Question: Where does the concept of the seven ages of man originate from?

The concept of dividing human life into a series of ages was a popular theme in both art and literature, a notion that Shakespeare would have anticipated his audience to be familiar with. Although the number of ages varied among ancient writers like Aristotle, who often cited three or four, the idea of seven ages is rooted in medieval philosophy. This era favored the number seven, as seen in constructs like the seven deadly sins, for its theological significance. The seven ages model emerged in the 12th century, and it was so esteemed that King Henry V even commissioned a tapestry depicting the seven ages of man.

Others sought very pragmatic understandings of the tree. In the Summa Theologica (Q97), Thomas Aquinas argued that the tree served to maintain Adam's biological processes for an extended earthly animal life. It did not provide immortality as such, for the tree, being finite, could not grant infinite life. Hence after a period of time, the man and woman would need to eat again from the tree or else be "transported to the spiritual life." The common fruit trees of the garden were given to offset the effects of "loss of moisture" (note the doctrine of the humors at work), while the tree of life was intended to offset the inefficiencies of the body. Following Augustine in the City of God (xiv.26), “man was furnished with food against hunger, with drink against thirst, and with the tree of life against the ravages of old age.”

Three Essays on the Theory of Sexuality, sometimes titled Three Contributions to the Theory of Sex, written in 1905 by Sigmund Freud explores and analyzes his theory of sexuality and its presence throughout childhood. Freud’s book describes three main topics in reference to sexuality: sexual perversions, childhood sexuality, and puberty. His first essay in this series is called "The Sexual Aberrations." This essay focuses on the distinction between a sexual object and a sexual aim. A sexual object is the object that one desire while the sexual aim is the acts that one desires to perform with the object. Freud’s second essay was explained "Infantile Sexuality." During this essay he insists that children have sexual urges. The psychosexual stages are the steps a child must take in order to continue having sexual urges once adulthood is reached. The third essay Freud wrote described "The Transformation of Puberty." In this essay he examines how children express their sexuality throughout puberty and how sexual identity is formed during this time frame. Freud ultimately attempted to link unconscious sexual desires to conscious actions in each of his essays.

In 2011, the Manchester International Festival endorsed the writing by Heaton of an anthology of songs based on the 7 deadly sins, to be called The 8th. The song was broken down into a section for each sin, which was to be performed by a different artist. The singers for the original piece were: Wayne Gidden, Aaron Wright, King Creosote, Simon Aldred, Cherry Ghost, Jacqui Abbott, Yvonne Shelton, and Mike Greaves. The individual sections were incorporated with a narration written by Che Walker.[15] The 8th debuted in July 2011 at the Festival Pavilion Theatre in Manchester's Albert Square.

Protagoras was one of the best-known and most successful teachers.  He taught his students the necessary skills and knowledge for a successful life, particularly in politics, rather than philosophy.  He trained his pupils to argue from both points of view because he believed that truth could not be limited to just one side of the argument.  Protagoras wrote about a variety of subjects and some fragments of his work survived.  He is the author of the famous saying, “Man is the measure of all things,” which is the opening sentence of a work called Truth.[5]

One concept of personal persistence over time is simply to have continuous bodily existence.[7] However, as the Ship of Theseus problem illustrates, even for inanimate objects there are difficulties in determining whether one physical body at one time is the same thing as a physical body at another time. With humans, over time our bodies age and grow, losing and gaining matter, and over sufficient years will not consist of most of the matter they once consisted of. It is thus problematic to ground persistence of personal identity over time in the continuous existence of our bodies. Nevertheless, this approach has its supporters which define humans as a biological organism and asserts the proposition that a psychological relation is not necessary for personal continuity.[note 4] This personal identity ontology assumes the relational theory[8] of life-sustaining processes instead of bodily continuity.

In 1873 he brought forward the doctrine of Adesh or special inspiration, declaring emphatically that inspiration is not only possible, but a veritable fact in the lives of many devout souls in this age. The following years witnessed a marked development of that essentially Asiatic and perhaps more especially Indian form of religious feeling, which finds its natural satisfaction in solitary ecstatic contemplation. As a necessary consequence an order of devotees was established in 1876, divided into three main classes, which in ascending gradation were designated Shabaks, Bhaktas and Yogis. The lowest class, divided into two sections, is devoted to religious study and the practical performance of religious duties, including doing good to others."[28]

The study of human physiology as a medical field dates back to at least 420 BC to the time of Hippocrates, also known as the "father of medicine."[9] Hippocrates incorporated his belief system called the theory of humours, which consisted of four basic substance: earth, water, air and fire. Each substance is known for having a corresponding humour: black bile, phlegm, blood and yellow bile, respectively. Hippocrates also noted some emotional connections to the four humours, which Claudis Galenus would later expand on. The critical thinking of Aristotle and his emphasis on the relationship between structure and function marked the beginning of physiology in Ancient Greece. Like Hippocrates, Aristotle took to the humoral theory of disease, which also consisted of four primary qualities in life: hot, cold, wet and dry.[10] Claudius Galenus (c. ~130–200 AD), known as Galen of Pergamum, was the first to use experiments to probe the functions of the body. Unlike Hippocrates though, Galen argued that humoral imbalances can be located in specific organs, including the entire body.[11] His modification of this theory better equipped doctors to make more precise diagnoses. Galen also played off of Hippocrates idea that emotions were also tied to the humours, and added the notion of temperaments: sanguine corresponds with blood; phlegmatic is tied to phlegm; yellow bile is connected to choleric; and black bile corresponds with melancholy. Galen also saw the human body consisting of three connected systems: the brain and nerves, which are responsible for thoughts and sensations; the heart and arteries, which give life; and the liver and veins, which can be attributed to nutrition and growth.[11] Galen was also the founder of experimental physiology.[12] And for the next 1,400 years, Galenic physiology was a powerful and influential tool in medicine.[11]

In describing the narrator's analysis of his surroundings, Gray employed John Locke's philosophy of the sensations, which argued that the senses were the origin of ideas. Information described in the beginning of the poem is reused by the narrator as he contemplates life near the end. The description of death and obscurity adopts Locke's political philosophy as it emphasises the inevitability and finality of death. The end of the poem is connected to Locke's An Essay Concerning Human Understanding in that the beginning of the poem deals with the senses and the ending describes how we are limited in our ability to understand the world. The poem takes the ideas and transforms them into a discussion of blissful ignorance by adopting Locke's resolution to be content with our limited understanding. Unlike Locke, the narrator of the poem knows that he is unable to fathom the universe, but still questions the matter.[44]

Ibn Sina refers to the secondary education stage of maktab schooling as the period of specialization, when pupils should begin to acquire manual skills, regardless of their social status. He writes that children after the age of 14 should be given a choice to choose and specialize in subjects they have an interest in, whether it was reading, manual skills, literature, preaching, medicine, geometry, trade and commerce, craftsmanship, or any other subject or profession they would be interested in pursuing for a future career. He wrote that this was a transitional stage and that there needs to be flexibility regarding the age in which pupils graduate, as the student's emotional development and chosen subjects need to be taken into account.[15]

Troilus and Criseyde (Modern English: /ˈtrɔɪləs ən ˈkrɛsɪdə/) is an epic poem by Geoffrey Chaucer which re-tells in Middle English the tragic story of the lovers Troilus and Criseyde set against a backdrop of war during the Siege of Troy. It was composed using rime royale and probably completed during the mid 1380s. Many Chaucer scholars regard it as the poet's finest work. As a finished long poem it is more self-contained than the better known but ultimately unfinished Canterbury Tales. This poem is often considered the source of the phrase: "all good things must come to an end" (3.615).


Question: Who sings that ain't no way to go through life?

"That Ain't No Way to Go," a song co-written and performed by American country music duo Brooks & Dunn, was released as the fifth and final single from their album Hard Workin' Man in March 1994. The song topped the Billboard Hot Country Singles & Tracks (now known as Hot Country Songs) chart. It was penned by Kix Brooks, Ronnie Dunn, and Don Cook.

Leiber and Stoller also wrote the classic "Ruby Baby" for The Drifters, a 1956 #13 R&B hit that featured Johnny Moore as lead vocalist (replacing Clyde McPhatter, who had been drafted); it became a pop standard and reached #2 in 1962 when re-recorded by Dion. By 1958, The Drifters had undergone many lineup changes and their former popularity was waning. That May, after one of the members got into a fight with the manager of the Apollo Theater, group manager George Treadwell sacked the entire lineup and recruited the members of The Five Crowns to become the 'new' Drifters. Leiber and Stoller produced "There Goes My Baby" with this second incarnation, featuring a lead vocal by Ben E. King, who also co-wrote the song. It was the first R&B song to feature a string arrangement, but Ertegun disliked it and Jerry Wexler was appalled, reportedly telling the producers; "Get that out of here. I hate it. It's out of tune and it's phony and it's shit and get it out of here".[49] They refused to release it for several months, but when they finally relented and released it as a single in April 1959, the song shot to #1.[30]

"The Time Is Now" was composed by Cena along with Marc Predka, Cena's cousin known by his stage name Tha Trademarc. Having recorded the album with Cena, Predka was featured on virtually every track of the album. Production was handled by Jake One. The song contains samples of "Ante Up" by M.O.P. which in turn samples "Soul Sister, Brown Sugar" by Sam & Dave and "The Night the Lights Went Out in Georgia" by Vicki Lawrence.[5]

"Folsom Prison Blues" is a song written in 1953[4] and first recorded in 1955 by American singer-songwriter Johnny Cash. The song combines elements from two popular folk styles, the train song and the prison song, both of which Cash continued to use for the rest of his career. It was one of Cash's signature songs. It was the eleventh track on his debut album With His Hot and Blue Guitar and it was also included (same version) on All Aboard the Blue Train. A live version, recorded among inmates at Folsom State Prison itself, became a #1 hit on the country music charts in 1968. In June 2014, Rolling Stone ranked if No. 51 on its list of the 100 greatest country songs of all time.[5]

The theme song, "Keep Your Eye on the Sparrow", was written by Dave Grusin and Morgan Ames; initially an instrumental, lyrics were added in later seasons that were sung by Sammy Davis, Jr. Every episode of Baretta began with the song, which contained the motto, "Don't do the crime if you can't do the time." The song was released as a single in Europe in 1976, reaching number one in the Dutch Top 40 as "Baretta's Theme". The music for the theme song was performed by Los Angeles-based Latin influenced Rock band El Chicano from Los Angeles, California. El Chicano also released the song as a 45 and also as a track on one of their albums. The "Baretta" theme song by El Chicano was a huge hit in many countries including Turkey, Malaysia, Singapore, France and The Philippines.

