title: Pit stop

text: As soon as the car comes to a halt, the first step, taken while the fourth tire changer assumes his position, is for a mechanic to activate the car's built-in pneumatic jacks. A pressurized air hose is inserted into a receiving nozzle at the rear of the car, under the rear wing. Previously, this device was inserted on the side of the car, but for safety reasons, the location was moved in the 2000s. At the same instant, another crew member begins the refueling process. A fueling hose is inserted into a socket (called the "buckeye"), allowing a gravity-fed hose to refill the car's fuel tank. The fuel hose has a built-in vent/overflow hose as part of the mechanism, an invention of the mid-2000s. Previously, a second "vent hose" was utilized, but it was phased out to improve safety.


title: Pit stop

text: Simultaneously, the four tire changers remove the wheels and install the new ones. IndyCar wheels are affixed to the hubs with a single lug nut, making it easier and faster to change them. After the tire changes are complete, the front tire changers may use manual adjusters to adjust the angle of the car's front wing, remove debris from air intakes, or make other minor repairs. While the service is being completed by the over-the-wall crew, another crew member behind the wall may use a stick to offer the driver a refreshment.


title: Pit stop

text: After the tire changes are complete, the air jack hose is removed, dropping the car to the ground. However, the driver usually must wait additional seconds until the refueling is complete. The right front tire changer (who is usually also the crew chief) signals the driver when the stop is complete. Before the car departs its pit stall, a crew member must squirt water to wash any excess spilled fuel from the fuel buckeye; this is usually done with a pressurized water hose by a crew member behind the pit wall.


title: Pit stop

text: Under normal conditions, a routine stop for an IndyCar team lasts between six and ten seconds. IndyCar teams are permitted to set their own pit strategies.


title: Pit stop

text: In Super Formula, Japan's top-level single-seater series, a total of six mechanics are allowed to work on a car. Of these six, three have fixed roles: the lollipop-signalman, the refueler, and the fire-fighter. They are forbidden from undertaking any other function during the pit stop. The remaining three mechanics are responsible for all other operations, most notably jacking up the car and changing the tyres. The general strategy is to have the three free mechanics operate on the car in an assembly-line-like manner, moving around the car between different stations. Because of the limited personnel, teams often come up with creative solutions to decrease pit stop times. For example, some teams employ an automatic front jack, which is placed in front of the car as it stops. Mechanics might also jump over the nose-cone of the car to save time getting to the other side. With the automatic front jack, a Super Formula pit stop takes between ten and twelve seconds; even without the automatic jack, pit stops can be completed in as little as fourteen seconds.


title: Pit stop

text: In the various forms of sports car endurance racing, pit stops are a more leisurely affair, but no less important than in other forms of racing. While stops take longer, much more routine maintenance is scheduled during such pit stops, needed to keep the car running for as long as twenty-four hours; this includes major aerodynamic changes to deal with the changing temperature in such a long race, and replacement of certain wear-limited parts, such as brake pads. Due to the fact that the race is scheduled to last a certain length of time rather than a specific distance, pit strategies are generally not designed to be synchronised with the race distance, but rather to happen on a schedule based on the car's requirements for routine service.


title: Pit stop

text: Under the rules of the Automobile Club de l'Ouest (ACO) only five mechanics are permitted to work on the car. One man is permitted to fuel the car; all fuelling must be completed before any other service occurs. The other four mechanics on pit lane at any given time are typically two tyre changers and two tyre carriers, each of whom handles his task on only one side of the car. Automatic pneumatic jacks are used, integrated into the car itself. At all times the car's engine must be shut off during the stop, and may start only when the stop has concluded.


title: Pit stop

text: IMSA allows only four mechanics to service a car during a pit stop. One crew member will refuel the car while the other three are responsible for changing tyres and operating the pneumatic jacks. A fifth crew-member must serve as the team's designated firefighter and must stand ready in the pit stall with a fire extinguisher while the car is being refuelled. A sixth crew-member may assist in a driver change. Neither the firefighter or driver's assistant may perform any additional service to the car. Unlike the ACO, IMSA does not force crews to wait for fuelling to complete before changing tyres, and does not require the car's engine be shut off during the stop.


title: Pit stop

text: In endurance racing, driver changes are mandatory; the shortest endurance races are scheduled for four hours, one hour longer than the longest nonstop time permitted behind the wheel. During a pit stop with a driver change, the new driver and a driver change assistant are permitted into the pit lane. The assistant, who may not do any mechanical work on the car, is tasked with helping the current driver out of the car, removing or swapping driver seat inserts, helping the new driver into the car, and helping the new driver tightly fasten his safety harness and connect his various helmet connections to the car's systems, including the two-way team radio and the drink bottle used to stave off dehydration.


title: Pit stop

text: A routine pit stop with no scheduled maintenance and no driver change generally lasts from thirty to forty seconds. With a driver change included, that time increases by about ten seconds. Should there be significant scheduled maintenance, such as changing brake pads, the stop can easily last well over a minute.


title: Pit stop

text: Unlike most other forms of racing, the practice of "double-stinting" or even "triple-stinting" tyres is commonplace in longer races; tyres hard enough to withstand the rigours of racing in the heat of the daytime may be so hard that they do not wear significantly during the nighttime hours. In a race where this is an issue, significant time can be gained by choosing to leave worn tyres on the car during the first stop after they were put on the car; if the temperature drops low enough, teams may even be able to go two pit stops without changing tyres.


title: Within You Without You

text: "Within You Without You" is a song by the English rock band the Beatles from their 1967 album "Sgt. Pepper's Lonely Hearts Club Band". Written by lead guitarist George Harrison, it was his second composition in the Indian classical style, after "Love You To", and inspired by his stay in India in late 1966 with his mentor and sitar teacher Ravi Shankar. Recorded in London without the other Beatles, it features Indian instrumentation such as sitar, tambura, dilruba and tabla, and was performed by Harrison and members of the Asian Music Circle. The recording marked a significant departure from the Beatles' previous work; musically, it evokes the Indian devotional tradition, while the overtly spiritual quality of the lyrics reflects Harrison's absorption in Hindu philosophy and the teachings of the Vedas.


title: Within You Without You

text: The song was Harrison's only composition on "Sgt. Pepper", although his endorsement of Indian culture was further reflected in the inclusion of yogis such as Paramahansa Yogananda among the crowd depicted on the album's cover. With the worldwide success of the album, "Within You Without You" presented Indian classical music to a new audience in the West and contributed to the genre's peak in international popularity. It also influenced the philosophical direction of many of Harrison's peers during an era of utopian idealism marked by the Summer of Love. The song has traditionally received a varied response from music critics, some of whom find it lacklustre and pretentious, while others admire its musical authenticity and consider its message to be the most meaningful on "Sgt. Pepper". Writing for "Rolling Stone", David Fricke described the track as "at once beautiful and severe, a magnetic sermon about materialism and communal responsibility in the middle of a record devoted to gentle Technicolor anarchy".


title: Within You Without You

text: For the Beatles' 2006 remix album "Love", the song was mixed with the John Lennon-written "Tomorrow Never Knows", creating what some reviewers consider to be that project's most successful mashup. Sonic Youth, Rainer Ptacek, Oasis, Patti Smith, Cheap Trick and the Flaming Lips are among the artists who have covered "Within You Without You".


title: Within You Without You

text: George Harrison began writing "Within You Without You" in early 1967 while at the house of musician and artist Klaus Voormann, in the north London suburb of Hampstead. Harrison's immediate inspiration for the song came from a conversation they had shared over dinner about the metaphysical space that prevents individuals from recognising the natural forces uniting the world. Following this discussion, Harrison worked out the song's melody on a harmonium and came up with the opening line: "We were talking about the space between us all".


title: Within You Without You

text: The song was Harrison's second composition to be explicitly influenced by Indian classical music, after "Love You To", which featured Indian instruments such as sitar, tabla and tambura. Since recording the latter track for the Beatles' "Revolver" in April 1966, Harrison had continued to look outside his role as the band's lead guitarist, further immersing himself in studying the sitar, partly under the tutelage of master sitarist Ravi Shankar. Harrison said that the tune for "Within You Without You" came about through his regularly performing musical exercises known as sargam, which use the same scales as those found in Indian ragas.


title: Within You Without You

text: "Within You Without You" is the first of Harrison's many songs to include Hindu spiritual concepts in his lyrics. Having incorporated elements of Eastern philosophy in "Love You To", Harrison became fascinated by ancient Hindu teachings after he and his wife, Pattie Boyd, visited Shankar in India in September–October 1966. Intent on mastering the sitar, Harrison first joined other students of Shankar's in Bombay, until local fans and the press learned of his arrival. Harrison, Boyd, Shankar and the latter's partner, Kamala Chakravarty, then relocated to a houseboat on Dal Lake in Srinagar, Kashmir. There, Harrison received personal tuition from Shankar while absorbing religious texts such as Paramahansa Yogananda's "Autobiography of a Yogi" and Swami Vivekananda's "Raja Yoga". This period coincided with his introduction to meditation and, during their visit to Vrindavan, he witnessed communal chanting for the first time.


title: Within You Without You

text: Harrison and Boyd returned to England on 22 October, and continued to adhere to a Hindu-aligned lifestyle of yoga, meditation and vegetarianism at their home in Esher. The education Harrison received in India, particularly regarding the illusory nature of the material world, resonated with his experiences with the hallucinogenic drug LSD (commonly known as "acid"), and informed his lyrics to "Within You Without You". Having considered leaving the Beatles after the completion of their third US tour, on 29 August 1966, he instead gained a philosophical perspective on the effects of the band's international fame. He later attributed "Within You Without You" to his having "fallen under the spell of the country" after experiencing the "pure essence of India" through Shankar's guidance.


title: Within You Without You

text: The song follows the pitches of Khamaj thaat, the Indian equivalent of Mixolydian mode. Written and performed in the tonic key of C (but subsequently sped up to C on the official recording), it features what musicologist Dominic Pedler terms an "exotic" melody over a constant C-G "root-fifth" drone, which is neither major nor minor in mode. Based on a piece that Shankar had written for All India Radio, the structure of the composition adheres to the Hindustani musical tradition and demonstrates Harrison's advances in the Indian classical genre since "Love You To".


