from Limp Bizkit was due to liver disease caused by excessive drinking. Rivers subsequently received a liver transplant. In absentia, live bass duties were covered by Samuel Gerhard Mpungu and Tsuzumi Okai.


title: Sam Rivers (bassist)

text: After Limp Bizkit went on hiatus, Rivers became a producer for local bands in Jacksonville. He produced the debut albums by Burn Season and The Embraced. Most recently, Rivers has been producing for the Orlando-based band Indorphine. Aside from producing their new studio material, Rivers got them booked as the opening act for a Mushroomhead/SOiL concert.


title: Sam Rivers (bassist)

text: In early 2009, Rivers reunited with Limp Bizkit for tours and their sixth studio album, "Gold Cobra" released in 2011.


title: Sam Rivers (bassist)

text: Rivers is now pursuing another project with Burn Season vocalist Damien Starkey in a band called Sleepkillers, along with Adam Latiff and Saliva vocalist Bobby Amaru, who was also a founding member and drummer for Burn Season. They released their self titled debut album on March 1, 2019.


title: Sam Rivers (bassist)

text: His influences include bands such as Black Sabbath and Megadeth. Rivers cites Jeff Ament from Pearl Jam as a big influence on his playing.


title: Sam Rivers (bassist)

text: In the early 2000s, Rivers married Kinter Atkins. They divorced due to personal issues. Currently, Rivers is in a relationship with pornographic actress Kayla Paige.


title: Sam Rivers (bassist)

text: Rivers was originally endorsed by Ibanez, and one of his basses was a customized BTB 5-string, but he then used custom made Warwick basses, with LEDs in the fretboard. Since 2019, Sam Rivers is using 5-string Fender Jazz Basses live with Limp Bizkit. Rivers has also been seen using Wal Basses since 2005, mainly in the studio and uses Ampeg and Warwick amps.


title: King's African Rifles

text: The King's African Rifles (KAR) was a multi-battalion British colonial regiment raised from Britain's various possessions in East Africa from 1902 until independence in the 1960s. It performed both military and internal security functions within the colonial territories, and served outside these territories during the World Wars. The rank and file (askaris) were drawn from native inhabitants, while most of the officers were seconded from the British Army. When the KAR was first raised there were some Sudanese officers in the battalions raised in Uganda, and native officers were commissioned towards the end of British colonial rule.


title: King's African Rifles

text: Until independence, the parade uniform of the KAR comprised khaki drill, with tall fezzes and cummerbunds. Both of the latter items were normally red, although there were some battalion distinctions with Nyasaland units, for example, wearing black fezzes.


title: King's African Rifles

text: Prior to 1914, the regiment's field service uniforms consisted of a dark blue jersey and puttees, khaki shorts and a khaki fez cover with integral foldable cloth peak and neck flap. Askaris wore sandals or were barefoot, on the rationale that the heavy military boots of the period were unsuitable for African recruits who had not previously worn footwear. Fezzes bore an Arabic or Roman number with the wartime-raised battalions wearing theirs on geometric-shaped patches of cloth. During the Great War, all the dark blue items were replaced with khaki equivalents, and a short pillbox hat with a khaki cover was worn on campaign. After the war, the khaki shirt was replaced by a collarless blue-grey angora shirt called a "greyback". Officers and senior NCOs wore slouch hats with coloured hackles.


title: King's African Rifles

text: Six battalions were formed in 1902 by the amalgamation of the Central Africa Regiment (CAR), East Africa Rifles (EAR) and Uganda Rifles, with one or two battalions located in each of Nyasaland, Kenya, Uganda and British Somaliland:


title: King's African Rifles

text: On formation, there was no regular staff system in connection with these six battalions beyond the usual regimental staff and an Inspector-General who made two annual tours and reported to the Foreign Office.


title: King's African Rifles

text: The 5th and 6th battalions were disbanded by 1910 as a cost-saving measure by the Colonial Office and out of white-settler concern over the existence of a large indigenous armed force.


title: King's African Rifles

text: During the early 1900s the King's African Rifles took part in the Somaliland campaign against Mohammed Abdullah Hassan (known to the British as the 'Mad Mullah') and the Dervishes. Lt-Col. Alexander Cobbe of 1st (Central Africa) Battalion KAR, was awarded the Victoria Cross for his action at Erego, on 6 October 1902.


title: King's African Rifles

text: The KAR began the First World War with 21 small companies in three battalions (each with up to eight companies following the British pre-1913 half-company establishment): the 1st Nyasaland (half of the battalion was located in the northeast Nyasaland), 3rd East Africa (with one company on Zanzibar) and the 4th Uganda, both of the latter included the 4th platoon of Sudanese with the 4th platoon of 4th battalion being led by Sudanese officers. Additionally, the companies were scattered over British East Africa.