"No Scrubs" is a song recorded by American girl group TLC for their third studio album FanMail (1999). LaFace Records and Arista Records released it as the album's lead single on February 2, 1999. The song was written by Kevin "She'kspere" Briggs alongside former Xscape members, Kandi Burruss and Tameka "Tiny" Cottle. The single version containing self-written rap by Lisa "Left Eye" Lopes was not included on the album FanMail, and later appeared in a slightly shorter edit on Now and Forever: The Hits and 20. "No Scrubs" was the first time for Rozonda "Chilli" Thomas taking the sole lead vocals on any TLC single.

Its composition was an attempt by Lennon [3][4] at writing a song in the style of Motown star Smokey Robinson,[5] specifically his song "I've Been Good To You", which has similar circular doo-wop chord changes, melody and arrangement. The tune and arrangement also draws from "You Don't Understand Me", a B-side to a Bobby Freeman single.[6] Paul McCartney cites the Teddy Bears' 1958 hit "To Know Him Is To Love Him" as also being influential.[4] Lennon, McCartney, and George Harrison join together to sing an intricate three-part close harmony in the verses and refrain (originally the middle eight was conceived as a guitar solo, but altered during the recording process)[7] and a similar song writing technique is exercised in later Beatles songs, such as "Yes It Is" and "Because". The song, in D major, revolves around a 1950s-style I-vi-ii-V doo-wop sequence in 12/8 time before moving to the harmonically complex middle eight (G-F#7-Bm-D7-G-E7-A-A7) and back again for the final verse and fade-out. [4] William Mann describes the song as, "harmonically...one of their most intriguing, with its chains of pandiatonic clusters" [8]

"The Cowboy Rides Away" is a song written by Sonny Throckmorton and Casey Kelly, and recorded by American country music artist George Strait. It was released in January 1985 as the second single from his album Does Fort Worth Ever Cross Your Mind. It peaked at number 5 on the United States Billboard Hot Country Singles chart, and at number 3 on the RPM Country Tracks chart in Canada. It is the song used by Strait to close out his performances. This is also the name of his last and final tour commencing January 18, 2013.

"Message in a Bottle" is a song by English rock band The Police. It was released as the lead single from their second studio album, Reggatta de Blanc (1979). Written by the band's lead singer and bassist Sting, the song is ostensibly about a story of a castaway on an island, who sends out a message in a bottle to seek love. A year later, he has not received any sort of response, and despairs, thinking he is destined to be alone. The next day, he sees "a hundred billion bottles" on the shore, finding out that there are more people like him out there. American rock band American Hi-Fi performed a cover of the song for the 2003 film Rugrats Go Wild.

Hynde has stated that "Middle of the Road" refers to Tao Te Ching, which she interprets as "the middle way."[3] According to Charles M. Young of Musician, the song is about "getting out there and mixing it up with the world."[4] The song lyrics include observations about the difference between wealth and poverty that singer-songwriter Chrissie Hynde had observed. The lyrics also refer to autobiographical details (i.e., the lyric “I got a kid, I'm thirty-three” although Hynde turned 32 shortly before the single was released). Hynde plays the harmonica solo near the end of the song.[5]

"Raindrops Keep Fallin' on My Head" is a song written by Hal David and Burt Bacharach for the 1969 film Butch Cassidy and the Sundance Kid.[2] It won an Academy Award for Best Original Song.[2] David and Bacharach also won Best Original Score. The song was recorded by B. J. Thomas in seven takes, after Bacharach expressed dissatisfaction with the first six. In the film version of the song, Thomas had been recovering from laryngitis, which made his voice sound hoarser than in the 7-inch release. The film version featured a separate vaudeville-style instrumental break in double time while Paul Newman performed bicycle stunts.


Question: Who portrays Jack's mother in the show 30 Rock?

Elaine Stritch portrayed Colleen, the formidable mother of Jack Donaghy (played by Alec Baldwin) on the NBC sitcom 30 Rock. She began making guest appearances on the show on April 26, 2007. Prior to her role on 30 Rock, Stritch had a variety of television roles, including appearances on The Cosby Show, Law & Order, and 3rd Rock From the Sun, where she played the mother of Jane Curtin's character alongside her Broadway co-star George Grizzard.

Phillip has a daughter, Kimberly, and two adopted African American sons, Willis and his younger brother Arnold Jackson. He also has an eccentric elder sister named Sophia (played by Dody Goodman). Arnold and Willis's mother, Lucy Jackson (portrayed by Todd Bridges' real-life mother), worked as a housekeeper for the Drummonds years ago; her death-bed wish was that Phillip would take care of her two sons. In the series pilot, Phillip welcomes Arnold and Willis into his home.

Wanda Ventham (born 5 August 1935) is an English actress, known primarily for her role as Colonel Virginia Lake in the 1970s science-fiction television series UFO, and for her recurring role as Cassandra Trotter's mother Pamela Parry in the sitcom Only Fools and Horses from 1989â€“92. She also appeared in two episodes of The Saint alongside Roger Moore.

Susan is Greg's mother who, throughout the series, often embarrasses her two elder sons. She is clueless, loving, and is very fond of her children, especially her youngest son, Manny, who she severely spoils. She loves her middle son Greg, though she unintentionally humiliates him at nearly every turn. She fails to see that her plans are always failing. She is always encouraging her children and tries to bring the family closer together. In Dog Days, she takes over Greg's summer vacation by doing activities to get him more active, ruining his plan to play video games all summer. She does, however, fiercely defend Greg at school, even sometimes when he really should not be, and shields him from his father's anger. She tries to discourage Greg being around technology; however, her plan backfires on her badly and is forced to give up on her plan. She also wants to find good role models for Greg. Her idea of role models are those who have the same interests that she has: reading books, not playing video games and not watching TV. However, Greg is unable to bond with them because Greg cannot relate to them and does not share the same ideas as his mother, much to Susan's dismay.

Four months later, on Christmas Day, Greg and Pam's parents come to spend Christmas with them in their new house. Greg's parents (who are Jewish) give Jack a kippah as his present, informing him that they have traced his family roots while they were nursing him back to health, and discovered that he is part Jewish, which didn't impress Jack very much. Bernie informs Greg and Pam that he and Roz have sold their Miami Island home and are moving to Chicago, only two houses down from their house. Jack and Dina decide they will move, too, because they also want to be close to their grandchildren. The film ends with Greg and Pam trying to wean their parents off the idea.

The cast also included Marcia Wallace as Bob's wisecracking, man-chasing receptionist, Carol Kester; Peter Bonerz as amiable orthodontist Dr. Jerry Robinson; Jack Riley as Elliot Carlin, the most misanthropic of Dr. Hartley's patients; character actor and voice artist, John Fiedler as milquetoast Emil Petersen; and Pat Finley as Bob's sister, Ellen Hartley, a love interest for Howard Borden. Future Newhart regular Tom Poston had a briefly recurring role as Cliff "Peeper" Murdock, veteran stage actor Barnard Hughes appeared as Bob's father for three episodes spread over two seasons, and Martha Scott appeared in several episodes as Bob's mother.

Veteran film and television character actresses appearing on the show included Maudie Prickett as Mrs. Bennett, the owner of a lost chihuahua in "Beaver and Poncho", Irene Tedrow as Mrs. Hathaway, Aunt Martha's traveling companion in "The Visiting Aunts", and Lurene Tuttle as Mrs. Evans, Eddie's landlady in "Bachelor-at-Large".

In "Bombshell," Kristy Swanson portrays Lorelai Mailer, a woman whose son dies after she gives birth, only to die herself days later; the case becomes a homicide investigation that seems to involve the paternity of the newborn. The episode revealed many resemblances with the deaths of Anna Nicole Smith and her son Daniel Wayne Smith, which, like this episode, is a story with characters motivated by the misadventures of rich and famous people.

In 2012, Toussaint received critical acclaim and was nominated for an Independent Spirit Award for Best Supporting Female for her performance as a hardworking mother who struggles to support her daughter's (Emayatzy Corinealdi) decision to put her life on hold to support her incarcerated husband (Omari Hardwick), of Middle of Nowhere, a drama film written and directed by Ava DuVernay.[6][17][18] Toussaint was a promising contender for an Academy Award for Best Supporting Actress category in 2013, but she did not receive a nomination.[19][20][21] In 2012, she also guest-starred in Shonda Rhimes' dramas Grey's Anatomy as doctor, and on Scandal, as a bereaved and betrayed pastorâ€™s wife.[19] In 2013, she had a recurring role in season 3 of Dana Delany's series Body of Proof as Angela Martin, the new police chief and main villain.[22] Later in 2013, she joined the cast of ABC Family drama series, The Fosters, as Sherri Saum's character mother.[23] In show she reunited on-screen with Annie Potts in first time as of Any Day Now finale in 2002.[7]

"Kidnapped by Danger" is the fourteenth episode of the sixth season of the American television comedy series 30 Rock, and the 116th overall episode of the series. It was directed by Claire Cowperthwaite, and written by series creator and star Tina Fey. The episode originally aired on the National Broadcasting Company (NBC) network in the United States on March 22, 2012, immediately after the previous episode, "Grandmentor".