title: Within You Without You

text: Following a brief alap, which serves to introduce the song's main musical themes, "Within You Without You" comprises three distinct sections: two verses and a chorus; an extended instrumental passage; and a final verse and chorus. The alap consists of tambura drone, over which the main melody is outlined on dilruba, a bow-played string instrument that Boyd began learning in India. Throughout the vocal section of the song – the gat, in traditional Indian terms – the rhythm is a 16-beat tintal in madhya laya (medium tempo). The vocal line is supported throughout by dilruba, in the manner of a sarangi echoing the melody in a khyal piece. The first three words of each verse ("We were talking") have a tritone interval (E to B), which, in Pedler's view, enhances the spiritual dissonance that Harrison expresses in his lyrics.


title: Within You Without You

text: Over the instrumental passage, the tabla rhythm switches to a 10-beat jhaptal cycle. A musical dialogue ensues in time, first between the dilruba and sitar, then between a Western string section and sitar. The interplay between these instruments follows the call-and-response tradition of Indian classical music, known as jawab-sawal. The passage resolves in melodic unison as the instruments together state a rhythmic cadence, or tihai, to close the middle segment. After this, the drone is again prominent as the rhythm returns to 16-beat tintal for the final verse and chorus. On the finished recording, the tonal and spiritual tension is relieved by the inclusion of muted canned laughter.


title: Within You Without You

text: In his book "Indian Music and the West", Gerry Farrell writes of "Within You Without You": "The overall effect is of several disparate strands of Indian music being woven together to create a new form. It is a quintessential fusion of pop and Indian music." Peter Lavezzoli, author of "The Dawn of Indian Music in the West", describes the song as "a survey of Indian classical and semiclassical styles" in which "the diverse elements ... are skillfully woven together into an interesting hybrid. If anything, the closest comparison that might be made is to the Hindu devotional song form known as "bhajan"."


title: Within You Without You

text: According to Religion News Service writer Steve Rabey, "Within You Without You" "contrast[s] Western individualism with Eastern monism". The lyrics convey basic tenets of Vedanta philosophy, particularly in Harrison's reference to the concept of maya (the illusory nature of existence), in the lines "And the people who hide themselves behind a wall of illusion / Never glimpse the truth". Author Joshua Greene paraphrases the song-wide message as: "A wall of illusion separates us from each other ... which only turns our love for one another cold. Peace will come when we learn to see past the illusion of differences and come to know that we are one ..." The solution espoused by Harrison is for individuals to see beyond the self and each seek change within, further to Vivekananda's contention in "Raja Yoga" that "Each soul is potentially divine. The goal is to manifest that divinity ..." According to ethnomusicologist David Reck, aside from the reference to maya, the lyrics convey Indian philosophical concepts such as advait (the one essential reality), satya (perception of truth) and, in the line "With our love we could save the world", universal love.


title: Within You Without You

text: At times in the song, Harrison distances himself from those who live in ignorance of these apparent truths – saying, "If they only knew" and asking the listener, "Are you one of them?" In the final verse, he quotes from the gospels of St Matthew and St Mark, lamenting those who "gain the world and lose their soul". Author Ian MacDonald defends the "accusatory finger" behind such statements, saying that, within the ideology of the emerging 1960s counterculture, "this is a token of what was then felt to be a revolution in progress: an inner revolution against materialism".


title: Within You Without You

text: The transcendental theme of Harrison's lyrics aligned with the philosophy behind the 1967 Summer of Love – namely, the search for universality and an ego-less existence. Author Ian Inglis considers the line "With our love we could save the world" to be a "cogent reflection" of the Summer of Love ethos, anticipating the utopian message of Harrison's composition "It's All Too Much" and the John Lennon-written "All You Need Is Love". Inglis adds, with reference to the chorus: "The lyrics are given greater depth by the double meaning of "without" – 'in the absence of' and 'outside' – each of which is perfectly applicable to the song's sentiments."


title: Within You Without You

text: Harrison recorded "Within You Without You" for the Beatles' "Sgt. Pepper's Lonely Hearts Club Band", an album based around Paul McCartney's vision of a fictitious band that would serve as the Beatles' alter egos after their decision to quit touring. Harrison had little interest in McCartney's concept; he later admitted that, following his return from India, "my heart was still out there", and working with the Beatles again "felt like going backwards". He presented the song after it was decided to exclude his composition "Only a Northern Song", which the Beatles recorded in February 1967. In contrast to his prominence as a songwriter on "Revolver", "Within You Without You" was Harrison's sole composition on "Sgt. Pepper".


title: Within You Without You

text: The recording features musical contributions from only Harrison, Beatles aide Neil Aspinall, and a group of London-based Indian musicians. As with his Indian accompanists on "Love You To", Harrison sourced these contributors through the Asian Music Circle in north London. Harrison missed a Beatles recording session to attend one of Shankar's London concerts, an absence that served as part of his preparation for recording "Within You Without You".


title: Within You Without You

text: MacDonald describes the song as "Stylistically ... the most distant departure from the staple Beatles sound in their discography". The basic track was recorded on 15 March 1967 at EMI's Abbey Road studio 2 in London. The participants sat on a carpet in the studio, which was decorated with Indian tapestries on the walls, with the lights turned low and incense burning. Harrison and Aspinall each played a tambura, while the Indian musicians contributed on tabla, dilruba and tambura. Musicologist Michael Hannan comments that, relative to standard Indian practice, the use of three tamburas produces "a denser-than-usual, pulsating jivari" (or "buzzing sound"), highlighting the naturally rich harmonics of the instrument.


title: Within You Without You

text: The session was also attended by Lennon, artist Peter Blake, and John Barham, an English classical pianist and student of Shankar who shared Harrison's desire to promote Indian music to Western audiences. In Barham's recollection, Harrison "had the entire structure of the song mapped out in his head" and sang the melody that he wanted the dilruba player to follow. The twin hand-drums of the tabla were close-miked by recording engineer Geoff Emerick, in order to capture what he later described as "the texture and the lovely low resonances" of the instrument.


title: Within You Without You

text: The first of two overdubbing sessions for "Within You Without You" took place at Abbey Road on 22 March. Two more dilruba parts were added that day, after which a reduction mix was carried out, to allow for further overdubs onto the four-track recording. The completed track also includes an Indian zither or harp, known as a swarmandal. Played by Harrison, the swarmandal provides the glissando flourishes that introduce the tabla during the song's alap and signal the return to 16-beat tintal before the final verse.


title: Within You Without You

text: Producer George Martin then arranged the string orchestration, for eight violins and three cellos, based on Harrison's instructions. The pair worked hard together on the arrangement, ensuring that Martin's score imitated the slides and bends of the dilrubas. The orchestral parts, performed by members of the London Symphony Orchestra, were added on 3 April. During the same session, Harrison recorded his vocal and a sitar part, the solo of which, in the description of music critic David Fricke, "sings and swings with the clarity and phrasing of his best rockabilly-fired guitar work". Harrison also overdubbed occasional interjections on acoustic guitar.


title: Within You Without You

text: On 4 April, while preparing the final mixes of the song, in stereo and mono, Harrison added crowd laughter taken from a sound effects tape in the Abbey Road library. Martin and Emerick were both opposed to this addition but deferred to Harrison, who later said that the laughter provided "some light relief", adding: "You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show." The completed recording was enhanced in the mixes through the liberal application of automatic double tracking. Before Harrison recorded his vocals the previous day, the track had been edited and then sped up so that its length was reduced from 6:25 to 5:05. In the process, the song's key was raised a semitone, to C.<ref name="Fontenot/About"></ref>


title: Within You Without You

text: "Sgt. Pepper's Lonely Hearts Club Band" was released on 26 May 1967, with "Within You Without You" sequenced as the opening track on side two of the LP. Greene notes that for many listeners at the time, the song provided their "first meaningful contact with meditative sound". In his 1977 book "The Beatles Forever", Nicholas Schaffner likened "Within You Without You" to Hermann Hesse's "Siddhartha" – an influential novel among the counterculture during the Summer of Love – in terms of the song's evocation of Hesse's "idealization of individuality" and "vision of a mysterious East". Eager to separate the song's message from the LSD experience at a time when the drug had grown in popularity and influence, Harrison told an interviewer: "It's nothing to do with pills ... It's just in your own head, the realisation."


title: Within You Without You

text: Although Harrison later spoke dismissively of the "Sgt. Pepper" project and its legacy, he conceded that he had enjoyed working on the record's iconic cover.<ref name="Clerk/Uncut"> Available at Rock's Backpages (subscription required).</ref> For this, he asked Blake to include pictures of four Indian yogis – Yogananda, Mahavatar Babaji, Lahiri Mahasaya and Sri Yukteswar – among the crowd surrounding the Beatles; as a further Indian detail, a four-armed idol of the Hindu goddess Lakshmi was placed in the garlands of flowers at the bottom of the image. Among the song's lyrics, printed on the back cover, the positioning of the words "Without You" beside McCartney's head served as a clue in the Paul Is Dead rumour, which grew in the United States partly as a result of the Beatles' failure to perform live after 1966.


title: Within You Without You

text: In 1971 the song was issued as the title track of an EP release in Mexico. Part of a series of Beatles releases sequenced by Lennon, the EP also included the Harrison-written tracks "Love You To", "The Inner Light" and "I Want to Tell You". In 1978 "Within You Without You" appeared as the B-side to the "Sgt. Pepper's Lonely Hearts Club Band"/"With a Little Help from My Friends" medley, on singles released in West Germany and some other European countries. An instrumental version of the track, at the original speed and in the key of C, appeared on the Beatles' 1996 outtakes compilation "Anthology 2".


title: Within You Without You

text: Recalling the song's release in his book "The Beatles Diary", Barry Miles writes: "Some thought it a masterpiece, some a prime example of mock-philosophical babble. Either way, it was pure Harrison." David Griffiths of "Record Mirror" praised the album's musical and lyrical scope, which included "life-enhancing philosophy", and added: "George Harrison's 'Within You Without You' is a beautifully successful and adventurous statement in song of a Yoga truth." "The Times of India"s music critic similarly admired the Beatles for "explor[ing] farther reaches in the musical firmament" and described Harrison's composition as a "memorable" track. In one of the few unfavourable reviews for "Sgt. Pepper", Richard Goldstein, writing in "The New York Times", said the song was "remarkable" musically and a highlight of the album, yet he considered the lyrics "dismal" and full of "the very clichés the Beatles helped bury". Allen Evans of the "NME" found the "deep, rich rhythm" of the tabla "most appealing", although he bemoaned that it was difficult to decipher the lyrics "because they merge with the sitar music so closely".