title: King's African Rifles

text: Full strength of the KAR in 1914 was 70 British officers, three British NCOs, and 2,325 Africans. There were no organic heavy weapons (each company had one machine gun), including artillery or organised reserves and the companies were, in reality, large platoons of 70 to 80 men.


title: King's African Rifles

text: In 1915 the KAR was expanded by having the three battalions reorganised into standard four-company battalions, which were then brought up to full strength at 1,045 men each. It was not until early 1916 that the 2nd Nyasaland and 5th Kenya battalions [1916–1963] were re-raised, this being due to do with white sensitivities in Kenya about arming and training large numbers of black African troops. Later in 1916 the 2nd, 3rd and 4th battalions were expanded into two battalions each through recruiting in their home areas. It was not until General Hoskins (formerly the Inspector General of the KAR) was appointed to command British East African forces in 1917 that genuine expansion began. The 1st Battalion was doubled and the 6th (Tanganyika Territory) Battalion was raised from "Schutztruppe" of the former German East Africa and then it too was doubled. The 7th was formed from the Zanzibar Armed Constabulary and the Mafia Constabulary. Later in 1917 many other duplicate battalions were created as the first four battalions (now called regiments in the British tradition) each raised a 3rd battalion and a 4th or Training Battalion. The 4th Regiment raised an additional two battalions, the 5th, and 6th through recruiting in Uganda. The KAR Mounted Infantry Unit (on camels), originally part of the 3rd regiment and the KAR Signals Company were also raised.


title: King's African Rifles

text: Part of the KAR's expansion involved bringing up unit strengths to the same size as British and Indian Army Imperial Service units, while also increasing the numbers of white officers and NCOs. The increase in cadres was difficult due to the shortage of Swahili-speaking whites, as many white settlers had already formed segregated units such as the East African Mounted Rifles, the East African Regiment, the Uganda Volunteer Rifles and the Zanzibar Volunteer Defence Force.


title: King's African Rifles

text: The regiment fought in the East African Campaign against the German commander Paul Erich von Lettow-Vorbeck and his forces in German East Africa. Transport and support into the interior were provided by over 400,000 porters of the Carrier Corps.


title: King's African Rifles

text: By the end of the Great War, the KAR comprised 1,193 British officers, 1,497 British NCOs and 30,658 Africans (33,348 total) in 22 battalions, including two made up of former German askaris, as noted above. In "Armies in East Africa 1914–18", Peter Abbot notes that the KAR units recruited from former prisoners of war were used as garrison troops by the British, to avoid any conflict of loyalties. However, one of these battalions was involved in the pursuit of a force under Hauptman Wintgens from February to October 1917.


title: King's African Rifles

text: KAR casualties in the First World War were 5,117 killed and wounded with another 3,039 dying from diseases.


title: King's African Rifles

text: During the interwar period, the KAR was slowly demobilised to a peacetime establishment of six battalions, at which strength the regiment remained until the Second World War. In 1938, the regiment was composed of two brigade-strength units organised as a "Northern Brigade" and a "Southern Brigade." The combined strength of both units amounted to 94 officers, 60 non-commissioned officers, and 2,821 African other ranks. After the outbreak of war, these units provided the trained nucleus for the rapid expansion of the KAR. By March 1940, the strength of the KAR had reached 883 officers, 1,374 non-commissioned officers, and 20,026 African other ranks.


title: King's African Rifles

text: The KAR fought in several campaigns during World War II. It fought against the Italians in Italian East Africa during the East African Campaign, against the Vichy French in Madagascar during the Battle of Madagascar, and against the Japanese in Burma during the Burma Campaign. The Somaliland battalions were heavily involved in defending the colony against the Italian invasion of August 1940, but were forced to retreat and evacuate after defeat in the Battle of Tug Argan from 11–15 August.


title: King's African Rifles

text: Initially, KAR units were deployed as part of the 1st East African Infantry Brigade and the 2nd East African Infantry Brigade. The first brigade was responsible for coastal defence and the second for the defence of the interior. (See 1st SA Infantry Division). By the end of July 1940, two additional East African brigades were formed, the 3rd East African Infantry Brigade and the 6th East African Infantry Brigade. Initially a Coastal Division and a Northern Frontier District Division were planned, but, instead, the 11th African Division and the 12th African Division was formed.


title: King's African Rifles

text: The two divisions included East African, Ghanaian, Nigerian, and South African troops. The Ghanaian and Nigerian troops came from the Royal West African Frontier Force. Under the terms of a war contingency plan, a brigade each was provided from the Gold Coast (now Ghana) and from Nigeria for service in Kenya. A Nigerian brigade, together with two East African brigades (the KAR brigades) and some South Africans, formed the 11th African Division. The 12th African Division was similarly formed, but with the Ghanaian brigade instead of the Nigerian brigade.