Christine Campbell (Julia Louis-Dreyfus) is a neurotic mother and owner of a women's gym who is in a constant struggle to keep pace with those around her. A fixture in her life is her ex-husband Richard (Clark Gregg), whose new girlfriend (Emily Rutherfurd) is also named Christine, hence the nickname "Old Christine".


Question: the literal interpretation of the law vs. the intended meaning of the law

The distinction between the letter and the spirit of the law is a common legal concept. Adhering to the letter of the law means following the exact wording of the law, while disregarding the spirit or the intent behind it. On the other hand, following the spirit of the law means acting in accordance with the law's intended purpose, even if it means deviating from the literal interpretation of the words.

Legal historian John Phillip Reid has written that the emphasis on the political philosophy of the Declaration has been misplaced. The Declaration is not a philosophical tract about natural rights, argues Reid, but is instead a legal documentâ€”an indictment against King George for violating the constitutional rights of the colonists.[96] Historian David Armitage has argued that the Declaration was strongly influenced by de Vattel's The Law of Nations, the dominant international law treatise of the period, and a book that Benjamin Franklin said was "continually in the hands of the members of our Congress".[97] Armitage writes, "Vattel made independence fundamental to his definition of statehood"; therefore, the primary purpose of the Declaration was "to express the international legal sovereignty of the United States". If the United States were to have any hope of being recognized by the European powers, the American revolutionaries first had to make it clear that they were no longer dependent on Great Britain.[98] The Declaration of Independence does not have the force of law domestically, but nevertheless it may help to provide historical and legal clarity about the Constitution and other laws.[99][100][101][102]

In the United States, there are different ways to do judicial interpretation:

In his essay, Barthes argues against the method of reading and criticism that relies on aspects of the author's identity—their political views, historical context, religion, ethnicity, psychology, or other biographical or personal attributes—to distill meaning from the author's work. In this type of criticism, the experiences and biases of the author serve as a definitive "explanation" of the text. For Barthes, this method of reading may be apparently tidy and convenient but is actually sloppy and flawed: "To give a text an author" and assign a single, corresponding interpretation to it "is to impose a limit on that text".

A biblical canon or canon of scripture[1] is a set of texts (or "books") which a particular religious community regards as authoritative scripture. The English word "canon" comes from the Greek κανών, meaning "rule" or "measuring stick". Christians became the first to use the term in reference to scripture, but Eugene Ulrich regards the idea as Jewish.[2][3]

According to the principle of right intention, the aim of war must not be to pursue narrowly defined national interests, but rather to re-establish a just peace. This state of peace should be preferable to the conditions that would have prevailed had the war not occurred. Wars cannot be fought simply to annex property or install a regime change. Current doctrines of "anticipatory self-defense" or preemptive strikes, commonly called the Bush Doctrine, have challenged concepts of right intention/just cause. Right cause includes humanitarian intervention, particularly when actions "shock the conscience". The responsibility to protect covers more in depth the nature of humanitarian intervention.

Acknowledging the presence of this idea (or variations of it) in the works of previous writers, Barthes cited in his essay the poet Stéphane Mallarmé, who said that "it is language which speaks". He also recognized Marcel Proust as being "concerned with the task of inexorably blurring…the relation between the writer and his characters"; the Surrealist movement for employing the practice of "automatic writing" to express "what the head itself is unaware of"; and the field of linguistics as a discipline for "showing that the whole of enunciation is an empty process". Barthes' articulation of the death of the author is a radical and drastic recognition of this severing of authority and authorship. Instead of discovering a "single 'theological' meaning (the 'message' of the Author-God)", readers of a text discover that writing, in reality, constitutes "a multi-dimensional space", which cannot be "deciphered", only "disentangled". "Refusing to assign a 'secret,' ultimate meaning" to text "liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to refuse meaning is, in the end, to refuse God and his hypostases—reason, science, law."[3]

In the most traditional sense, allusion is a literary term, though the word has also come to encompass indirect references to any source, including allusions in film or the visual arts.[7] In literature, allusions are used to link concepts that the reader already has knowledge of, with concepts discussed in the story. In the field of film criticism, a film-maker's intentionally unspoken visual reference to another film is also called an homage. It may even be sensed that real events have allusive overtones, when a previous event is inescapably recalled by a current one. "Allusion is bound up with a vital and perennial topic in literary theory, the place of authorial intention in interpretation", William Irwin observed, in asking "What is an allusion?"[8]

However, in trying to find a balance between law enforcement and privacy issues, he expressed concern that the majority opinion would create anomalies: "Under established law, police may seize and examine [hard copies of information] in the wallet without obtaining a warrant, but under the Court's holding today, the information stored in the cell phone is out."[14] Alito further suggested that Congress or state legislatures may need to consider new laws that draw "reasonable distinctions based on categories of information or perhaps other variable",[15] otherwise "it would be very unfortunate if privacy protection in the 21st century were left primarily to the federal courts using the blunt instrument of the Fourth Amendment".[16]

Allusions to legal issues in To Kill a Mockingbird, particularly in scenes outside of the courtroom, have drawn the attention of legal scholars. Claudia Durst Johnson writes that "a greater volume of critical readings has been amassed by two legal scholars in law journals than by all the literary scholars in literary journals".[75] The opening quote by the 19th-century essayist Charles Lamb reads: "Lawyers, I suppose, were children once." Johnson notes that even in Scout and Jem's childhood world, compromises and treaties are struck with each other by spitting on one's palm, and laws are discussed by Atticus and his children: is it right that Bob Ewell hunts and traps out of season? Many social codes are broken by people in symbolic courtrooms: Mr. Dolphus Raymond has been exiled by society for taking a black woman as his common-law wife and having interracial children; Mayella Ewell is beaten by her father in punishment for kissing Tom Robinson; by being turned into a non-person, Boo Radley receives a punishment far greater than any court could have given him.[58] Scout repeatedly breaks codes and laws and reacts to her punishment for them. For example, she refuses to wear frilly clothes, saying that Aunt Alexandra's "fanatical" attempts to place her in them made her feel "a pink cotton penitentiary closing in on [her]".[76] Johnson states, "[t]he novel is a study of how Jem and Scout begin to perceive the complexity of social codes and how the configuration of relationships dictated by or set off by those codes fails or nurtures the inhabitants of (their) small worlds."[58]

The laws were first recorded and transmitted not in written language, but by means of wampum symbols that conveyed meaning. In a later era it was translated into English and various accounts exist. The Great Law of Peace is presented as part of a narrative noting laws and ceremonies to be performed at prescribed times. The laws called a constitution are divided into 117 articles. The united Iroquois nations are symbolized by an eastern white pine tree, called the Tree of Peace. Each nation or tribe plays a delineated role in the conduct of government.


Question:
Who sings "why does it hurt when I pee"?

**Question**: what are the names of the great lakes

**Similar Question**: What are the names of the Great Lakes?

**Question**: how many times have liverpool won the champions league

**Similar Question**: How many times have Liverpool won the Champions League?

"Why Does it Hurt When I Pee?" is a song by Frank Zappa, featured on his 1979 album "Joe's Garage Act I". Although the album and single "Joe's Garage" received significant airplay on American FM radio and charted in Norway and Sweden, "Why Does it Hurt When I Pee?" was also frequently performed in Zappa's concerts from 1980 to 1988. The song was part of the narrative of "Joe's Garage", which began with "The Central Scrutinizer". The single version of "Joe's Garage" and "Why Does it Hurt When I Pee?" were included in Zappa's best-of compilation "Strictly Commercial", albeit with fewer special effects than the album versions.

The song became a hit single, peaking at number six on the Billboard Hot 100. It was also a top ten single in the United Kingdom, Belgium, New Zealand, and was a number one single in the Czech Republic. In the United States, the song became symbolic after Hurricane Katrina, where it was dedicated to victims of the disaster and also regarded as a dedication to the victims of the September 11 attacks that occurred in 2001. The song became certified platinum by the Recording Industry Association of America.

The song is a slow funk groove number.[1] During recording, the Bee Gees played a prank on their manager Robert Stigwood, sending him a version with the line "backwards and forwards with my cock hanging out" to see if he was paying attention to their work.[2] For the released version, the line is "backwards and forwards with my heart hanging out".

On the title track of Funkadelic's 1975 album Let's Take It to the Stage, the band calls out, "Hey 'Sloofus,' tell me something good," and antagonizes the singer to "take it to the stage, sucker." The song pokes fun at the sudden surge in prevalence of funk songs.

The song has a clear Canadian context and subtext, including an explicit mention of the province Alberta as well as references to long, cold winters. In 2005, CBC Radio One listeners chose this song as the greatest Canadian song of all time on the series 50 Tracks: The Canadian Version.

There is also an Italian version of this song, titled "Non Puoi Lasciarmi CosÃ¬", included in the Italian release of the international debut album. The lead vocals of the first two verses are sung by Kevin Richardson and Howie Dorough.

"Livin' la Vida Loca" is a number-one hit song by Puerto Rican singer Ricky Martin. It was released on March 23, 1999, from Martin's self-titled debut English-language album (he had previously released several albums in Spanish). The song was composed by Desmond Child and Draco Rosa and topped the charts during 1999. La vida loca is Spanish for "the crazy life."

Johnathan and Andy give a quick "Opilio Geography" lesson on where the fishing grounds are.  Mike Rowe and Time Bandit deckhand Mike Fourtner describe "Dutch Harbor Bunker Hill", from its World War II days as an Army base with Fourtner giving the physical tour.  The Captains sing "Bill's Blues" with Wild Bill, going too far north and low numbers on blues until late in the season.

The song contains a few artistic omissions and paraphrases. In a later interview aired on Canadian commercial radio, Lightfoot recounted how he had agonised while trying to pen the lyrics over possible inaccuracies until Lenny Waronker, his long-time producer and friend, finally removed his writer's block simply by advising him to play to his artistic strengths and "just tell a story". On the other hand, Lightfoot's personal passion for recreational sailing on the Great Lakes[6] informs his ballad's verses throughout.