title: Within You Without You

text: According to the Beatles' official biographer, Hunter Davies, writing in 1968, some contemporary reviewers speculated that the burst of laughter at the end of "Within You Without You" was inserted by Harrison's bandmates to mock the song. Davies corrected this misconception, saying: "It was completely George's idea." In a review published five months after the release of "Sgt. Pepper", "Hit Parader" considered that the album had not endured as well as the Beatles' previous works, and opined: "Harrison has produced a soothing, sinuous, exotic sound for 'Within You Without You'. But even though his repetitious recitation of elementary Far Eastern philosophy is probably intended to reflect the infinity of the universe, it soon becomes a bit monotonous. The laughter at the end seems to be deflating the pretentiousness of the lyrics."


title: Within You Without You

text: The song has continued to invite widely diverse opinions. Among the most unfavourable assessments, author and critic Tim Riley, writing in 1988, dismissed "Within You Without You" as "directionless", adding that it was difficult to conceive how "lines such as 'Life flows on within you and without you' were taken seriously". He also said that the song was "the most dated piece on the record ... [and] could easily have been left off with little to no effect" on the album. In a 2009 review, Alex Young of "Consequence of Sound" grouped it with the "major clunkers" on "Sgt. Pepper". Conversely, Ian Inglis considers the song to be "absolutely central to the form and content" of its parent album, and Ian MacDonald views it as the "conscience" of "Sgt. Pepper" and "the necessary sermon that comes with the community singing". Musicologist Russell Reising writes that Harrison's song provides the exception on "Sgt. Pepper", where the Beatles otherwise "retreated lyrically into predominantly banal, occasionally schmaltzy, and often trivial vignettes". Author and critic Kenneth Womack terms it "quite arguably, the album's ethical soul".


title: Within You Without You

text: Writing for Rough Guides, Chris Ingham admires the track as "beautifully put together"; he describes it as both "some of the most exotic music released under The Beatles' name" and a "philosophical meditation on life and love beyond self ... [that], once surrendered to, is a central part of the "Pepper" experience". In his book on the history of ambient music, Mark Prendergast includes "Within You Without You" among the album's "three outstanding cuts" and deems it to be "the most timeless piece of dronal psychedelia ever recorded". AllMusic critic Richie Unterberger admires the melody, but he considers the track overlong and notes the potential for offence in this, "the first Beatles song where [Harrison's] Indian religious beliefs affected the lyrics with full force".


title: Within You Without You

text: Musicologist Allan Moore says that Harrison's "command of the quasi-Indian medium is of a very high order" and, with regard to the song's message, he writes: "In its explicit, prescient call to the me-generation, perhaps 'Within You Without You' is a key track [on the album] ... expressing the deepest commitment to the counter-culture." "PopMatters" Ross Langager has attributed a similar significance to the track:


title: Within You Without You

text: "Sgt. Pepper" is about Britain, and the Summer of Love was always about America. The only song on the album that approaches the ideology and rhetoric of the hippie counterculture was George Harrison's sole contribution, the lush sitar-washed "Within You Without You", and it follows that Harrison was the only Beatle to have visited Haight-Ashbury at the peak of the scene. Even then, Eastern philosophy informed the lyric more deeply than did acid culture, and it's still a dense and stunning composition no matter its ideology.


title: Within You Without You

text: Writing for "Rolling Stone" in 2002, David Fricke included "Within You Without You" on his list of the "25 Essential Harrison Performances". He described it as, variously, the Beatles' "purest excursion ... into raga", and "at once beautiful and severe, a magnetic sermon about materialism and communal responsibility in the middle of a record devoted to gentle Technicolor anarchy". In his review of the 50th anniversary edition of "Sgt. Pepper" for the same publication, Mikal Gilmore said that only "Within You Without You" and Lennon's "A Day in the Life" transcend the album's legacy as "a gestalt: a whole that was greater than the sum of its parts". In 2017, "Within You Without You" was ranked at number 50 on a list of the best Beatles songs, as compiled by the music staff of "Time Out London".


title: Within You Without You

text: Harrison's interest in Indian culture was swiftly adopted by his peers as well as their audience. Author Simon Leng writes that "'Within You Without You', and Harrison's leadership of the Beatles into Vedic philosophy, sparked the entire fashion for Indian music and a million backpackers' pilgrimages to Kashmir ..." Juan Mascaró, a professor in Sanskrit studies at Cambridge University, wrote to Harrison after the song's release, saying: "it is a moving song, and may it move the souls of millions. And there is more to come, as you are only beginning on the great journey."


title: Within You Without You

text: According to "New Yorker" journalist Mark Hertsgaard, the lyrics to "Within You Without You" "contained the album's most overt expression of the Beatles' shared belief in spiritual awareness and social change". Harrison's espousal of Eastern philosophy dominated the group's extracurricular activities by mid 1967, and his influence within the band continued to increase. This led to the Beatles' endorsement of Transcendental Meditation and their highly publicised attendance at Maharishi Mahesh Yogi's spiritual retreat in Rishikesh, India, early the following year.<ref name="Rabey/HuffPost"></ref>


title: Within You Without You

text: Among other contemporary rock musicians, Stephen Stills was so taken with the song that he had its lyrics carved on a stone monument in his yard. Lennon also admired the track, saying of Harrison: "His mind and his music are clear. There is his innate talent, he brought that sound together." David Crosby, who introduced Harrison to Shankar's music in 1965, described Harrison's fusion of ideas as "utterly brilliant", adding: "He did it beautifully and tastefully ... He did it at absolutely the highest level that he could, and I was extremely proud of him for that." Writing in the "100 Rock Icons" issue of "Classic Rock", in 2006, singer Paul Rodgers cited the track to support Harrison's standing as what the magazine called "the Beatles' musical medicine man". Rodgers said: "He introduced me and a generation of people worldwide to the wisdom of the East. His thought-provoking 'Within You Without You' – with sitars, tablas and deep lyrics – was something completely different, even in a world full of unique music."


title: Within You Without You

text: Music critic Ken Hunt describes the song as an "early landmark" in Harrison's championing of Shankar, and Indian classical music generally, which gained "real global attention" for the first time through the Beatle's commitment. Peter Lavezzoli also highlights the effect of "Sgt. Pepper" and its "spiritual centerpiece ['Within You Without You']" on Shankar's popularity, during a year that served as "the "annus mirabilis"" for Indian music and "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". In his Harrison obituary for "Salon", in December 2001, Ira Robbins considered "Within You Without You" to be "the song that most clearly articulated his devotion, both artistic and philosophical, to India", with a lyric that "pairs worldview and personality in lines that now seem prophetic".


title: Within You Without You

text: Writing in 2013, ethnomusicologist Jeffrey Cupchik said that Harrison's Indian-influenced songs, particularly "Within You Without You", "marked the inception of a new 'hybridic' East–West style of music composition – a style that is immensely widespread today". Musicologist Walter Everett lists Spirit's "Mechanical World" and the Incredible String Band's "Maya", both released in 1968, and much of the Moody Blues' 1969 album "To Our Children's Children's Children" as works that were directly influenced by the song. Dead Can Dance's 1996 album "Spiritchaser" includes the track "Indus", the melody of which was found to be very similar to that of "Within You Without You". The duo's singer, Lisa Gerrard, told "The Boston Globe" that they had obtained Harrison's blessing but "the [record company] pushed it", with the result that they were forced to give the former Beatle a partial songwriting credit.<ref name="Morse/Globe"></ref> In their 1978 television film satirising the Beatles' history, "All You Need Is Cash", the Rutles parodied "Within You Without You" on the track "Nevertheless", performed by Rikki Fataar in the role of Stig O' Hara. Harrison himself included musical quotations from "Within You Without You" in his 1987 song "When We Was Fab" and in the instrumental "Marwa Blues", released in 2002 on his final studio album, "Brainwashed".


title: Within You Without You

text: Coinciding with the 50th anniversary of "Sgt. Pepper's Lonely Hearts Club Band", the Royal Liverpool Philharmonic Orchestra (RLPO) staged an event titled "George Harrison 'Within You Without You': The Story of The Beatles and Indian Music" at the Liverpool Philharmonic Hall. While carrying out research for this project, academics from the University of Liverpool and the University of Sheffield discovered the identity of the Indian musicians on the 1967 recording. The two surviving players, Buddhadev Kansara and Natwar Soni, were among the performers at the RLPO event.


title: Within You Without You

text: "Within You Without You" was included on the 2006 remix album "Love", which was created for the Cirque du Soleil stage show of the same name. Harrison's vocal appears over the rhythm section from "Tomorrow Never Knows",<ref name="Willman/EW"></ref> after the track opens with Lennon's lyric from the latter song. Reviewing the album for "PopMatters", Zeth Lundy writes: "The 'Within You Without You'/'Tomorrow Never Knows' mash-up, perhaps the most thrilling and effective track on the entire disc, fuses two especially transcendental songs into one: ... a union of two ambiguous, open-ended declarations of spiritual pursuit." Paul Moody of "Uncut" similarly considers it to be the "best of all" the mashups on "Love", with the two tracks' "cosmic drones ... fitted together like a glove".<ref name="Moody/Uncut"></ref> In their chapter on the Beatles' psychedelic period in "The Cambridge Companion to the Beatles", authors Russell Reising and Jim LeBlanc describe "Within You Without You/Tomorrow Never Knows" as "the most musically and visually stunning segment" of the Cirque du Soleil show.


title: Within You Without You

text: Remixed and remastered by George Martin and his son Giles, "Within You Without You"/"Tomorrow Never Knows" was the first track prepared for "Love". Speaking to "Mojo" magazine in December 2006, Giles Martin said that he had first created a demo combining the two songs, which he then nervously presented to McCartney and Ringo Starr for their approval. In Martin's recollection, "they loved it", which allowed the project to proceed. A video clip of the completed track was made to promote the album and was included on the 2015 DVD "1+". The "Love" remix is one of the songs in "".


title: Within You Without You

text: Big Jim Sullivan, a British session guitarist who became proficient on the sitar, included "Within You Without You" on his album of Indian music-style recordings, titled "Sitar Beat" and first released in 1967. In the same year, the Soulful Strings recorded the song for their album "Groovin' with the Soulful Strings", a version that also appeared on the B-side of their most successful single, "Burning Spear".


title: Within You Without You

text: In 1988, Sonic Youth recorded "Within You Without You" for the "NME"s multi-artist tribute "Sgt. Pepper Knew My Father".<ref name="Mills/AM"></ref> Fricke highlights this recording as an example of how, regardless of its Indian origins, the composition can be interpreted on electric guitar effectively and "with transportive force". In 2007, the staff of the pop culture website "Vulture" placed Sonic Youth's version at number 2 in their list titled "Our Ten Favorite Beatles Covers of All Time".