title: King's African Rifles

text: In 1941, during the East African Campaign, Sergeant Nigel Gray Leakey of the 1/6th Battalion was awarded the Victoria Cross (VC).


title: King's African Rifles

text: The 11th African Division was disbanded in November 1941 and the 12th African Division was disbanded in April 1943. In 1943, the 11th (East Africa) Division was formed and it fought in Burma. In addition, two independent infantry brigades were sent from East Africa to India for service in Burma. The 22 (East Africa) Infantry Brigade served in the Arakan under command of XV Indian Corps, while the 28th (East Africa) Infantry Brigade served under IV Corps, playing a crucial role in the crossing of the Irrawaddy River.


title: King's African Rifles

text: By the end of the war, the regiment had raised forty-three battalions (including two in British Somaliland), nine independent garrison companies, an armoured car regiment, an artillery unit, as well as engineer, signal and transport sections.


title: King's African Rifles

text: The regiment played a major role in operations during the Mau Mau Uprising in Kenya. In 1952, the 7th (Kenya) Battalion was reformed; it was renumbered as the 11th (Kenya) Battalion in 1956. 2nd/3rd Battalion, a reserve unit, was raised during the military phase of the emergency in Kenya and was under consideration for disbandment by 1957. A company of the regiment was accused of war crimes in connection with the Chuka massacre in June, 1953.


title: King's African Rifles

text: The 1st, 2nd, and 3rd battalions saw service in the Malayan Emergency, where they were heavily involved in fighting Communist rebels, suffering 23 dead.


title: King's African Rifles

text: The regiment was retitled the East African Land Forces in 1957. The last Colonel-in-Chief of the KAR was HM Queen Elizabeth II.


title: King's African Rifles

text: When the various territories from which the KAR was recruited became independent, the regiment began to break up:


title: King's African Rifles

text: The extent to which KAR traditions influence the modern national armies of the former East African colonies varies from country to country. In Tanzania, a mutiny in 1964 led to a conscious decision to move away from the British military model. In Kenya, on the other hand, the title of Kenya Rifles survives and the various campaigns in which the KAR distinguished itself in both World Wars are still commemorated.


title: King's African Rifles

text: On the island of Mauritius which is located off the eastern coast of Africa, a detachment of the King's African Rifles was present until 1960. It was gradually replaced by the newly formed Special Mobile Force (SMF) and Police Riot Unit (PRU).


title: King's African Rifles

text: The regiment's battalions were not awarded colours until 1924, as colours were not traditionally carried by rifle regiments. The colours had many of the regiment's battle honours emblazoned on it. The old colours were replaced in the 1950s.


title: Erotic art in Pompeii and Herculaneum

text: Erotic art in Pompeii and Herculaneum has been both exhibited as art and censored as pornography. The Roman cities around the bay of Naples were destroyed by the eruption of Mount Vesuvius in 79 AD, thereby preserving their buildings and artefacts until extensive archaeological excavations began in the 18th century. These digs revealed the cities to be rich in erotic artefacts such as statues, frescoes, and household items decorated with sexual themes. The ubiquity of such imagery and items indicates that the treatment of sexuality in ancient Rome was more relaxed than current Western culture. However, much of what might strike modern viewers as erotic imagery, such as oversized phalluses, could arguably be fertility imagery. Depictions of the phallus, for example, could be used in gardens to encourage the production of fertile plants. This clash of cultures led to many erotic artefacts from Pompeii being locked away from the public for nearly 200 years.


title: Erotic art in Pompeii and Herculaneum

text: In 1819, when King Francis I of Naples visited the Pompeii exhibition at the Naples National Archaeological Museum with his wife and daughter, he was embarrassed by the erotic artwork and ordered it to be locked away in a "secret cabinet", accessible only to "people of mature age and respected morals". Re-opened, closed, re-opened again and then closed again for nearly 100 years, the Secret Museum, Naples was briefly made accessible at the end of the 1960s (the time of the sexual revolution) and was finally re-opened for viewing in 2000. Minors are still only allowed entry to the once-secret cabinet in the presence of a guardian, or with written permission.


title: Erotic art in Pompeii and Herculaneum

text: The phallus (the erect penis), whether on Pan, Priapus or a similar deity, or on its own, was a common image. It was not seen as threatening or even necessarily erotic, but as a ward against the evil eye. The phallus was sculpted in bronze as "tintinnabula" (wind chimes). Phallus-animals were common household items. Note the child on one of the wind chimes.


title: Erotic art in Pompeii and Herculaneum

text: A wall fresco which depicted Priapus, the god of sex and fertility, with his oversized erection, was covered with plaster (and, as Karl Schefold explains, even the older reproduction below was locked away "out of prudishness" and only opened on request) and only rediscovered in 1998 due to rainfall.