"My Toot Toot" also popularly known as "Don't Mess with My Toot Toot" or "(Don't Mess with) My Toot Toot" is a song written by Sidney Simien and performed by him under his stage name Rockin' Sidney. Simien wrote the song and released it on the Maison de Soul Records label in Ville Platte, Louisiana. In October 1984, he included the tune on his third album, My Zydeco Shoes Got the Zydeco Blues, recording the entire album at his home studio in Lake Charles and playing all the instruments himself.

There are many different versions of the lyrics to the song. In England, most share the basic verse:


Question: When does the Cannes Film Festival occur?

The Cannes Film Festival, originally known as the International Film Festival until 2002, is an annual event that takes place in Cannes, France. It showcases new films from various genres and countries, including documentaries. Established in 1946, this prestigious festival is by invitation only and typically occurs in May at the Palais des Festivals et des Congrès.

In Canberra the annual Carols by Candlelight is held in Commonwealth Park on Stage 88. 2012 was its 68th occurrence. It is a traditional Carols with community singing of carols led by Woden Valley Youth Choir and one of the local bands such as Canberra City Band. Guest Artists are featured - usually drawn from the local community. The event is normally held on the last Wednesday of the school term, from 7.00 pm. Donations are collected for a local charity with $14,180 raised in 2012 for the Snowy Hydro Southcare Helicopter service. In 2011 and 2012, Auslan interpreters provided interpretation for members of the regional deaf community and that service is expected to continue.[5]

The final, usually held on the first Sunday of September, serves as the culmination of a series of games played during the summer months, and the results determine which county's team receives the Liam MacCarthy Cup. Where five Sundays occur in September (as in 2012 and 2013), the final is held on the second Sunday in September. The Championship was initially a straight knockout competition open only to the champions of each of the four provinces of Ireland. During the 1990s the competition was expanded, firstly incorporating a "back-door system" and later a round-robin group phase involving more games. The Championship currently consists of several stages. In the present format, it begins in late May with provincial championships held in Leinster and Munster. Once a team is defeated in the provincial stage they are granted one more chance to compete for the title. The Munster and Leinster champions gain automatic admission to the All-Ireland Senior Hurling Championship semi-finals, where they are joined by the two winners of the All-Ireland Senior Hurling Championship qualifiers via two lone quarter-finals.

The film was originally released on November 17, 1989, followed by a November 14, 1997, reissue. After the success of the 3D re-release of The Lion King, Disney announced a 3D re-release of The Little Mermaid scheduled for September 13, 2013,[26] but this was cancelled on January 14, 2013, due to the under-performances of other Disney 3D re-releases.[27] The 3D version was released on Blu-ray instead,[28][29] but it did play a limited engagement at the El Capitan Theatre from September to October 2013.[30] On September 20, 2013, The Little Mermaid began playing in select theaters where audiences could bring iPads and use an app called Second Screen Live.[31] The film was also screened out of competition at the 1990 Cannes Film Festival.[32]

In 2015, Sydney was ranked 13th for being the top fashion capitals in the world.[288] It hosts the Australian Fashion Week in autumn. The Sydney Mardi Gras has commenced each February since 1979. Sydney's Chinatown has had numerous locations since the 1850s. It moved from George Street to Campbell Street to its current setting in Dixon Street in 1980.[289] The Spanish Quarter is based in Liverpool Street whilst Little Italy is located in Stanley Street.[207] Popular nightspots are found at Kings Cross, Oxford Street, Circular Quay, and The Rocks. The Star is the city's only casino and is situated around Darling Harbour.

At the 2008 Cannes Film Festival, Lee, who was then making Miracle at St. Anna, about an all-black U.S. division fighting in Italy during World War II, criticized director Clint Eastwood for not depicting black Marines in his own World War II film, Flags of Our Fathers. Citing historical accuracy, Eastwood responded that his film was specifically about the Marines who raised the flag on Mount Suribachi at Iwo Jima, pointing out that while black Marines did fight at Iwo Jima, the U.S. military was racially segregated during World War II, and none of the men who raised the flag were black. He angrily said that Lee should "shut his face". Lee responded that Eastwood was acting like an "angry old man", and argued that despite making two Iwo Jima films back to back, Letters from Iwo Jima and Flags of Our Fathers, "there was not one black soldier in both of those films".[40][41][42] He added that he and Eastwood were "not on a plantation."[43] Lee later claimed that the event was exaggerated by the media and that he and Eastwood had reconciled through mutual friend Steven Spielberg, culminating in his sending Eastwood a print of Miracle at St. Anna.[44]

The park is host to numerous events and festivals throughout the year. The annual "Iris Festival", South Carolina's oldest festival, is held at Swan Lake/Iris Gardens every Memorial Day weekend in May. The gardens come alive with color during the Christmas season with the nighttime Fantasy of Lights display, featuring more than 1,000,000 varicolored sparkling lights in an array of colors and shapes. It also hosts an annual Earth Day celebration.[citation needed]

A film adaptation of the book, also called Slaughterhouse-Five, was made in 1972. Although critically praised, the film was a box office flop. It won the Prix du Jury at the 1972 Cannes Film Festival, as well as a Hugo Award and Saturn Award. Vonnegut commended the film greatly. In 2013, Guillermo del Toro announced his intention to remake the 1972 film and work with a script by Charlie Kaufman,[39] originally hoping to release it in early 2011. Due to his involvement with The Hobbit, the project was pushed back and remains uncertain.

In 2016, Rai starred in Omung Kumar's biographical drama Sarbjit. The film is based on the life of Indian farmer Sarabjit Singh, who was convicted of terrorism by a Pakistani court, and how his sister Dalbir Kaur fought relentlessly for his release. Rai played the role of the sister of Sarabjit Singh (played by Randeep Hooda).[123] The film premiered at the 69th Cannes Film Festival,[124] and received mixed reactions from critics.[125] Few reviewers expressed that Rai was "miscast" as she neither looked nor sounded like a Sikh woman.[126] Her Punjabi accent and her over-the-top performance in few scenes was largely criticized, though several critics took note of how much she stood out in the film's quieter scenes.[127][128][129] Rajeev Masand summarised that "she's required to scream and shout and weep copiously to express her anguish; the shrillness does her no favors. In quieter moments – like one in which Dalbir can't bear to part with her stillborn baby – the actress shines."[130] Nonetheless her role earned her tenth Filmfare Best Actress nomination.[131] The film underperformed at the box-office.[132][133]

The city has been host to several well-established, annual theatre, music, film festivals:

Davis also received her only BAFTA Award nomination for this performance. Daughter Barbara (credited as B. D. Merrill) played a small role in the film and when Davis and she visited the Cannes Film Festival to promote it, she met Jeremy Hyman, an executive for Seven Arts Productions. After a short courtship, she married Hyman at the age of 16, with Davis' permission.


Question: What Panic at the Disco song is about a wedding?

"I Write Sins Not Tragedies," a song by Panic at the Disco, faced controversy due to its explicit language, particularly the phrases "The poor groom's bride is a whore" and "Haven't you people ever heard of closing a goddamn door?" In response, radio stations requested an edited version, which replaced "whore" with a "shhh" sound and omitted "god" from "goddamn." Despite this, modern rock stations continued to air the original song.

According to Jean Ryder, the ex-wife of songwriter Mike Hawker, "I Only Want to Be With You" was written soon after she and Hawker married on 1 December 1961, being inspired by Hawker's intense romantic feelings for his new bride. Ryder, who would later be a member of the Breakaways, had been a member of a vocal chorale, the Vernons Girls. Reportedly, she and Hawker had intended that she herself would record "I Only Want to Be With You". However, no formal arrangement for this eventuality had apparently been made by the autumn of 1963, when Hawker received a phone call from Philips A&R director Johnny Franz. Ryder paraphrases Franz as saying "Look we need something which is going to put this girl into the charts, because everybody is knocking her, everybody is saying she'll never make it [solo] - have you got a song that's a guaranteed hit?" Springfield had already recorded nine solo tracks, none of which was deemed the right vehicle to launch her solo career. With Ryder's permission, Hawker submitted "I Only Want to Be With You" to Franz, having made a demo featuring Ryder singing while keeping the beat by tapping on a biscuit tin lid. Franz, and then Springfield, approved the song, which Springfield recorded in a 25 October 1963 session at Olympic Studios, arranged and conducted by Ivor Raymonde, and recorded by engineer Keith Grant. Jean Ryder was included in the vocal chorale on the session. For unknown reasons, a version with (Dusty's) unadulterated vocals was rejected.[2][3][4]

From the liner notes for the original album:[2]

Etheridge tells both in her autobiography and during the interview on the bonus DVD of her greatest hits album that out of all songs she has written, "Come to My Window" is the one that surprises her the most, and that she almost did not put it on the album. She states that while she wrote the song, she did not realize what she was actually writing and that it was not before meeting Tammy Lynn Michaels that she understood what this song means to other people. She also says that it has the best musical bridge part of all her songs.

"The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" is a song released as an iTunes single from American alternative rock band Weezer's sixth album, Weezer (2008). "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" was released to radio on December 9, 2008.[1] The song bears a resemblance to the Shaker song "Simple Gifts" hence the "(Variations on a Shaker Hymn)" in the title. According to lead vocalist and writer Rivers Cuomo, "The Greatest Man" has 11 different themes, including rapping and imitations of other bands such as Nirvana and Aerosmith (both of whom also recorded for Weezer's then-label Geffen Records at one point).