title: Within You Without You

text: Big Daddy covered the song on their 1992 "Sgt. Pepper" tribute album, a release that Moore recognises as "the most audacious" of the many interpretations of the Beatles' 1967 LP. Moore says that "Within You Without You" serves as the album's "cleverest pastiche", performed in a free jazz style reminiscent of Ornette Coleman or Don Cherry. Other acts who have covered the song for "Sgt. Pepper" tributes include Oasis, on a BBC Radio 2 project celebrating the album's 40th anniversary (2007); Easy Star All-Stars (featuring Matisyahu), on "Easy Star's Lonely Hearts Dub Band" (2009); Cheap Trick, on their "Sgt. Pepper Live" DVD (2009); and the Flaming Lips, with featured guests Birdflower and Morgan Delt, on "With a Little Help from My Fwends" (2014). A recording by Big Head Todd and the Monsters appeared on the 2003 Harrison tribute "".


title: Within You Without You

text: Guitarist Rainer Ptacek opened his 1994 album "Nocturnes" with what AllMusic critic Bob Gottlieb describes as a "stunning instrumental" reading of the song, recorded live in a chapel in Tucson, Arizona. Writing for the same website, Brian Downing considers a 1997 version by Ptacek, released on his posthumous album "Live at the Performance Center", to be "perhaps one of the best unheralded Beatles covers of all time". Patti Smith included it on her 2007 covers album "Twelve", a version that, according to BBC music critic Chris Jones, "sounds like [the song] could have been written for her". Other artists who have recorded "Within You Without You" include Peter Knight and his Orchestra, Firefall, Glenn Mercer of the Feelies, Angels of Venice and Thievery Corporation.


title: Within You Without You

text: According to Ian MacDonald and details released by the University of Liverpool in June 2017 (except where noted):


title: Ancient South Arabian script

text: The Ancient South Arabian script (Old South Arabian 𐩣𐩯𐩬𐩵 "msnd"; modern "musnad") branched from the Proto-Sinaitic script in about the late 2nd millennium BCE. It was used for writing the Old South Arabian languages Sabaic, Qatabanic, Hadramautic, Minaean, and Hasaitic, and the Ethiopic language Ge'ez in Dʿmt. The earliest instances of the Ancient South Arabian script are painted pottery sherds from Raybun in Hadhramaut in Yemen, which are dated to the late 2nd millennium BCE. There are no letters for vowels, which are marked by matres lectionis.


title: Ancient South Arabian script

text: Its mature form was reached around 800 BCE, and its use continued until the 6th century CE, including Ancient North Arabian inscriptions in variants of the alphabet, when it was displaced by the Arabic alphabet. In Ethiopia and Eritrea, it evolved later into the Ge'ez script, which, with added symbols throughout the centuries, has been used to write Amharic, Tigrinya and Tigre, as well as other languages (including various Semitic, Cushitic, and Nilo-Saharan languages).


title: Ancient South Arabian script

text: The sign for 50 was evidently created by removing the lower triangle from the sign for 100. The sign for 1 doubles as a word separator. The other four signs double as both letters and numbers. Each of these four signs is the first letter of the name of the corresponding numeral.


title: Ancient South Arabian script

text: An additional sign () is used to bracket numbers, setting them apart from surrounding text. For example,


title: Ancient South Arabian script

text: These signs are used in an additive system similar to Roman numerals to represent any number (excluding zero). Two examples:


title: Ancient South Arabian script

text: Perhaps because of ambiguity, numerals, at least in monumental inscriptions, are always clarified with the numbers written out in words.


title: Ancient South Arabian script

text: "Zabūr", also known as "South Arabian minuscules", is the name of the cursive form of the South Arabian script that was used by the Sabaeans in addition to their monumental script, or Musnad.


title: Ancient South Arabian script

text: Zabur was a writing system in ancient Yemen along with Musnad. The difference between the two is that Musnad documented historical events, meanwhile Zabur writings were used for religious scripts or to record daily transactions among ancient Yemenis. Zabur writings could be found in palimpsest form written on papyri or palm-leaf stalks.


title: Ancient South Arabian script

text: The South Arabian alphabet was added to the Unicode Standard in October, 2009 with the release of version 5.2.


title: Ancient South Arabian script

text: Note that U+10A7D OLD SOUTH ARABIAN NUMBER ONE (𐩽) represents both the numeral one and a word divider.


title: Casino Royale (2006 soundtrack)

text: Casino Royale: Original Motion Picture Soundtrack. The soundtrack to the 2006 film Casino Royale was released by Sony Classical on November 14, 2006. The music was composed by David Arnold and is Arnold's fourth soundtrack for the popular James Bond movie series. Frequent collaborator Nicholas Dodd orchestrated and conducted the score.


title: Casino Royale (2006 soundtrack)

text: Producers Michael G. Wilson and Barbara Broccoli announced on July 26, 2006 that Chris Cornell, the former Audioslave and Soundgarden lead singer, composed and would sing "You Know My Name", the "Casino Royale" title song. Casino Royale 2006 relaunched the James Bond series and it was challenge for producers, as the Bond character appeared in a new way, different from the rest of the Casino Royale films and the sound have to express it. Cornell collaborated with David Arnold who composed the film's score. Cornell was first reported to be writing and performing the song on July 20, 2006 by the Finnish newspaper "IltaАЬА-Sanomat". "You Know My Name" is the first theme song since 1983's "Octopussy" to use a different title than the film, and Cornell is the first male performer since a-ha (in 1987's "The Living Daylights"). It is only the fourth Bond theme (after the opening medley of "Dr. No", the instrumental theme from "On Her Majesty's Secret Service" and "All Time High" from "Octopussy") to make no reference to the title of the film. The soundtrack was completed early in the morning on October 11, 2006. The soundtrack was released on November 14, 2006.


title: Casino Royale (2006 soundtrack)

text: Various names were reported in the media prior to the announcement, some reports going so far as to have the performers apparently claim they were working on the theme. This list includes Tina Turner who previously sang "GoldenEye" for the 1995 Bond film of the same name, and Tony Christie.


title: Casino Royale (2006 soundtrack)

text: The "Casino Royale" title song "You Know My Name" by Chris Cornell is not featured on the soundtrack album, but released separately as a single. However, motifs from the song serve as Bond's theme throughout the film, e.g. the tracks "I'm the Money" and "Aston Montenegro", feature two different instrumental renditions of its chorus. The "You Know My Name" CD single was released on December 11, 2006.


title: Casino Royale (2006 soundtrack)

text: Some cues for the movie that did not make the final selection of tracks for the soundtrack album are available as bonus track downloads in iTunes from the iTunes Store.


title: Casino Royale (2006 soundtrack)

text: The traditional James Bond Theme builds throughout the film before appearing in its full form over the end credits as track 25, "The Name's Bond . . . James Bond", on the "official album".


title: The Power of Love (Frankie Goes to Hollywood song)

text: "The Power of Love" is a song originally recorded and released by British band Frankie Goes to Hollywood. It was written by Holly Johnson, Peter Gill, Mark O'Toole and Brian Nash, four of the five members of the band. It was released by the group as their third single.


text: Initially issued as a single in November 1984, and taken from the album "Welcome to the Pleasuredome", "The Power of Love" followed its two predecessors, "Relax" and "Two Tribes", to the top of the UK singles chart. It scored the band an early December number-one. "The Power of Love" was also a top 10 hit in several European countries, in Australia and New Zealand, and in Canada. "The Power of Love" is often regarded as a Christmas song, despite having no reference to Christmas within the song lyrics. However, the accompanying video features the Nativity of Jesus, and the single cover was The Assumption of the Virgin. The single spent just one week at Number One in the UK, outsold by the charity single "Do They Know It's Christmas?" by Band Aid, which until 1997 was the best selling single ever in the UK.


text: Since then, reissues and/or remixes of the Frankie Goes to Hollywood recording of this song have been top 10 UK hits on two other occasions, hitting number 10 in 1993 and number 6 in 2000. "The Power of Love" has also charted in the UK in a version by Holly Johnson (a solo recording from 1999). The original version by Frankie Goes to Hollywood was featured in the 2012 film "Sightseers", the same year that the song was reissued as a digital download and peaked at number 42, in response to a cover version by Gabrielle Aplin. Her recording of the song also went to number 1 in the UK, exactly 28 years after the original Frankie Goes to Hollywood single topped the chart.


text: Holly Johnson, who co-wrote the song, later reminisced: "I always felt like 'The Power of Love' was the record that would save me in this life. There is a biblical aspect to its spirituality and passion; the fact that love is the only thing that matters in the end."


text: The track was first featured during the John Peel Sessions the band performed on during 1983, which was slower and emphasised the track's original camp ironic content (such as the Hooded Claw from the cartoon series "The Perils of Penelope Pitstop"). After recording at the original speed, ZTT/Trevor Horn sped it up, this also caused a change in pitch.


text: "The Power of Love" became Frankie Goes to Hollywood's third consecutive (and last) number 1 UK single in December 1984. To commemorate the Christmas release, Godley & Creme directed a Nativity-themed video for the single, and the artwork for the single also used traditional Christian iconography. The original showing of the video on "The Tube" featured the Nativity occupying the whole screen, however the borders of band members were added for later showings due to pressure from UK broadcasters.


text: The 12" mix of the song featured actor Chris Barrie aping DJ Mike Read's banning of the single "Relax", as well as his impression of Ronald Reagan, instructing the listener in prayer. The single also featured a Christmas message from the band, entitled "Holier Than Thou".


text: On the cover is a reproduction of the "Assumption of the Virgin" by Titian, a 16th-century painting in the Basilica di Santa Maria Gloriosa dei Frari of Venice.


text: The single has been reissued in various formats over the years. The 1993 reissue charted at number 10 in the UK; the 2000 remix version reached number 6.


text: This complete cassette was re-released in 2012 on CD Sexmix Disk 1 Tracks 7-12. The end of "Instrumental" is identical to the opening of the regular extended version, but with "Relax" in the background.


text: This was the first of three singles in the British top 10 with the title "The Power of Love" in 1985. The other two were "The Power of Love" by Huey Lewis and the News, which peaked at No. 9 at the start of autumn, and "The Power of Love" by Jennifer Rush, which reached No. 1 by the middle of autumn.