title: Erotic art in Pompeii and Herculaneum

text: The second image, from "Schefold, Karl: Vergessenes Pompeji: Unveröffentlichte Bilder römischer Wanddekorationen in geschichtlicher Folge. München 1962.", with its much more brilliant colors, has been used to retouch the younger, higher resolution image .


title: Erotic art in Pompeii and Herculaneum

text: It is unclear whether the images on the walls were advertisements for the services offered or merely intended to heighten the pleasure of the visitors. As previously mentioned, some of the paintings and frescoes became immediately famous because they represented erotic, sometimes explicit, sexual scenes.


title: Erotic art in Pompeii and Herculaneum

text: One of the most curious buildings recovered was in fact a "Lupanar" (brothel), which had many erotic paintings and graffiti inside. The erotic paintings seem to present an idealised vision of sex at odds with the reality of the function of the lupanar. The Lupanare had 10 rooms ("cubicula", 5 per floor), a balcony, and a "latrina". It was not the only brothel. The town seems to have been oriented to a warm consideration of sensual matters: on a wall of the Basilica (sort of a civil tribunal, thus frequented by many Roman tourists and travelers), an immortal inscription tells the foreigner: "If anyone is looking for some tender love in this town, keep in mind that here all the girls are very friendly" (loose translation). Other inscriptions reveal some pricing information for various services: "Athenais 2 As, Sabina 2 As" (CIL IV, 4150), "The house slave Logas, 8 As" (CIL IV, 5203) or "Maritimus licks your vulva for 4 As. He is ready to serve virgins as well". (CIL IV, 8940). The amounts vary from one to two asses up to several sesterces. In the lower price range the service was not more expensive than a loaf of bread.


title: Erotic art in Pompeii and Herculaneum

text: Prostitution was relatively inexpensive for the Roman male but it is important to note that even a low priced prostitute earned more than three times the wages of an unskilled urban labourer. However, it was unlikely a freed woman would enter the profession in hopes for wealth because most women declined in their economic status and standard of living due to demands on their appearance as well as their health.


title: Erotic art in Pompeii and Herculaneum

text: Prostitution was overwhelmingly an urban creation. Within the brothel it is said prostitutes worked in a small room usually with an entrance marked by a patchwork curtain. Sometimes the woman's name and price would be placed above her door. Sex was generally the cheapest in Pompeii, compared to other parts of the Empire. All services were paid for with cash.


title: Erotic art in Pompeii and Herculaneum

text: These pictures were found in a changing room at one side of the newly excavated Suburban Baths in the early 1990s. The function of the pictures is not yet clear: some authors say that they indicate that the services of prostitutes were available on the upper floor of the bathhouse and could perhaps be a sort of advertising, while others prefer the hypothesis that their only purpose was to decorate the walls with joyful scenes, as these were in Roman culture. The most widely accepted theory, that of the original archaeologist, Luciana Jacobelli, is that they served as reminders of where one had left one's clothes.


title: Erotic art in Pompeii and Herculaneum

text: Collected below are high-quality images of erotic frescoes, mosaics, statues, and other objects from Pompeii and Herculaneum.


title: Erotic art in Pompeii and Herculaneum

text: Venus was the divine protector of Pompeii, and featured in many frescoes around the city. The goddess of love, sex, and fertility, Venus was closely associated with eroticism and prostitution in ancient Rome. The mural of Venus from Pompeii was never seen by Botticelli, the painter of "The Birth of Venus", but may have been a Roman copy of the then famous painting by Apelles which Lucian mentioned.


title: Erotic art in Pompeii and Herculaneum

text: The fresco of Mars and Venus, located in the tablinum of the House of Mars and Venus, is believed to model the proper family roles of husband and wife for those entering the home. Mars and Venus, a popular couple from mythology, were represented in many house's tablinum for this reason. Venus has appeared in Pompeian artwork at least 197 times, the majority of these depictions located in a home's reception area where a guest would not need an invitation to enter, although she also appears on tavern signs and political banners. Previous scholarship assumed Venus would be more common in "cubicula", small inclosed rooms that may function as a bedroom, due to her association with love and sex. Recent studies have shown this is not the case and that Venus is more commonly portrayed in large common rooms. Approximately one third of artwork featuring Venus represents some sort of love scene. There are two Venus types found almost eclusivley in Pompeii, "Venus Pompeiana" ("Venus of Pompeii") and "Venus Pescatrice" ("Venus the Fisher-woman"). "Venus Pompeiana" is depicted standing rigidly, usually trapped with a mantle and holding her right arm across her chest. She is most commonly depicted in places that would be seen by many people, possible to demonstrate a house's patron goddess or for protection as this form of Venus has special religious and ritual significance to Pompeii. "Venus Pescatrice" is typically shown sitting down, holding a fishing rod and is always semi-naked. The depictions of "Venus Pescatrice" are all similar in strucuter, suggesting they derive from the same source, though this source has not been found.