Swift became inspired to write "You Belong with Me" after she overheard a male friend of hers speaking to his girlfriend through a phone call.[4] He acted defensive as his girlfriend yelled at him, and said to her, "No, baby...I had to get off the phone really quickly... I tried to call you right back... Of course I love you. More than anything! Baby, I’m so sorry."[4] Out of the sympathy she felt towards him in the situation, Swift developed a concept for a song.[4] In a writing session with co-writer Liz Rose, Swift explained the situation along with her idea and conceived the song's opening line, "You’re on the phone with your girlfriend / she’s upset / she's going off about something that you said."[4] Together, they developed a story line, which described Swift being in love with the male friend and her having the desire for him to break up with his current girlfriend for her.[4] Swift described the song's concept as "basically about wanting someone who is with this girl who doesn't appreciate him at all. Basically like 'girl-next-door-itis.' You like this guy who you have known for your whole life, and you know him better than she does but somehow the popular girl gets the guy every time."[5] Swift recalled, "It was really fun for us to write the line, 'She wears short skirts, I wear T-shirts'."[4] "You Belong with Me" was first released as a promotional single from Fearless on November 4, 2008, as part of Countdown to Fearless, an exclusive campaign by the iTunes Store;[6] the song was then released as the third single from Fearless on April 18, 2009.[7]

"Send In the Clowns" is a song written by Stephen Sondheim for the 1973 musical A Little Night Music, an adaptation of Ingmar Bergman's film Smiles of a Summer Night. It is a ballad from Act Two, in which the character Desirée reflects on the ironies and disappointments of her life. Among other things, she looks back on an affair years earlier with the lawyer Fredrik, who was deeply in love with her but whose marriage proposals she had rejected. Meeting him after so long, she realizes she is in love with him and finally ready to marry him, but now it is he who rejects her: he is in an unconsummated marriage with a much younger woman. Desirée proposes marriage to rescue him from this situation, but he declines, citing his dedication to his bride. Reacting to his rejection, Desirée sings this song. The song is later reprised as a coda after Fredrik's young wife runs away with his son, and Fredrik is finally free to accept Desirée's offer.[1]

The news asserted that both tour plans with blink-182 in August 2009 and new album production "will continue as previously announced."[44] The following day, Alternative Press broke the news that "New Perspective", the first song recorded without Ross and Walker, would debut the following month on radio and as a part of the soundtrack to the film Jennifer's Body.[46] On July 10, 2009, Alternative Press also reported that the band had regained the exclamation point, becoming, once again, Panic! at the Disco. "New Perspective" was released on July 28, 2009.[47] Former guitarist of pop rock band The Cab, Ian Crawford and Dallon Weekes, frontman of indie rock band The Brobecks, filled in for Ross and Walker on tour during the blink-182 Summer Tour in August 2009.[48]

Lyrically, the track is about someone who is in love with a mischievous person, using "monster" as a hyperbole to describe their personality. The song failed to chart in domestic and international charts but did enter the Belgium charts, peaking at number 23. Its music video premiered at the Sony billboard in Times Square on August 27, 2015 and features the group dancing in front and inside a hotel with actors dressed as monsters, in reference to the song's addition in the movie. Each member played a character for this video.[3] Live performances for this track included The Late Late Show,[4] hosted by James Corden and a special radio performance at On Air with Ryan Seacrest.[5]

The track was written in memory of Greg Carroll, a Māori man the band first met in Auckland during the Unforgettable Fire Tour in 1984. He became very close friends with lead singer Bono and later served as a roadie for the group. Carroll was killed in July 1986 in a motorcycle accident in Dublin. Following the tangi funeral in New Zealand, Bono wrote the lyrics to "One Tree Hill" in Carroll's memory. The lyrics reflect Bono's thoughts at the tangi and during his first night in New Zealand when Carroll took him up Auckland's One Tree Hill. They also pay homage to Chilean singer-songwriter and activist Víctor Jara. Musically, the song was developed in a jam session with producer Brian Eno. The vocals were recorded in a single take, as Bono felt incapable of singing them a second time.

Lyrically, "Secret Love Song" details unrequited and forbidden love.[12] Edwards said the lyrics are about "being with someone and you want to scream it from the rooftops but you have to hold it in".[13] Thirlwall interprets the group's lyrics in the song as a narrative for the struggles LGBT people are faced with when coming to terms with their sexuality and public affection.[14] According to Derulo, his verse serves as a "twist" in the song, discussing his personal experience of having an affair: "I told a true story about this girl that I am really into but she has a boyfriend but we still do our thing."[3]


Question: What Panic at the Disco song is about a wedding?

"I Write Sins Not Tragedies" is the debut music video by Panic! at the Disco, following their single "The Only Difference Between Martyrdom and Suicide Is Press Coverage," which did not receive a video. The clip is set at an eccentric, circus-inspired wedding, featuring performances by the Lucent Dossier Vaudeville Cirque.

In January 2008, the band unveiled a new logo and dropped the exclamation point from the group's name, becoming Panic at the Disco.[1] Released on March 21, 2008, Pretty. Odd. was described by the band as "more organic and mellower" than A Fever You Can't Sweat Out, as well as unintentionally and coincidentally similar to music of the Beatles, in both songwriting and scope.[29] The record debuted at number two on the US Billboard 200 chart, with first-day sales of 54,000, and first-week sales of 139,000 copies in the United States.[30] Those figures marked the band's biggest sales week to that date, beating a previous record held by A Fever You Can't Sweat Out (which sold 45,000 during the winter of 2006). The record also debuted at "Current Alternative Albums" chart and No. 2 on the "Digital Albums" chart, the latter of which accounted for 26 percent of the disc's overall sales.[31] The album charted high in various other countries and was eventually certified gold in the United Kingdom, however, Pretty. Odd. received relatively disappointing sales in the face of its predecessor.[32] Pretty. Odd. was, however, critically acclaimed in contrast to Fever: Barry Walters of Spin called Panic's debut album "embarrassing" while regarding the new record as "[daring] to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility."[33]

In an interview with KROQ-FM, Rivers Cuomo talked extensively about the concept behind the song. The song was originally titled "The Ballad of Oswaldo Sánchez", inspired by Sánchez playing in the 2006 World Cup after the death of his father. He mentioned the influence for each section, including the Baroque counterpoint vocal style which inspired the final 'Bach' & 'Beethoven' sections.[5] In a January 21, 2009, interview on the NPR program Fresh Air, Cuomo stated that "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" is his favorite Weezer song.[6]

As expected and predicted by several music publications, the band adopted a very different style for the touring in support of Pretty. Odd., in contrast to the dark, circus-themed elements of the band's previous stage shows.[38] Each show contained "woodsy set pieces, projections of flora and fauna, and mic stands wrapped in lights and flowers," and each band member dressed in a vest.[39] While reflecting on the theatrical nature of A Fever You Can't Sweat Out touring, Urie commented "We did it and it was a lot of fun when we did it, but this time around I think we wanted to get back to a more intimate, personal setting, and scale it down a little bit." Ryan Ross explained that "It's more about connecting with the audience and seeing what's gonna happen every night. It's not as scripted out and pre-planned. It makes it more exciting for us, and less monotonous every night."[39] A live album, ...Live in Chicago, based on live recordings from Chicago during the Honda Civic Tour, was released December 2, 2008.[40] An accompanying DVD contains photos from the tour, each music video from the album as well as behind-the-scenes footage of the videos and the tour, the short film Panic! at the Disco In: American Valley, and the documentary feature based on the tour, All In A Day's.[41]

A club music song that lasts for three minutes, forty-one seconds, "Up Out My Face" appears as the ninth track on the album; track ten is a fifty-one second reprise called "Up Out My Face (The Reprise)".[1][2] Its instrumentation makes use of a "thumping" marching band coda,[2][3] while its lyrics are about expressing "anger at an incompatible lover".[4] Brian Mansfield of USA Today highlights the lyrics "If we were two Lego blocks, even the Harvard University graduating class of 2010 couldn't put us back together again" as one of the album's "many funny lines".[5] Rolling Stone writer Jody Rosen wrote that the singer "gets in touch with her funny bone" on "Up Out My Face".[3] Sal Cinquemani of Slant Magazine described the references to Lego, Harvard University and Humpty Dumpty as "a whole new level of lyrical ridiculousness".[6]

The singer of the song, Mark Hoppus says that the song is inspired by his own troubles on the tour. Hence "The tour was over, we've survived." I'll see if I can find the article... 60.231.80.44 (talk) 21:43, 26 November 2011 (UTC)

Meanwhile, Wentz began to hype the band wherever possible: from wearing "Pete! at the Disco" T-shirts onstage to mentioning the group in interviews. Wentz gave a quick shout-out to the band during a press junket on the day before the 2005 MTV Video Music Awards: "I've got a couple of bands coming out soon on Decaydance, one being this band called Panic! at the Disco," Wentz said. "Their record is going to be your next favorite record. It's called A Fever You Can't Sweat Out â€“ get it before your little brother does."[11] At the time of the band's signing, all of the band members were still in high school (with the exception of Ross, who was forced to quit UNLV). Urie graduated in May 2005, and Wilson and Smith finished school online as the band left for College Park, Maryland, to record their debut record.[3]

The album is split into two halves: the first half is mostly electronic dance punk, while the second half features Vaudevillian piano, strings, and accordion.[7] The band grew tired of writing only with drum machines and keyboards and, inspired by film scores (specifically the works of Danny Elfman and Jon Brion) decided to write a completely different half.[6] "By the end of that, we were completely exhausted," said Ross of the studio sessions. After its completion, "we had two weeks to come home and learn how to be a band," Ross said.[3] The group played its first live show during the summer of 2005 at local Las Vegas music venue The Alley on West Charleston.[3] Afterwards, the band toured nationally on the Nintendo Fusion Tour with mentors Fall Out Boy, as well as Motion City Soundtrack, The Starting Line, and Boys Night Out for the rest of 2005.[13]

"It's Not the End of the World?" is a song by Welsh band Super Furry Animals. It was the last single to be released from the Rings Around the World album and reached number 30 on the UK Singles Chart on its release in January 2002.[1] Singer Gruff Rhys has variously described the track as being about the extinction of mankind and as "a romantic song about growing old".[2][3]

Clarkson pegged "Piece by Piece" as a follow-up song to her 2004 track "Because of You" and the album's "most personal" record, saying that "once you've worked through that and you find love and the kind of happiness you hoped for but didn't really know was possible. It's a happy song. And it has a happy ending, unlike 'Because of You'".[6][11] She revealed that she was inspired to write it after a discussion with her sister about their relationships with their respective families.[2][11][12][13] She remarked, "I was talking to my sister on the phone about how sometimes girls with daddy issues don't find men like that!".[2] Clarkson also noted that how their husbands were so supportive and loving were in stark contrast to the clichÃ© about people with "abandonment issues" dating "losers".[2] She also said that "Piece by Piece" is a positive song, despite its somber resonance, and that she's still grateful to her father for making her want to be much more present in her family.[2] Sonically, Jon Pareles of The New York Times compared it to the anthems recorded by U2.[14] While Marissa Muller of CBS Radio described its sound as having a stadium feel with big drums.[15]

The song was written for Joel's first wife (and business manager) Elizabeth Weber because he could not afford to buy her anything while in California.[2] As Joel says in the liner notes of Songs in the Attic, "Corny but true; I was broke at the time ('73) so I wrote this for my wife as a Valentine's Day gift".[3][4]


Question: What Panic at the Disco song is about a wedding?