text: Holly Johnson, former singer of Frankie Goes to Hollywood, recorded his own version of "The Power of Love" for his 1999 album "Soulstream". It was released as the third single from the album, reaching number 56 in the UK. The single stayed in the charts for two weeks. A music video was created to promote the single.


text: The single was released by two separate CD versions, each featuring different tracks, with the second CD featuring "All U Need Is Love (Demo Version)", a demo version of the "Soulstream" album track.


text: Jon O'Brien of Allmusic reviewed the "Soulstream" album, and spoke of the song, stating ""The William Orbit-esque production of the empowering opener "Lady Luck," and the subtle trip-hop-tinged title track show that Johnson still occasionally had his finger on the pulse. But unnecessary reworkings of 1984 chart-topper "The Power of Love" and the 1994 flop, gay anthem "Legendary Children (All of Them Queer)," only highlight the creative rut he appeared to be stuck in.""


text: In 2012, British singer-songwriter Gabrielle Aplin released a cover version of the song produced by Mike Spencer and David Kosten. It was released on 9 November 2012 as a digital download as the lead single from her debut studio album "English Rain" (2013). The song was selected as the soundtrack to the John Lewis 2012 Christmas advertisement. The song was also used during an episode of "Hollyoaks" on 16 November 2012 after the sudden death of one of the show's main characters, and Mary and Francis’s wedding in the TV show, "Reign". The song subsequently became popular in Australia in early 2014.


text: A music video to accompany the release of "The Power of Love" was first released onto YouTube on 9 November 2012. It shows Aplin in a room in a large house, playing a piano. Then, near the end of the video, fairy lights in the room light up. The video was directed by Alexander Brown.


text: On 11 November 2012 "The Power of Love" entered the UK Singles Chart at number 36, a week later it climbed to number 5. On 9 December 2012 the single reached number 1. Aplin's version was certified gold in the United Kingdom on 11 January 2013.


text: In 2018, the Jamaican-British singer Dalton Harris, a contestant and eventual winner of the 15th series of the UK TV talent competition programme "The X Factor", released the song as his winning song from the series. The song was in association with and featuring additional vocals by the same series' 9th season winner James Arthur, making it the second time the winning song UK "X Factor" is promoted as a duet or group performance rather than a solo performance by the winner, after the winners of 2017 when Rak-Su duetted with Wyclef Jean and Naughty Boy for their single entitled "Dimelo".


text: As in many earlier "X Factor"-winning releases, VAT collected on sales of the "X Factor" winner's charity song will be donated to children's charities, Together for Short Lives and Shooting Star Chase, declared the UK Chancellor of the Exchequer, Philip Hammond. The UK Department of Health and Social Care will make the donation of the VAT on the UK government's behalf. This is reportedly "The X Factor UK"'s 11th charity release.


text: The song has been recorded by many other acts. Several Dutch heavy metal artists, including the lead singers of Nightwish, Epica and Within Temptation recorded a cover in support of the Red Cross aiding victims of sexual violence in war-zones.


title: Baiju Noyan

text: Baiju Noyan or Baichu (, , ; in European sources: Bayothnoy; ) was a Mongol commander in Persia, Armenia, Anatolia and Georgia. He was appointed by Ögedei Khan to succeed Chormagan. He was the last direct imperial governor of the Mongol Near East; after his death Hulagu's descendants inherited domains he once commanded.


title: Baiju Noyan

text: Baiju belonged to Besut tribe of Mongols and was a relative of Jebe. His father was a mingghan commander under Genghis Khan and he inherited this contingent upon his death.


title: Baiju Noyan

text: Baiju was a second-in-command of Chormaqan and took part in an attack on Jalal ad-Din near Isfahan in 1228. After Chormaqan's paralysis in 1241, Baiju took over his troops and became a tümen commander by appointment of Ögedei Khan. After Ögedei's death, Baiju started to take orders from Batu, former's nephew. Baiju immediately moved against the Seljuk Sultanate of Rûm, weakening its power at the Battle of Köse Dağ on 26 June 1243. After this battle, the Sultanate became a vassal state of the Mongol Empire and was forced to release David VII Ulu. Baiju demanded the submission of Principality of Antioch too in 1244. He made a raid on Abbasid Caliphate in 1245. He also led Mongol tumens to raid Syria in 1246.


title: Baiju Noyan

text: He received ambassadors from Pope Innocent IV in 1247. Embassy was headed by Ascelin of Lombardy and found him at Sisian, on 24 May 1247. Embassy's disrespect and Ascelin's refusal to triple genuflection angered Baiju, he insulted the pope and demanded his submission as well. Ascelin left for Rome on 24 July 1247. Meanwhile he was replaced by new khagan Güyük with Eljigidei. His next two attempts to invade the Abbasid Caliphate in Iraq met less success in 1249–50. He again rose to prominence as Eljigidei and his entire family were purged by Batu for his opposition to election of Möngke Khan in 1251.


title: Baiju Noyan

text: Under Baiju in the 1240s and 1250s, the Mongols retained their power in what is roughly modern-day Iran, and tolerated the independence of the Sultanate, Georgia, and petty states in Iran as clients, interfering with dynastic succession and extracting tribute militarily as necessary. However, the Abbasids in Baghdad and the Assassins in the Elbruz mountains maintained their independence until the coming of Hülegü, Möngke's brother, in 1255. Baiju was supposedly reproached by Hulegu for failing to extend Mongol power further, and, indeed, was replaced by him as supreme commander as early as 1255, but served under him ably in further campaigns: against the Sultanate of Rum (to extract tribute and replace the sultan Kaykavus II) in 1256, in the assault on Baghdad in 1258, and in the advance on Syria towards Egypt in September 1259.


title: Baiju Noyan

text: It is unclear what happened to Baiju after that: when the Mongol force was heavily depleted by the departure of Hülegü in 1260, the force that remained was commanded by Kitbuqa. According to various sources Baiju was executed by Hülegü after the capture of Baghdad due to his hesitation to join Hulagu during the campaign and his secret correspondence with Caliph Al-Musta'sim.


title: Leningrad Codex

text: The Leningrad Codex ( [Leningrad Book]; ) is the oldest complete manuscript of the Hebrew Bible in Hebrew, using the Masoretic Text and Tiberian vocalization. According to its colophon, it was made in Cairo in 1008 CE (or possibly 1009).


title: Leningrad Codex

text: Some have proposed that the Leningrad Codex was corrected against the Aleppo Codex, a slightly earlier manuscript that was partially lost in the 20th century. However, Paul E. Kahle argues that the Leningrad manuscript was more likely based on other, lost manuscripts by the ben Asher family. The Aleppo Codex is several decades older, but parts of it have been missing since the 1947 anti-Jewish riots in Aleppo, making the Leningrad Codex the oldest complete codex of the Tiberian mesorah that has survived intact to this day.


title: Leningrad Codex

text: In modern times, the Leningrad Codex is significant as the Hebrew text reproduced in (1937), (1977), and (2004–present). It also serves as a primary source for the recovery of details in the missing parts of the Aleppo Codex.


title: Leningrad Codex

text: The Leningrad Codex (a codex is a handwritten book bound at one side, as opposed to a scroll) is so named because it has been housed at the National Library of Russia in Saint Petersburg since 1863 (before 1917 named Imperial Public Library). In 1924, after the Russian Revolution, Petrograd (formerly SaintPetersburg) was renamed Leningrad, and, because the codex was used as the basic text for the since 1937, it became internationally known as the "Leningrad Codex". Although the city's name was restored to the original StPetersburg after the dissolution of the Soviet Union in 1991, the National Library of Russia requested that "Leningrad" be retained in the name of the codex. Nonetheless, the Codex is occasionally referred to as the Codex Petersburgensis or Codex Petropolitanus, or the St. Petersburg Codex. This is ambiguous as, since 1876, these appellations refer to a different biblical codex (MS. Heb B 3) which is even older (916 CE), but contains only the later Prophets.


title: Leningrad Codex

text: The biblical text as found in the codex contains the Hebrew letter-text along with Tiberian vowels and cantillation signs. In addition, there are masoretic notes in the margins. There are also various technical supplements dealing with textual and linguistic details, many of which are painted in geometrical forms. The codex is written on parchment and bound in leather.


title: Leningrad Codex

text: The Leningrad Codex, in extraordinarily pristine condition after a millennium, also provides an example of medieval Jewish art. Sixteen of the pages contain decorative geometric patterns that illuminate passages from the text. The carpet page shows a star with the names of the scribes on the edges and a blessing written in the middle.


title: Leningrad Codex

text: The order of the books in the Leningrad Codex follows the Tiberian textual tradition, which is also that of the later tradition of Sephardic biblical manuscripts. This order for the books differs markedly from that of most printed Hebrew bibles for the books of the Ketuvim. In the Leningrad Codex, the order of the Ketuvim is: Chronicles, Psalms, Job, Proverbs, Ruth, Song of Songs, Ecclesiastes, Lamentations, Esther, Daniel, Ezra-Nehemiah. The full order of the books is given below.


title: Leningrad Codex

text: According to its colophon, the codex was copied in Cairo from manuscripts written by Aaron ben Moses ben Asher. It has been claimed to be a product of the Asher scriptorium itself; however, there is no evidence that Asher ever saw it. Unusual for a masoretic codex, the same man (Samuel ben Jacob) wrote the consonants, the vowels and the Masoretic notes. In its vocalization system (vowel points and cantillation) it is considered by scholars to be the most faithful representative of ben Asher's tradition apart from the Aleppo Codex (edited by ben Asher himself). Its letter-text is not superb, however, and contradicts its own masoretic apparatus in many hundreds of places. There are numerous alterations and erasures, and it was suggested by Moshe Goshen-Gottstein that an existing text not following Asher's rules was heavily amended so as to make it conform to these rules.


title: Leningrad Codex

text: The codex is now preserved in the National Library of Russia, accessioned as "Firkovich B 19 A". Its former owner, the Crimean Karaite collector Abraham Firkovich, left no indication in his writings where he had acquired the codex, which was taken to Odessa in 1838 and later transferred to the Imperial Library in StPetersburg.


title: Leningrad Codex

text: In 1935, the Leningrad Codex was lent to the Old Testament Seminar of the University of Leipzig for two years while Paul E. Kahle supervised its transcription for the Hebrew text of the third edition of "Biblia Hebraica" (BHK), published in Stuttgart, 1937. The codex was also used for "Biblia Hebraica Stuttgartensia" (BHS) in 1977, and is being used for "Biblia Hebraica Quinta" (BHQ).