In the music video for "I Write Sins Not Tragedies" by Panic! At The Disco, the storyline revolves around a wedding between a bride, portrayed by Jessie Preston, and a groom, played by Daniel Isaac McGuffey. The bride's family, dressed in formal attire, initially appear to be sleeping with eyes painted on their eyelids, while the groom's family, who are entertainers and carnival folk, create a disturbance at the ceremony. Brendon Urie, the band's vocalist, takes on the role of the ringmaster, narrating the events and causing chaos. Following an argument between the two families, the bride flees the scene, pursued by one of her guests. The ringmaster forcibly escorts the groom outside, where he discovers his fiancée kissing the guest who had followed her out of the church. The groom, visibly shocked, straightens up as Urie and the groom bow to the camera, revealing the ringmaster to be an alter ego of the groom.

Speaking about the meaning of the lyrics, John Oates has stated that while many listeners may assume the lyrics are about a relationship, in reality, the song, "is about the music business. That song is really about not being pushed around by big labels, managers, and agents and being told what to do, and being true to yourself creatively." This was done intentionally, he explained, to universalize the topic of the song into something everyone could relate to and ascribe personal meaning to in their own way. Naming "Maneater" as another example, he revealed that this was a common theme for the group's songs.[2][3]

The lyrics are written in the stream-of-consciousness style, telling the story of the survivor of a fictitious British ship called Veronica, floating on an iceberg in the Baltic Sea.[3]

Gordon Birch (J. D. Walsh) and Jodi Flooger (Rakefet Abergel) are a couple from Milwaukee, Wisconsin. They only appear in the special "iDo". Gordon asks Jodi to marry him live on an iCarly episode, Jodi says yes, and Gordon wants to sing Miranda Cosgrove's song "Shakespeare". He tries to sing it both on iCarly and at the wedding but both times, he got nervous and urinated on himself. At the wedding, Carly sings the song for Gordon. Spencer walks in on iCarly when Gordon proposes to Jodi, and she immediately falls in love with Spencer after already telling Gordon she would marry him. Jodi loves the song Gordon wrote for her, so at the end of "iDo" she decides to marry him. At the wedding, Carly and Sam are the bridesmaids, and Freddie is Gordon's best man.

Ross and Urie soon began to commit to their laptops the demos they had been developing and posted three early demos ("Time to Dance," "Nails for Breakfast, Tacks for Snacks" and "Camisado") on PureVolume.[3] On a whim, they sent a link to Fall Out Boy bassist Pete Wentz via a LiveJournal account. Wentz, who was in Los Angeles at the time with the rest of Fall Out Boy working on the band's major-label debut, From Under the Cork Tree, drove to Las Vegas to meet with the young, unsigned band.[8] Upon hearing "two to three" songs during band practice, Wentz was impressed and immediately wanted the band to sign to his Fueled by Ramen imprint label Decaydance Records, which made the band the first on the new label. Around December 2004, the group signed to the label.[6] As news broke that Wentz had signed Panic! (who had yet to perform a single live show), fans on the internet began to bash the group. "Almost right away we knew what was going to happen," Ross explained in a 2006 interview. "We had two songs online and people were already making assumptions on what kind of band we were and what we were going to sound like."[11]

In an interview with KROQ-FM, Rivers Cuomo talked extensively about the concept behind the song. The song was originally titled "The Ballad of Oswaldo Sánchez", inspired by Sánchez playing in the 2006 World Cup after the death of his father. He mentioned the influence for each section, including the Baroque counterpoint vocal style which inspired the final 'Bach' & 'Beethoven' sections.[5] In a January 21, 2009, interview on the NPR program Fresh Air, Cuomo stated that "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" is his favorite Weezer song.[6]

Due to the opening lyrics, "Robert's got a quick hand," many have speculated that the song is a reference to Robert Hawkins, perpetrator of Omaha's Westroads Mall shooting. The band's publicist denied any connection: "This is completely false. The character name in the song is just a coincidence."[15] For play on the television channels MTV and MTVu, the words "gun" and "bullet" were removed from the song's chorus.[16] Many have misinterpreted the song's meaning, and have written letters to Foster's record label and called radio stations to complain. He explained, "The song is not about condoning violence at all. It's the complete opposite. The song is an amazing platform to have a conversation with your kids about something that shouldn't be ignored, to talk about it in a loving way."[4]

While the hapless groupie continues trying to get his attention, Pink feels "Cold as a razor blade / Tight as a tourniquet / Dry as a funeral drum," before exploding into a fit of violence, destroying his room, and frightening the young woman away. When his hotel room is finally in complete shambles, and the groupie is gone, Pink feels something more: Self-pity, and a lack of empathy for others, as he screams "Why are you running away?"

Lorde, Antonoff, and Joel Little wrote the song, with production handled by Lorde, Antonoff, and Frank Dukes.[1] It was the first track Lorde wrote for Melodrama. Writing took place over an 18-month period.[7] Lorde's first heartbreak inspired the lyrics, leading reviewers to characterise them as being "downbeat" as well as having an "acceptance of longing".[8][9] Spencer Kornhaber from The Atlantic stated that Lorde was singing about the transitional phase of a breakup and obsessing over her ex "misleading" his new partner in the lyrics, "She thinks you love the beach, youâ€™re such a damn liar". Kornhaber compared the "loop of bliss" in the last minute of the track to The Smiths song, "How Soon Is Now?" (1984).[10] Pretty Much Amazing writer Danilo Bortoli noted how Lorde's songwriting provides a shift in perspective from Pure Heroine (2013). Bortoli mentioned how she used to portray the "role of master observer" and compared her new view to British singer Tracey Thorn.[11]

Clarkson pegged "Piece by Piece" as a follow-up song to her 2004 track "Because of You" and the album's "most personal" record, saying that "once you've worked through that and you find love and the kind of happiness you hoped for but didn't really know was possible. It's a happy song. And it has a happy ending, unlike 'Because of You'".[6][11] She revealed that she was inspired to write it after a discussion with her sister about their relationships with their respective families.[2][11][12][13] She remarked, "I was talking to my sister on the phone about how sometimes girls with daddy issues don't find men like that!".[2] Clarkson also noted that how their husbands were so supportive and loving were in stark contrast to the clichÃ© about people with "abandonment issues" dating "losers".[2] She also said that "Piece by Piece" is a positive song, despite its somber resonance, and that she's still grateful to her father for making her want to be much more present in her family.[2] Sonically, Jon Pareles of The New York Times compared it to the anthems recorded by U2.[14] While Marissa Muller of CBS Radio described its sound as having a stadium feel with big drums.[15]

In 2015, Paich explained the song is about a man's love of a continent, Africa, rather than just a personal romance.[6] In 2018, Paich explained the song is about a person flying in to meet a lonely missionary.[7] As a child, Paich attended a Catholic school. Several of the teachers had done missionary work in Africa, and this became the inspiration behind the line "I bless the rains down in Africa".[7]


Question: Why is the rooster the symbol of France?

The Gallic Rooster, a symbol associated with France, has its roots in the Middle Ages. The connection emerged due to a Latin pun involving 'Gallus,' which means both inhabitant of Gaul and rooster. Initially used by France's adversaries as a jest, the rooster's association with the Gauls was embraced by French monarchs for its profound Christian symbolism. The rooster signifies the victory of light over darkness and good over evil, inspired by the biblical story where Peter denied Jesus three times before the rooster crowed. Its crowing at dawn became a metaphor for daily triumphs, making it a fitting emblem for France as a Catholic nation during the Renaissance. Consequently, the rooster became a widespread Christian motif, appearing on weather vanes, also referred to as weathercocks.

Using a simplified symbol which does not depict St. Andrew's image, the saltire or crux decussata, (from the Latin crux, 'cross', and decussis, 'having the shape of the Roman numeral X'), began in the late 14th century. In June 1385, the Parliament of Scotland decreed that Scottish soldiers serving in France would wear a white Saint Andrew's Cross, both in front and behind, for identification.[7]

The symbolism traditionally ascribed to the colors are that the yellow band stands for the wealth of the land, the red for courage, and the blue for the independence from Spain, or "golden" America separated from bloody Spain by the deep blue sea.[citation needed]

The terms "left" and "right" appeared during the French Revolution of 1789 when members of the National Assembly divided into supporters of the king to the president's right and supporters of the revolution to his left. One deputy, the Baron de Gauville, explained: "We began to recognize each other: those who were loyal to religion and the king took up positions to the right of the chair so as to avoid the shouts, oaths, and indecencies that enjoyed free rein in the opposing camp". However, the Right opposed the seating arrangement because they believed that deputies should support private or general interests but should not form factions or political parties. The contemporary press occasionally used the terms "left" and "right" to refer to the opposing sides.[citation needed]

Due to their carrion diet, the Celtic peoples strongly associated corvids with war, death and the battlefield â€“ their great intelligence meant that they were often considered messengers, or manifestations of the gods such Bendigeidfran Blessed raven or the Irish Morrigan, underworld deities that may be related to the later Arthurian Fisher King. The Welsh Dream of Rhonabwy illustrates well the association of ravens with war. In many parts of Britain, gatherings of crows, or more often magpies, are counted using the divination rhyme: one for sorrow, two for joy, three for a girl, four for a boy, five for silver six for gold, seven for a secret never to be told. Cornish superstition holds that when a lone magpie is encountered, it must be loudly greeted with respect.