title: Leningrad Codex

text: As an original work by Tiberian masoretes, the Leningrad Codex was older by several centuries than the other Hebrew manuscripts which had been used for all previous editions of printed Hebrew bibles until Biblia Hebraica.


title: Leningrad Codex

text: The Westminster Leningrad Codex is an online digital version of the Leningrad Codex maintained by the J. Alan Groves Center for Advanced Biblical Research at the Westminster Theological Seminary. This is a verified version of the Michigan-Claremont text, transcribed from BHS at the University of Michigan in 1981-1982 under the direction of H. Van Dyke Parunak (of the University of Michigan) and Richard E. Whitaker (of the Institute for Antiquity and Christianity, Claremont Graduate University) with funding from the Packard Foundation and the University of Michigan, with further proofreading and corrections. The online version includes transcription notes and tools for analyzing syntax.


title: Leningrad Codex

text: The Leningrad Codex also served as the basis for two modern Jewish editions of the Hebrew Bible (Tanakh):


title: Leningrad Codex

text: For minute masoretic details, however, Israeli and Jewish scholars have shown a marked preference for modern Hebrew editions based upon the Aleppo Codex. These editions use the Leningrad Codex as the most important source (but not the only one) for the reconstruction of parts of the Aleppo Codex that have been missing since 1947.


title: Leningrad Codex

text: As explained in the Contents section above, the order of the books in the Leningrad Codex follows the Tiberian textual tradition and is different from most modern Hebrew bibles:


title: The Owl and the Pussy-Cat

text: "The Owl and the Pussy-cat" is a nonsense poem by Edward Lear, first published in 1870 in the American magazine "" and again the following year in Lear's own book "Nonsense Songs, Stories, Botany, and Alphabets". Lear wrote the poem for a three-year-old girl, Janet Symonds, the daughter of Lear's friend and fellow poet John Addington Symonds and his wife Catherine Symonds. The term "runcible", used for the phrase "runcible spoon", was invented for the poem.


title: The Owl and the Pussy-Cat

text: "The Owl and the Pussy-cat" features four anthropomorphic animals – an owl, a cat, a pig, and a turkey – and tells the story of the love between the title characters who marry in the land "where the Bong-tree grows".


title: The Owl and the Pussy-Cat

text: Portions of an unfinished sequel, "The Children of the Owl and the Pussy-cat" were published first posthumously, during 1938. The children are part fowl and part cat, and love to eat mice.


title: The Owl and the Pussy-Cat

text: The family live by places with strange names. The Cat dies, falling from a tall tree, leaving the Owl a single parent. The death causes the Owl great sadness. The money is all spent, but the Owl still sings to the original guitar.


title: Liquor Control Board of Ontario

text: The Liquor Control Board of Ontario (LCBO) is a Crown corporation that retails and distributes alcoholic beverages throughout the Canadian province of Ontario. It is accountable to the Legislative Assembly through the minister of finance. It was established in 1927 by the government of Premier George Howard Ferguson to sell liquor, wine, and beer. Such sales were banned outright in 1916 as part of prohibition in Canada. The creation of the LCBO marked an easing of the province's temperance regime. By September 2017, the LCBO was operating 651 liquor stores.


title: Liquor Control Board of Ontario

text: The LCBO maintained a quasi-monopoly on the trade in alcoholic beverage sales in Ontario for nearly a century after its creation: for most of this time, LCBO stores were the only retail outlets licensed to sell alcohol in Ontario, with the notable exceptions of beer (The Beer Store had a quasi-monopoly on retailing beer during most of this period) and a number of wine shops, which had once been relatively diverse but had largely consolidated into two major chains by the 2010s: the Wine Shop and Wine Rack. Many of these independent outlets were located on-site at wineries, breweries or distilleries themselves, with Wine Shop and Wine Rack locations often located within grocery stores. Because Ontario is Canada's most populous province, with over 14 million people, or almost 40% of the nation's population, LCBO's quasi-monopoly status made it one of the world's largest purchasers of alcoholic beverages.


title: Liquor Control Board of Ontario

text: In December 2015, the LCBO authorized some supermarkets to sell cider, wine, and beer within their grocery aisles, substantially weakening their and The Beer Store's long near-monopoly statuses. As of December 9, 2016, nearly 130 grocery stores had been licensed to do so, with the expectation of a full 450 to be licensed by 2020.


title: Liquor Control Board of Ontario

text: The LCBO remains the chief supplier of alcoholic beverages to bars and restaurants in Ontario, which are generally required by law to purchase their alcoholic products through the LCBO, The Beer Store, or directly from Ontario wineries and breweries. Beverages sold at bars and restaurants must be consumed on the establishments' premises. The LCBO was the parent company of the Ontario Cannabis Retail Corporation, the only entity licensed to sell cannabis for recreational use in Ontario. This is no longer true following the passage of the "Cannabis Statute Law Amendment Act, 2018".


title: Liquor Control Board of Ontario

text: The LCBO was created in 1927 with the end of prohibition, which had been introduced in the province in 1916. The "Liquor Control Act, 1927" authorized the LCBO to "control the sale, transportation and delivery" of alcoholic beverages in Ontario. Brewers Retail was created to sell beer in a controlled manner while wines and spirits (as well as beer) were sold in LCBO outlets. Wineries and breweries were also allowed to sell from their own stores, which were limited in number.


title: Liquor Control Board of Ontario

text: In the 1924 Ontario prohibition plebiscite, voters chose, narrowly, by a margin of 51.5% to 48.5%, to retain the "Ontario Temperance Act" as opposed to the government-controlled sales of beverage alcohol. The Conservative government of George Howard Ferguson contested the 1926 provincial election on a platform of easing the temperance law. Upon reelection, it introduced the "Liquor Control Act" as a compromise between the complete prohibition demanded by the temperance movement and the unregulated sale of alcohol. Premier Ferguson stated that the "Liquor Control Act" was "... to allow people to exercise a God-given freedom under reasonable restrictions". Ferguson was further quoted as saying the purpose of the LCBO was to "promote temperance sobriety, personal liberty and, above all, to restore respect for the law". To achieve these goals LCBO was mandated by Ferguson's government to employ an oversight mechanism in order to know "exactly who is buying and how much, and what disposition is being made of it".


title: Liquor Control Board of Ontario

text: The first chief commissioner of the LCBO was David Blyth Hanna and the first 18 stores were opened on 1 June 1927, all designed with a clear glass store front to "make the process appear apparent and with a complete absence of mystery", according to an LCBO document. Previously, only wine sales were legal but bootlegged liquor and beer were illegally sold. The business model was a process of "disinterested management"; the product was available but purchases were discouraged and moderation remained key. By the end of 1927, the province had 86 stores and three mail-order facilities.


title: Liquor Control Board of Ontario

text: From 1927–1962 the LCBO required people who wanted to purchase liquor to first obtain a permit (Individual Liquor Permit). The permit was valid for a year. They had to present these permits at the point of purchase, and the clerk at the liquor store would enter information about what, precisely, the individual had purchased.


title: Liquor Control Board of Ontario

text: Residents applied for and received individually-numbered (5 digits) liquor permits. A temporary (or duplicate) permit was a single sheet form with 6 digit number with effective and expiry dates. This was issued until the yearly permit form was received. It was also provided to non-resident visitors.


title: Liquor Control Board of Ontario

text: Between 1927 and 1957 these permits came in the form of passport sized books that consisted of two separate sections, the first which included the permit holder's personal information (place of residence, marital status, occupation/employer, notes change of address) and a second section which kept a record of the individual's purchase history (date, quantity, value, store number and initials). In 1957 Permit books were replaced with permit cards. These cards held the permit holder's name and their permit number and also were needed in order to purchase liquor at the LCBO. When an individual wanted to make a purchase at an LCBO store he or she had to fill in a purchase order form that included their name, address and permit number as well as the kind and volume of liquor that they wished to purchase. The purchase order form would be handed to an LCBO employee along with the individual's liquor permit and he would "examine [the] permit and see to what extent the purchaser has been buying liquor. If purchaser has exceeded a reasonable quantity per week, note permit number and address and refer to vendor." Under the "Liquor Control Act" the LCBO was to promote temperance through facilitating education and moderation. This meant a store employee could deny a sale to a customer if his intended purchases may be considered too large for one person to reasonably consume.


title: Liquor Control Board of Ontario

text: Purchase order forms were also used by the LCBO as a means of tracking irregularities in liquor purchases and sales and had to be stamped by the employee who had approved the sale and had filled the order. After the liquor permits books were phased out in 1957, purchase order forms were used as a means of establishing individuals' purchase histories in cases of legal investigations and the LCBO's own control processes. Purchase order forms remained in use into the 1970s when the LCBO changed to a self-serve format.


title: Liquor Control Board of Ontario

text: To control what it considered to be excessive purchases or other abuses of the permit privilege, the LCBO employed a list called the interdiction list. Although interdiction was initially a formalized legal process imposed by a judge upon those found in open court to be "drunkards", the board was charged with maintaining the list between 1927 and 1975 and employed its own standards in adding individuals to this list without any involvement of the justice system. The list was circulated to all liquor stores and drinking establishments, and was sent to local and provincial police forces to whom it was explained that it was a crime for listed individuals to possess or be sold any liquor. Between 1927 and 1975 the LCBO conducted its own investigations into over consumption, employing a staff of investigators that visited individuals' homes, work, banks, neighbors and even churches to determine if an individual should be restricted from purchasing liquor. From 1927–1935 the LCBO's investigations resulted in the cancellation of over 33,138 liquor permits and the names of these individuals were added to the circulated interdiction list. In 1929 the LCBO's use of the interdiction list was expanded to include those on social assistance as well as others who the board felt should be prohibited from purchasing liquor permits entirely. Between 1929 and 1951, when the LCBO ceased publishing interdiction data in its annual reports, 125,218 individuals had been added to the interdiction list in this way.


title: Liquor Control Board of Ontario

text: In 1934 the mandate of the LCBO was expanded to include the oversight of by-the-glass sale of alcohol in standard hotels and other drinking establishments. As part of the LCBO's regulations, licensed establishments were required to adhere to a wide variety of regulations including a limitation on singing, the number of patrons allowed to sit together and most importantly the segregation of female from unmarried male drinkers (women were only allowed to drink in the presence of a "bona fide escort" in a segregated "Ladies and Escorts" room). The task of overseeing the sale of alcohol in drinking establishments was later passed in 1944 to a short-lived government licensing agency and later to the Liquor Licensing Board of Ontario (LLBO) in 1947.