At that time they say that the Emperor Honorius in Ravenna received the message from one of the eunuchs, evidently a keeper of the poultry, that Roma had perished. And he cried out and said, "And yet it has just eaten from my hands!" For he had a very large cockerel, Roma by name; and the eunuch comprehending his words said that it was the city of Roma which had perished at the hands of Alaric, and the emperor with a sigh of relief answered quickly: "But I thought that my fowl Roma had perished." So great, they say, was the folly with which this emperor was possessed.

The Age of Aries ushered in efforts to replace polytheism with monotheism. The earliest known attempt was by the Egyptian Pharaoh Akhenaten, who, in about 1350 BC, decreed the Sun God Aten to be the supreme deity, apparently in reaction to his earlier lack of inclusion in religious rites by his family. After his death, however, power reverted to the original polytheistic priests, who re-established the old religion. Speculation (including that of Freud) has it that later, during the reign of Ramesses II, Moses was influenced by rumour of Akhenaten's revolutionary idea, and grasped the idea of a single supreme God, who especially favoured his people, as an inspirational mechanism that best suited his people held in bondage. The symbol of Aries can be seen as representing the power of multiple gods streaming down into a single god-head.

By promising a spiritual transformation at a time of great turmoil, the manifestos tempted many figures to seek esoteric knowledge. Seventeenth-century occult philosophers such as Michael Maier, Robert Fludd, and Thomas Vaughan interested themselves in the Rosicrucian world view.[1] According to historian David Stevenson, it was influential to Freemasonry as it was emerging in Scotland.[4] In later centuries, many esoteric societies have claimed to derive from the original Rosicrucians. Rosicrucianism is symbolized by the Rosy Cross or Rose Cross.

A rather rare, late-15th-century, variant depiction of the hortus conclusus in religious art combined the Annunciation to Mary with the themes of the Hunt of the Unicorn and Virgin and Unicorn, so popular in secular art. The unicorn already functioned as a symbol of the Incarnation and whether this meaning is intended in many prima facie secular depictions can be a difficult matter of scholarly interpretation. There is no such ambiguity in the scenes where the archangel Gabriel is shown blowing a horn, as hounds chase the unicorn into the Virgin's arms, and a little Christ Child descends on rays of light from God the Father. The Council of Trent finally banned this somewhat over-elaborated, if charming, depiction,[21] partly on the grounds of realism, as no one now believed the unicorn to be a real animal.

The prevalent modern symbolism is oppression, due to the use for a mechanical restriction of the liberty of a human or animal.

Between 1867 and 1933, Austria-Hungary and later, Hungary used the crescent moon crowned head of antique Greek heroine Diana as the hallmarking symbol of legal silver alloys. The head was encircled by a frame, optionally composed of convex, concave and straight lines. One concave line represented 140/1000 fineness, a straight one 150 and a convex one 160. For example, a Diana head within a frame made in the shape of a 5-petal flower represented 5x160 = 800 thousands fineness, a local silver standard commonly used in eating forks and spoons. Meanwhile, a hexagonal frame represented 900 fine silver. The same logic was also used to frame gold hallmarks.


Question: What happened to the fourth member of Destiny's Child?

In early 2000, the original line-up of Destiny's Child underwent a change, with Roberson and Luckett being replaced by Williams and Farrah Franklin. However, Franklin left the group after only five months, resulting in the trio of Beyoncé Knowles, Kelly Rowland, and Michelle Williams that fans are most familiar with. The group's third album, Survivor (2001), was interpreted by the public as a reflection of the group's recent experiences, featuring hit singles such as "Independent Women," "Survivor," and "Bootylicious." After announcing a hiatus in 2002, the group reunited in 2004 for their fourth and final studio album, Destiny Fulfilled. Throughout their career, Destiny's Child has sold over sixty million records worldwide, been nominated for 14 Grammy Awards, and been recognized by Billboard as one of the greatest musical trios of all time.

For the recording of their new album, Cripps returned to the lineup, replacing Muscat, and recorded keyboards on the album.[31] Produced by Gilby Clarke,[2] the group released Man in the Moon in 2001 through Spitfire Records[31] while former Pretty Boy Floyd guitarist Keff Ratcliffe was added to the group.[2] Sometime afterwards, Muddy would depart the group, along with Ratcliffe and Cripps, with Adam Hamilton becoming the group's new bassist.[32][33][34] with Mötley Crüe bassist Nikki Sixx.[32] L.A. Guns bassist Hamilton was briefly involved with this group (as keyboardist),[32] which was rounded out by singer London LeGrand[32] and Adema drummer Kris Kohls.[32] John Corabi, formerly of Mötley Crüe and The Scream, was to fill in for Guns, during the latter's involvement with Cockstar, on L.A. Guns' tour with Alice Cooper.[30] However, Corabi himself would soon join Cockstar, replacing Hamilton.[32] Cockstar would change their name to Brides of Destruction.

In 2004 Collective Soul created their independent label, El Music Group which allowed the band greater control over the production and distribution of their music. In November of that year, they released their sixth studio album, Youth, which debuted at No.Â 66 on the Billboard 200. "Counting the Days" became a Top 10 rock hit. The second single, "Better Now" received significant airplay on Adult Top 40 radio, reaching the Top 10, and was used in commercials for the cereal Special K. The resultant US and Canadian tours lasted over two years. The third single "How Do You Love" became a Top 20 hit on Adult Top 40 radio. During the recording of this album, Shane Evans was dismissed from the band due to drug use,[4] with session musician Ryan Hoyle named as his replacement. Ryan Hoyle recorded 8 of the 11 drum/percussion tracks on this album.

The song "Street Life" from Till Death Do Us Part was featured on the motion picture South Central. A video clip for the song with footage from the film was released.[2] Although the band rarely releases albums or perform together currently, the group came together for a reunion at Cypress Hill's SmokeOut festival in San Bernardino, California on October 23, 2009.[3] In 2010, Bushwick Bill was threatened with deportation to Jamaica.[4] In a 2015 DJ Vlad interview, Scarface stated that he will not be involved in another Geto Boys album.[5]

Friction arose during the recording of "Papa Was a Rollin' Stone" for a number of reasons. The Temptations did not like the fact that Whitfield's instrumentation had been getting more emphasis than their vocals on their songs at the time, and that they had to press Whitfield to get him to produce ballads for the group. Norman Whitfield forced Dennis Edwards to re-record his parts dozens of times until he finally got the angered, bitter grumble he desired out of the usually fiery-toned Edwards.[3] Whitfield's treatment of the group eventually led to his dismissal as their producer.[3] Legend has it that Edwards was angered by the song's first verse: "It was the third of September/That day I'll always remember/'cause that was the day/that my daddy died", as his father was said to have died on that date. It actually was on the third of October, however. [3]

On May 4, 2007, John LeCompt announced that he had been fired from Evanescence, and also stated that drummer Rocky Gray had decided to quit.[41] They both would join Moody to eventually form the band We Are the Fallen. Wind-up issued a press release on May 17, 2007, stating that two Dark New Day members, drummer Will Hunt and guitarist Troy McLawhorn, would be joining the band to replace LeCompt and Gray.[42] It was initially stated that Hunt and McLawhorn would tour with Evanescence until the end of the Family Values Tour in September 2007,[43] but both continued to play with the band through The Open Door tour.[40]

In the final episode produced, the writers attempted a "relaunch" of sorts by having Diana reassigned to the Los Angeles bureau of IADC with a new supporting cast. Though done in anticipation of a fourth season, the revamp was seen for only a single episode ("The Man Who Could Not Die"), which set up an assortment of new supporting characters. These included Dale Hawthorn, Diana's new IADC boss, Bret Cassiday (Bob Seagren), a genetically enhanced man who was indestructible (the titular character of the episode), as well as a streetwise youngster named T. Burton Phipps III who inexplicably is allowed to hang out at the IADC. Also added to the cast was a chimpanzee who, like Bret, is also indestructible. This episode was actually the last to be produced and should have ended the third season, but was shown out of sequence with the two-parter "The Phantom of the Roller Coaster." These final three episodes aired by themselves in Augustâ€“September 1979, months after the broadcast of the rest of season three, creating a mini-season, though they remain grouped as part of season three as opposed to being considered an abbreviated fourth season.

The transition to a hit-making band with original material, encouraged by Lambert, did not sit well with Daltrey, and a recording session of R&B covers went unreleased.[51] The Who were not close friends either, apart from Moon and Entwistle, who enjoyed visiting nightclubs together in the West End of London.[52] The group experienced a difficult time when touring Denmark in September, which culminated in Daltrey throwing Moon's amphetamines down the toilet and assaulting him. Immediately on returning to Britain, Daltrey was sacked,[53] but was reinstated on the condition that the group became a democracy without his dominant leadership. At this time, the group enlisted Richard Cole as a roadie.[54]

"Viva Forever" was the last single released from Spiceworld. The video for the single was made before Halliwell's departure and features the girls in stop-motion animated form, as there was no time to produce a video due to the world tour schedule. Originally planned as a double A-side with "Never Give Up on the Good Times", the idea was mainly as there was no time to re-record and edit out Halliwell's vocals or make a video for the track. The North American tour began in West Palm Beach on 15 June, and grossed $60 million over 40 sold-out performances.[15]

The group felt insecure about the lack of a contract and was frustrated by the direction in which Heart Management was steering them. In October 1994, armed with a catalogue of demos and dance routines, they began touring management agencies. They persuaded Bob Herbert to set up a showcase performance for the group in front of industry writers, producers and A&R men in December 1994 at the Nomis Studios, where they received an "overwhelmingly positive" reaction.[16]:33 Due to the large interest in the group, the Herberts quickly set about creating a binding contract for them. Encouraged by the reaction they had received at the Nomis showcase, all five members delayed signing contracts on the legal advice from, among others, Adams's father.