title: Liquor Control Board of Ontario

text: The first self-service store was introduced in 1969. In the 1970s the stores became more inviting, with decorative displays of alcohol, and in the 2000s were renovated and enlarged to hold more product. Most current stores have vintages sections with rotating selections of wines and spirits having low production volumes.


title: Liquor Control Board of Ontario

text: In the 1990s the LCBO rebranded stores by removing the Ontario coat of arms and wording "Liquor Store" with the more stylized LCBO logo.


title: Liquor Control Board of Ontario

text: As of July 11, 2016, LCBO accepts tap-to-pay technology in each of their 654 stores in the province, allowing contactless payment for all purchases of liquor.


title: Liquor Control Board of Ontario

text: After the federal government announced that recreational use of cannabis would be legalized in 2017 or early 2018, then Premier Kathleen Wynne commented that the LCBO stores might be the ideal distribution network for stocking, controlling and selling such products. The Ontario Public Service Employees Union, which represents LCBO staff, also lobbied for the LCBO to have a monopoly on cannabis sales.


title: Liquor Control Board of Ontario

text: In response to the federal Task Force on Marijuana Legalization and Regulation recommended against selling cannabis in conjunction with alcohol, in September 2017 the Government of Ontario announced that the LCBO alone would sell recreational marijuana to the public in the province, except in the 651 stores that sell alcoholic beverages. A new Crown corporation, the Ontario Cannabis Retail Corporation (OCRC), was established as a subsidiary of the LCBO with a mandate to initially open 40 stores before legalization took effect in October 2018. OCRC also entered a partnership with Shopify to use the company's platform for operating the province's online cannabis sales. In March 2018, OCRC adopted the trading name Ontario Cannabis Store for its retail services. The OCS logo, designed by a Canadian subsidiary of Leo Burnett Worldwide as part of a $650,000 marketing and branding contract, was derided as "boring" and "underwhelming."


title: Liquor Control Board of Ontario

text: Following the 2018 provincial election, the new provincial government led by Premier Doug Ford announced that OCRC would not open physical stores and that private stores would instead sell cannabis in Ontario. Under this new model OCRC will continue to operate the provincial online cannabis sales service and will serve as the wholesale supplier for private stores in Ontario. The Alcohol and Gaming Commission of Ontario's mandate will be widened to include regulation and licensing of private cannabis stores in Ontario. The OCRC would also be moved under the jurisdiction of the Ministry of Finance, would no longer be a subsidiary of the LCBO, and would no longer use the Ontario Cannabis Store branding.


title: Liquor Control Board of Ontario

text: The mandate of the board is to supervise the business affairs of the LCBO. Among its responsibilities are:


title: Liquor Control Board of Ontario

text: The board's policy states that "In Ontario's 25 designated areas, the operational signage in every LCBO store must be bilingual" ... "This type of signage includes stores' permanent signs and general notices, such as those in the aisles and for customer service."


title: Liquor Control Board of Ontario

text: While it is impossible to generalize comparative pricing for the thousands of different alcoholic beverages available through LCBO, the stores have acquired a reputation for high prices. Online price comparisons with independent wine retailers such as Sherry-Lehman in neighbouring New York can indicate price differences ranging from 10% (in LCBO's favour) to 30% (in the independent retailers' favour). Wines and spirits sold in Canada are subject to the "Excise Act, 2001", which contributes greatly to the cost of beverage alcohol, although most liquor tax is provincial. "Wine Access", a Canadian food and wine magazine, has claimed that high-end luxury brands sell in Ontario for up to 60% more than in New York. Excise duties on beer and malt liquor are taxed under the "Excise Act".


title: Liquor Control Board of Ontario

text: The LCBO pricing policies are designed to control alcohol consumption, generate revenue for the provincial and federal governments, and to support the domestic alcohol beverage industry, especially by providing incentive to purchase Ontario wine. Within this framework, the prices of LCBO products are subject to three policy constraints:


title: Liquor Control Board of Ontario

text: There have been numerous discussions about whether the province should sell, or privatize, the LCBO. It has been argued that the main benefit would be the billions of dollars that would be the immediate windfall from any sale. This sale would only deliver a one-time profit, and the province would lose out on a source of steady yearly income. It has also been argued by the C. D. Howe Institute that the government could actually earn more money by dismantling the high-margin retail stores while keeping the lucrative wholesale business as Alberta's privatization of the liquor business suggests. The LCBO's 2006-07 net income was $1.3 billion Canadian dollars (excluding tax revenues generated by Brewers Retail and the independent wine stores), and a sale has been estimated to reap about six billion dollars. Former Premier Ernie Eves stated that when he investigated this possibility, he found that a 100 per cent sale through an income trust would generate 16 billion dollars.


title: Liquor Control Board of Ontario

text: In an attempt to find more revenue for the government within the current system, former Ontario Finance Minister Greg Sorbara ordered a review of the province's liquor distribution methods, under the supervision of John Lacey, a former LCBO board member and grocery executive. Sorbara had stated that any option, other than the complete privatization of the LCBO, would be open for discussion. Subsequent to the release of the report, known as the Beverage Alcohol System Review (BASR), Sorbara rejected the report's recommendations and argued for the continued public ownership of the LCBO. Rejection of the findings notwithstanding, the 2005 report defined the potential benefits of privatization alternatives as greater consumer convenience and choice via a competitive retail environment, a reduction in government-held investment risk while simultaneously increasing its annual revenues.


title: Liquor Control Board of Ontario

text: An earlier 1994 report from York University, created on behalf of the Ontario Liquor Boards Employees' Union, concluded there to be little governmental or public support for privatization. There may be political motivations to keep alcohol sales public as well, as the LCBO is an excellent source of sinecures for the sitting government. The current LCBO board chair is Carmine Nigro. Philip J. Olsson, a long-time Liberal supporter, was the former chair appointed by the Liberal government shortly after they took power. Prior to Olsson was Andy Brandt, who was appointed by New Democratic Premier Bob Rae in 1991, even though Brandt had been a Progressive Conservative member of Provincial Parliament for a number of years. In 2007, LCBO separated the board chair and president/CEO functions, making the board chair position part-time. Olsson receives a "per-diem" for his work as board chair, which he donates to the United Way.


title: Liquor Control Board of Ontario

text: The LCBO has phased out its plastic shopping bags, as part of its efforts to become a greener organization. LCBO customers are encouraged to bring their own reusable bags, but can also request handle-less LCBO paper bags or buy reusable bags at the store. Cardboard carrying boxes for individual cans of beer were phased out, with a limited reintroduction during the fall of 2017. As of 2020, 8 pack beer carriers are available at all LCBO locations again. The LCBO says the new limited options are expected to eliminate approximately 80 million plastic bags a year from landfill.


title: Liquor Control Board of Ontario

text: In September 2006, the Government of Ontario announced the Ontario Deposit Return Program, a recycling program for LCBO and winery store beverage alcohol containers. The program, which commenced operations on 5 February 2007, is administered and operated by Brewers Retail Inc. Under the program, consumers may return empty bottles, tetra paks, PET plastic and bag-in-box containers, to The Beer Store outlets. This program has been highly criticized by members of the public and employees of The Beer Store. Beer Stores were seeing upward of 50,000 LCBO containers per week while the unprofitable nature of the program forced wage cuts and staff reductions across Ontario's primary beer distributor.


title: Liquor Control Board of Ontario

text: Through its Natural Heritage Fund, LCBO and its suppliers have raised almost $2 million for projects to restore and rehabilitate Ontario wildlife habitat. This includes Bring Back the Salmon, which helps the return of Atlantic salmon to Lake Ontario after its local extinction over 100 years ago.


title: Liquor Control Board of Ontario

text: An LCBO Agency is a legally licensed outlet of the Liquor Control Board of Ontario. Such agencies are placed in small towns and areas far from a full-service LCBO location. Agency locations are operated by private businesses and allocated through a competitive process.


title: Liquor Control Board of Ontario

text: In late 2009, local and international criticism of the "Cellared in Canada" practice and the LCBO emerged. Under the "Cellared in Canada" label, which is now officially known as "International - Canadian blends", Canadian wine producers are allowed to import pre-fermented grape must from grapes grown in other countries to produce wines under their own wine label, although in practice, it is usually finished wine which is imported to be included in International - Canadian blends. In Ontario, producers are allowed to designate these wines as "cellared" in Canada if they contain a portion of local Ontario grapes. As of April 1, 2014, this percentage is 25% Ontario wine, which may be from labrusca varieties. Historically, this percentage has fluctuated wildly, due to periodic shortages and surpluses of Ontario grapes, and heavy lobbying by large producers and some grape growers.


title: Liquor Control Board of Ontario

text: Grape growers in Ontario have deemed this practice a threat to their livelihood, asserting that thousands of tons of Canadian grapes are left rotting on the vine, while large producers use imported grapes to make wine labelled as "Canadian". Growers and producers have criticized this practice as tarnishing the reputation of Canadian wines and misleading consumers. They have also petitioned the government for several changes in the practices, such as making the origin of grapes clearer on the wine label, and increasing the visibility of 100% Canadian Vintners Quality Alliance (VQA) wines in province-run liquor stores. As of August 2009, the stores of the LCBO featured less than 2.5% Canadian wine produced by VQA members, with the vast majority of its wines produced under the "International - Canadian blend" designation with up to 75% foreign wine. Bottles generally say "Cellared in Canada from International and Domestic Content".


title: Liquor Control Board of Ontario

text: In May 2011, a study was conducted by Statopex Field Marketing on behalf of the Ontario Convenience Stores Association and found that the LCBO fared poorly when checking for age of minors. Minors between the age of 15 and 18 were used to determine how often LCBO store staff would check for ID before selling alcohol. Minors in the test were accompanied by an adult at a distance to verify any sales that occurred. The test determined that 1 in 4 minors were able to purchase beer at the LCBO without ID. This was poorer than the results shown for The Beer Store, where 1 in 5 minors could purchase beer, or chain convenience stores in Ontario where as few as 1 in 8 could purchase tobacco. The LCBO countered by stating its "retail staff challenged 3.6 million people who appeared underage or intoxicated in 2010 and refused to serve more than 190,000 customers."


title: Liquor Control Board of Ontario

text: Some have questioned the methodical suitability of the OCRC monopoly on cannabis sales. The Cannabis Canada Association, a lobby group representing licensed medical marijuana growers, stated that "a competitive market model would provide the Province with a predictable, low-risk revenue stream without the taxpayer burdens of upfront capital expenditure exposure and operational risk".


title: Liquor Control Board of Ontario

text: The debate proved to be merely of academic interest, since the newly-elected PC government decided in August 2018 that retail sales would be provided by private enterprise companies instead. Finance Minister Vic Fedeli stated: "we will work with private sector businesses to build a safe, reliable retail system that will divert sales away from the illegal market."


title: Liquor Control Board of Ontario

text: In late 2018, two articles published by the "Toronto Star" indicated that theft from the LCBO retail stores was a significant problem, and effectively mishandled. There had been some 9,000 thefts at LCBO outlets in Toronto alone since early 2014, according to data provided by the Toronto Police Service. In fiscal year 2018–2019, the LCBO saw more than $5.1 million in theft of alcohol. For reasons of personal safety, LCBO staff are discouraged from confronting shoplifters. "The LCBO doesn’t want their staff getting into tussles with thieves inside the store, and I understand that. But when you couple that with a policing decision that says we just don’t have the resources to respond unless the thief is on the scene, you lose a lot of the deterrent," said Mike McCormack, president of the Toronto Police Association. As a result, thefts were likely to continue, leading to frustration by staff and the public.


title: Jeremy Buendia

text: Jeremy Buendia is an American professional bodybuilder who competes in the IFBB Men's Physique Division. He is a four time Olympia Champion.


title: Jeremy Buendia

text: Jeremy Buendia was born in Roseville, California. During high school, Buendia was a linebacker at Whitney High School. Due to the rigorous nature of American football, Buendia sustained injuries to the discs in his neck and back. In part due to this injury, Buendia gained interest in the sport of bodybuilding. Buendia has stated that he was familiar with the principles of bodybuilding as his father was a non-competitive bodybuilder in the 1970s. Buendia began participating in bodybuilding competitions at the age of 17.


title: Jeremy Buendia

text: Jeremy Buendia has been competing professionally within the International Federation of Bodybuilding and Fitness (IFBB) since 2013, where he placed 2nd in the Mr. Olympia Men's Physique class. He subsequently earned the Men's Physique Olympia title in 2014, 2015, 2016, and 2017. He placed 4th in the Men's Physique Olympia 2018,


title: Third Italian War of Independence

text: The Third Italian War of Independence () was a war between the Kingdom of Italy and the Austrian Empire fought between June and August 1866. The conflict paralleled the Austro-Prussian War and resulted in Austria conceding the region of Venetia (present-day Veneto, Friuli and the city of Mantua, the last remnant of the "Quadrilatero") to France, which were later annexed by Italy after a plebiscite. Italy's acquisition of this wealthy and populous territory represented a major step in the Unification of Italy.


title: Third Italian War of Independence

text: Victor Emmanuel II of Savoy had been proclaimed King of Italy on 17 March 1861 but did not control Venetia or the much-reduced Papal States. The situation of the , a later Italian term for part of the country under foreign domination that literally meaning "unredeemed", was an unceasing source of tension in the domestic politics of the new kingdom and a cornerstone of its foreign policy.


title: Third Italian War of Independence

text: The first attempt to seize Rome was orchestrated by Giuseppe Garibaldi in 1862. Confident in the king's neutrality, he set sail from Genoa to Palermo. Collecting 1,200 volunteers, he sailed from Catania and landed at Melito, Calabria, on 24 August to reach Mount Aspromonte with the intention to travel northward up the peninsula to Rome. The Piedmontese General Enrico Cialdini, however, sent a division under Colonel Pallavicino to stop the volunteer army. Garibaldi was wounded at the Battle of Aspromonte and taken prisoner, along with his men.


title: Third Italian War of Independence

text: The increasing discord between Austria and Prussia over the German Question turned into open war in 1866, which offered Italy an occasion to capture Venetia. On 8 April 1866, the Italian government signed a military alliance with Prussia through the mediation of French Emperor Napoleon III.


title: Third Italian War of Independence

text: Italian armies, led by General Alfonso Ferrero La Marmora, were to engage the Austrians on the southern front. Simultaneously, taking advantage of their perceived naval superiority, the Italians planned to threaten the Dalmatian coast and to seize Trieste.


title: Third Italian War of Independence

text: Prussia opened hostilities on 16 June 1866 by attacking several German states allied with Austria. Three days later, Italy declared war on Austria and started military operations on 23 June.


title: Third Italian War of Independence

text: The Italian forces were divided into two armies. One, under La Marmora himself, was deployed in Lombardy, west of the Mincio River, and aimed toward the powerful Quadrilatero fortress of the Austrians. The second, under Enrico Cialdini, was deployed in Romagna, south of the Po River and aimed toward Mantua and Rovigo.


title: Third Italian War of Independence

text: La Marmora moved first through Mantua and Peschiera del Garda but was defeated at the Battle of Custoza on 24 June and retreated in disorder back across the Mincio river. Cialdini, on the other hand, did not act offensively for the first part of the war by conducting only several shows of force and failing to besiege the Austrian fortress of Borgoforte, south of the Po.


title: Third Italian War of Independence

text: Following the defeat at Custoza, the Italians reorganised in preparation for a presumed Austrian counter-offensive. The Austrians took that opportunity to raid Valtellina and Val Camonica (Battle of Vezza d'Oglio).


title: Third Italian War of Independence

text: The course of the war, however, turned to Italy's favour by Prussian victories in Bohemia, especially the decisive Battle of Königgrätz (or Sadowa) on 3 July. The Austrians were compelled to redeploy one of their three army corps from Italy to Vienna. The remaining Austrian forces in the theatre concentrated their defences around Trentino and Isonzo.


title: Third Italian War of Independence

text: On 5 July, the Italian government received news of a mediation effort by Napoleon III for a settlement of the situation, which would allow Austria to receive favorable conditions from Prussia and, in particular, maintain Venice. The situation was embarrassing for Italy, as its forces had been beaten back in the only battle to date. As the Austrians were redeploying more and more troops to Vienna to defend it against the Prussians, La Marmora was urged to take advantage of his force's numerical superiority, score a victory and improve the situation for Italy at the bargaining table.


title: Third Italian War of Independence

text: Cialdini crossed the Po on 8 July and advanced to Udine on 22 July without encountering the Austrian Army. In the meantime, Garibaldi's volunteers had advanced from Brescia toward Trento during the Invasion of Trentino and won the Battle of Bezzecca on 21 July. Both advances were overshadowed, however, by the unexpected defeat of the Italian Navy at the Battle of Lissa on 20 July.


title: Third Italian War of Independence

text: On 26 July, a mixed Italian force of and cavalry defeated an Austrian force guarding the crossing of the Torre River and reached what is now Romans d'Isonzo at the Battle of Versa. That marked the maximum Italian advance into Friuli. However, with the cessation of Austro-Prussian hostilities, the Austrians seemed ready to send reinforcements to Italy. Unwilling to risk another defeat and face being heavily outnumbered by Austrian reinforcements, the Italians were compelled to come to the peace table. On 9 August, Garibaldi was ordered in a telegraph by the Army High Command to evacuate Trentino. His reply was simply "" ("I shall obey") and became famous in Italy soon after. The cessation of hostilities was agreed to at the Armistice of Cormons, signed on 12 August, followed by the Treaty of Vienna on 3 October 1866.


title: Third Italian War of Independence

text: On July 1866, after the Prussian victory over Austria, the Armistice of Nikolsburg ended the hostilities between the two countries. The Austrians withdrew to the Isonzo River and left Venice to Italian hands. France and Prussia pressured Italy to conclude an armistice on its own with Austria. The cessation of hostilities was agreed to at the Armistice of Cormons signed on 12 August, followed by the Treaty of Vienna on 3 October 1866.


title: Third Italian War of Independence

text: The terms of the Peace of Prague included the giving of the Iron Crown of Lombardy to the Italian king and the Austrian cession of Venetia, consisting of modern Veneto, parts of Friuli and the city of Mantua. Emperor Franz Joseph had already agreed to cede Venetia to France in exchange for non-intervention in the Austro-Prussian War, but Napoleon III, who was acting as intermediary between Prussia and Austria, ceded Venetia to Italy on 19 October, as had been agreed in a secret treaty in exchange for the earlier Italian acquiescence to the French annexation of Savoy and Nice.


title: Third Italian War of Independence

text: The Peace of Prague was followed up by the Austrian-Italian Treaty of Vienna, which confirmed the cession of the territory to Italy. However, the peace treaty stated that the annexation of Venetia and Mantua would have become effective only after a plebiscite allowed the population to express its will on its annexation to the Kingdom of Italy. The plebiscite was held on 21 and 22 October, and the result was an overwhelming success, with 99.9% of participants in support of joining Italy.


title: Third Italian War of Independence

text: Meanwhile, an uprising also occurred in Sicily, the Seven and a Half Days Revolt. The unification of Italy was completed by the Capture of Rome and the annexation of Trentino, Friuli and Trieste at the end of World War I, also called in Italy the "Fourth Italian War of Independence".


title: Demographics of Ontario

text: Ontario, one of the 13 provinces and territories of Canada, is located in east-central Canada. It is Canada's most populous province by a large margin, accounting for nearly 40 per cent of all Canadians, and is the second-largest province in total area. Ontario is fourth-largest in total area when the territories of the Northwest Territories and Nunavut are included. It is home to the nation's capital city, Ottawa, and the nation's most populous city, Toronto.


title: Demographics of Ontario

text: Note: The table takes "dual responses" (for example if someone is French-Canadian they would be added to both French and Canadian). Some places of one's ethnic origin do not refer to a single specified country of origin, i.e. "Spanish" refers to people from Spanish speaking countries such as Colombia, Spain, Mexico, Cuba and others; or "East Indian" where the respondents origin could be from Pakistan, India, Nepal, Bangladesh, etc.; and the list contains about 200 nationalities known to reside in the province. However, there are options for the respondent to identify the country alone.


title: Demographics of Ontario

text: There is a striking difference between the Toronto CMA (5,862,850) and the rest of Ontario (7,379,310); in particular, in the Toronto CMA visible minorities account for 51.4% of the population (3,011,900), whereas in the rest of Ontario the percentage of visible minorities in the overall population is much lower, at 11.8% (873,685). Back in 1996,1,338,095 of 4,232,905 Toronto CMA residents belonged to a visible minority, i.e. 31.6% of its population; regarding the rest of Ontario, only 343,950 of its 6,409,885 residents, i.e. 5.4%, were visible minorities.