While driving with Jeff (one of the group's security guards that Gary had hired), Mike speculates on what (if any) future the group has without Bobby. Jeff makes a suggestion that Mike should consider getting in the business side of the industry, given how few broke executives there are compared to broke musicians, as well as giving him more control. Mike glances at the All For Love record, which he and the group (including Bobby) had recorded the year prior and notices "Fast Break Productions" on the record rather than MCA Records. Mike storms into Jheryl's office, interrupting a meeting to demand an explanation. The MCA executive explains to Mike that, rather than being signed to MCA Records, they were signed to Fast Break Productions, which was Gary's company, which in turn had a relationship with MCA Records. In other words, rather than just being a manager who could use his connections to get the group a deal with MCA (as Gary had indicated to the mothers and the members of the group), Gary had drafted a contract that gave him two things: ownership and control of New Edition. This ensured that he got his money before the group did, as well as allowing him to do things like negotiating a shoe deal without consulting the members of the group. Still stunned that their contract with Gary wasn't much better than their $1.87 contract with Maurice Starr four years ago, Mike can't really respond when Jheryl rhetorically asks him if he even read Gary's contract before signing it as opposed to just relying on Gary's explanation. Jheryl finally ends the meeting with a response, saying, "Welcome to the music business." This gives Mike the opportunity to see what it is like to be a music executive- with the group's approval- meets with an attorney to fire Gary as manager and to work by getting out of their contract in order to sign directly with MCA.


Question: How many strong verbs are there in the German language?

In German, verbs can be categorized as weak, featuring dental consonant inflections, or strong, characterized by vowel gradation (ablaut). Both systems are regular, with most verbs conforming to these patterns. However, there are various exceptions and subgroups. Only the verb "sein" (to be) is completely irregular. Despite textbooks often labeling all strong verbs as irregular for simplicity, there are over 200 strong and irregular verbs in the language. There is a trend of strong verbs evolving into weak ones over time.[citation needed]

Of the ten listed irregular verbs in Irish, six show irregular future forms:

In German, "Football" is a loanword for American football, while the German word Fußball, a calque of "football" (Fuß = "foot", Ball = "ball "), means association football. The same goes for Dutch voetbal (voet = "foot", bal = "ball"), Swedish fotboll (fot = "foot", boll = "ball"), and so on — the words for "foot" and "ball" are very similar in all the Germanic languages. Only two Germanic languages do not use "football" or a calque thereof as their primary word for association football:

A future perfect (in German referred to as Futur II) can be formed by means of replacing the simple infinitive with a past infinitive (past participle + infititive of the relevant auxiliary):

In other languages, mostly of European origin, specific markers indicate futurity. These structures constitute a future tense. In many cases, an auxiliary verb is used, as in English, where futurity is often indicated by the modal auxiliary will (or shall). However, some languages combine such an auxiliary with the main verb to produce a simple (one-word, morphological) future tense. This is the origin of the future tense in Western Romance languages such as French and Italian (see below).

The Bundestag (German pronunciation: [ˈbʊndəstaːk], "Federal Diet") is the German federal parliament. It can be compared to the lower house of parliament along the lines of the United States House of Representatives, the Irish Dáil Éireann or the House of Commons of the United Kingdom, with the Bundesrat, though a separate institution, having a similar role to the upper house of a bicameral parliament.

There are a number of variant forms that exist in particular dialects of English. These are generally invariant, regardless of verb, person or negativity.

The Dhatupatha is a lexicon of Sanskrit verbal roots subservient to the Ashtadhyayi. It is organised by the ten present classes of Sanskrit, i.e. the roots are grouped by the form of their stem in the present tense.

Apart from these prepositions the prefix "de" (not a preposition but an article, meaning "the") is also very common. They indicate a property, quality or origin, as in "de Lange" (the tall one), "de Korte" (the small one), "de Groot" (the big one), "de Zwart", "de Wit", "de Rode" (the one with black, white, red hair or skin), "de Rijke" (the rich one). The most widespread is "de Vries" (the Frisian).

In modern Norwegian this word is usually pronounced [ˈʃiː]. English and French use the original spelling "ski", and modify the pronunciation. In Italian it is pronounced as in Norwegian, and the spelling is modified: "sci". German, Portuguese and Spanish adapt the word to their linguistic rules; "Schifahren"/"Schilaufen" (however there is a form- Ski), "esqui" and "esquí". Many languages make a verb form out of the noun, such as "to ski" in English, "skier" in French, "esquiar" in Portuguese and Spanish, "sciare" in Italian, or "schifahren" (as above) in German which is not possible in Norwegian. In Swedish, a close relation to Norwegian, the word is "skidor" (pl.).

With inflected non-preterite forms, the inflected form of the verb is used:


Question:
Where did the violin get its name from? (The question is already in the correct format, so no changes are needed.)

Another example:
**Question**: what is the capital of brazil
**Similar Question**: What is Brazil's capital city?

The term "violin" originated from the Italian word "violino," a diminutive of "viola," which was used in English around the 1570s. "Viola" itself comes from Old Provençal "viola" and Medieval Latin "vitula," meaning "stringed instrument," possibly derived from Vitula, the Roman goddess of joy, or the related Latin verb "vitulari" meaning "to exult, be joyful." The term "Viola da gamba," meaning "bass viol" from 1724, is literally translated as "a viola for the leg" from Italian, indicating its method of being held between the legs. The violin is considered the modern form of the smaller, medieval "viola da braccio."

The name, yam, appears to derive from Portuguese inhame or Canarian (Spain) Ã±ame, which are probably derived from West African languages.[2] The main derivations borrow from verbs meaning "to eat".[2]

Historically, the problem of a vibrating string such as that of a musical instrument was studied by Jean le Rond d'Alembert, Leonhard Euler, Daniel Bernoulli, and Joseph-Louis Lagrange.[4][5][6][7] In 1746, dâ€™Alembert discovered the one-dimensional wave equation, and within ten years Euler discovered the three-dimensional wave equation.[8]

The standard guitar has six strings, but four-, seven-, eight-, nine-, ten-, eleven-, twelve-, thirteen- and eighteen-string guitars are also available. Classical and flamenco guitars historically used gut strings, but these have been superseded by polymer materials, such as nylon and fluorocarbon. Modern guitar strings are constructed from metal, polymers, or animal or plant product materials. Instruments utilizing "steel" strings may have strings made from alloys incorporating steel, nickel or phosphor bronze. Bass strings for both instruments are wound rather than monofilament.

There are ways to classify instruments with this system even if they have elements from more than one group. Such instruments may have particularly long classification numbers with colons and hyphens used as well as numbers. Hornbostel and Sachs themselves cite the case of various bagpipes where some of the pipes are single reed (like a clarinet) and others are double reed (like the oboe). A number of similar composite instruments exist.

In general, country-specific articles should be named using the form: "(item) of (country)"... This will usually hold true in other geography-specific topics, such as for cities, continents, provinces, states, etc.

The pitches on the organistrum were set according to Pythagorean temperament and the instrument was primarily used in monastic and church settings to accompany choral music. Abbot Odo of Cluny (died 942) is supposed to have written a short description of the construction of the organistrum entitled Quomodo organistrum construatur (How the Organistrum Is Made),[5][6] known through a much later copy, but its authenticity is very doubtful. Another 10th-century treatise thought to have mentioned an instrument like a hurdy-gurdy is an Arabic musical compendium written by Al Zirikli.[2] One of the earliest visual depictions of the organistrum is from the twelfth-century PÃ³rtico da Gloria (Portal of Glory) on the cathedral at Santiago de Compostela, Galicia, Spain: it has a carving of two musicians playing an organistrum.[7]:47[8]:3

Music historians generally consider the dulcian to be the forerunner of the modern bassoon,[5] as the two instruments share many characteristics: a double reed fitted to a metal crook, obliquely drilled tone holes and a conical bore that doubles back on itself. The origins of the dulcian are obscure, but by the mid-16th century it was available in as many as eight different sizes, from soprano to great bass. A full consort of dulcians was a rarity; its primary function seems to have been to provide the bass in the typical wind band of the time, either loud (shawms) or soft (recorders), indicating a remarkable ability to vary dynamics to suit the need. Otherwise, dulcian technique was rather primitive, with eight finger holes and two keys, indicating that it could play in only a limited number of key signatures.

In former versions of the IUPAC recommendations, names were written with a capital initial letter. This practice has been abandoned in later publications.[3] The names of chemical compounds and chemical elements when written out, are common nouns in English, rather than proper nouns. They are capitalized at the beginning of a sentence or title, but not elsewhere. Note that for chemical elements this applies to the word only and not the chemical symbol, which is always capitalized. Both rules remain even with chemical elements derived from proper names which would otherwise be capitalized, in keeping with IUPAC policy to differentiate proper names from things named after proper names. Thus, it is californium but the symbol is Cf, and einsteinium, but symbol Es. Note that names for odd or rare chemicals are uncapitalized like common ones, and thus uranium and plutonium (symbols U and Pu) should be uncapitalized like carbon or iron (symbols C and Fe). This rule (full name uncapitalized but symbol capitalized) applies also to isotopes and nuclides, when completely written out: thus 14C but carbon-14. (The element mercury is uncapitalized, but of course the planet and god Mercury remain capitalized proper nouns).

A ship class can take the name of a class member or it can take a name that is thematically common to all members of the class. When the class takes its name from a member of the class, the name is italicized:

The name Ouagadougou dates back to the 15th century when the Ninsi tribes inhabited the area. They were in constant conflict until 1441 when Wubri, a Yonyonse hero and an important figure in Burkina Faso's history, led his tribe to victory. He then renamed the area from "Kumbee-Tenga", as the Ninsi had called it, to "Wage sabre soba koumbem tenga", meaning "head war chief's village". Ouagadougou is a Francophone spelling of the name.