title: Amateur radio

text: In most administrations, unlike other RF spectrum users, radio amateurs may build or modify transmitting equipment for their own use within the amateur spectrum without the need to obtain government certification of the equipment. Licensed amateurs can also use any frequency in their bands (rather than being allocated fixed frequencies or channels) and can operate medium to high-powered equipment on a wide range of frequencies so long as they meet certain technical parameters including occupied bandwidth, power, and prevention of spurious emission.


title: Amateur radio

text: Radio amateurs have access to frequency allocations throughout the RF spectrum, usually allowing choice of an effective frequency for communications across a local, regional, or worldwide path. The shortwave bands, or HF, are suitable for worldwide communication, and the VHF and UHF bands normally provide local or regional communication, while the microwave bands have enough space, or bandwidth, for amateur television transmissions and high-speed computer networks.


title: Amateur radio

text: In most countries, an amateur radio license grants permission to the license holder to own, modify, and operate equipment that is not certified by a governmental regulatory agency. This encourages amateur radio operators to experiment with home-constructed or modified equipment. The use of such equipment must still satisfy national and international standards on spurious emissions.


title: Amateur radio

text: Amateur radio operators are encouraged both by regulations and tradition of respectful use of the spectrum to use as little power as possible to accomplish the communication. This is to minimise interference or EMC to any other device. Although allowable power levels are moderate by commercial standards, they are sufficient to enable global communication. Lower license classes usually have lower power limits; for example, the lowest license class in the UK (Foundation licence) has a limit of 10 W.


title: Amateur radio

text: Power limits vary from country to country and between license classes within a country. For example, the peak envelope power limits for the highest available license classes in a few selected countries are: 2.25 kW in Canada; 1.5 kW in the United States; 1.0 kW in Belgium, Luxembourg, Switzerland, South Africa and New Zealand; 750 W in Germany; 500 W in Italy; 400 W in Australia, India, and the United Kingdom; and 150 W in Oman.


title: Amateur radio

text: Output power limits may also depend on the mode of transmission. In Australia, for example, 400 W may be used for SSB transmissions, but FM and other modes are limited to 120 W.


title: Amateur radio

text: The point at which power output is measured may also affect transmissions. The United Kingdom measures at the point the antenna is connected to the signal feed cable, which means the radio system may transmit more than 400 W to overcome signal loss in the cable; conversely, Germany measures power at the output of the final amplification stage, which results in a loss in radiated power with longer cable feeds.


title: Amateur radio

text: Certain countries permit amateur radio licence holders to hold a Notice of Variation that allows higher power to be used than normally allowed for certain specific purposes. E.g. in the UK some amateur radio licence holders are allowed to transmit using (33 dBw) 2.0 kW for experiments entailing using the moon as a passive radio reflector (known as Earth–Moon–Earth communication) (EME).


title: Amateur radio

text: The International Telecommunication Union (ITU) governs the allocation of communications frequencies worldwide, with participation by each nation's communications regulation authority. National communications regulators have some liberty to restrict access to these bandplan frequencies or to award additional allocations as long as radio services in other countries do not suffer interference. In some countries, specific emission types are restricted to certain parts of the radio spectrum, and in most other countries, International Amateur Radio Union (IARU) member societies adopt voluntary plans to ensure the most effective use of spectrum.


title: Amateur radio

text: In a few cases, a national telecommunication agency may also allow hams to use frequencies outside of the internationally allocated amateur radio bands. In Trinidad and Tobago, hams are allowed to use a repeater which is located on 148.800 MHz. This repeater is used and maintained by the National Emergency Management Agency (NEMA), but may be used by radio amateurs in times of emergency or during normal times to test their capability and conduct emergency drills. This repeater can also be used by non-ham NEMA staff and REACT members. In Australia and New Zealand ham operators are authorized to use one of the UHF TV channels. In the U.S., amateur radio operators providing essential communication needs in connection with the immediate safety of human life and immediate protection of property when normal communication systems are not available may use any frequency including those of other radio services such as police and fire and in cases of disaster in Alaska may use the statewide emergency frequency of 5.1675 MHz with restrictions upon emissions.


title: Amateur radio

text: Similarly, amateurs in the United States may apply to be registered with the Military Auxiliary Radio System (MARS). Once approved and trained, these amateurs also operate on US government military frequencies to provide contingency communications and morale message traffic support to the military services.


title: Amateur radio

text: Amateurs use a variety of voice, text, image, and data communications modes over radio. Generally new modes can be tested in the amateur radio service, although national regulations may require disclosure of a new mode to permit radio licensing authorities to monitor the transmissions. Encryption, for example, is not generally permitted in the Amateur Radio service except for the special purpose of satellite vehicle control uplinks. The following is a partial list of the modes of communication used, where the mode includes both modulation types and operating protocols.


title: Amateur radio

text: In former times, most amateur digital modes are transmitted by inserting audio into the microphone input of a radio and using an analog scheme, such as amplitude modulation (AM), frequency modulation (FM), or single-sideband modulation (SSB). Beginning in 2017, increased use of several digital modes, particularly FT8, became popular within the amateur radio community.


title: Amateur radio

text: The following "modes" use no one specific modulation scheme but rather are classified by the activity of the communication.


title: Free software

text: Free software or libre software, infrequently known as freedom-respecting software, is computer software distributed under terms that allow users to run the software for any purpose as well as to study, change, and distribute it and any adapted versions. Free software is a matter of liberty, not price; all users are legally free to do what they want with their copies of a free software (including profiting from them) regardless of how much is paid to obtain the program. Computer programs are deemed "free" if they give end-users (not just the developer) ultimate control over the software and, subsequently, over their devices.


title: Free software

text: The right to study and modify a computer program entails that source code—the preferred format for making changes—be made available to users of that program. While this is often called "access to source code" or "public availability", the Free Software Foundation (FSF) recommends against thinking in those terms, because it might give the impression that users have an obligation (as opposed to a right) to give non-users a copy of the program.


title: Free software

text: Although the term "free software" had already been used loosely in the past and other permissive software like the Berkeley Software Distribution released in 1978 existed, Richard Stallman is credited with tying it to the sense under discussion and starting the free software movement in 1983, when he launched the GNU Project: a collaborative effort to create a freedom-respecting operating system, and to revive the spirit of cooperation once prevalent among hackers during the early days of computing.


title: Free software

text: For software under the purview of copyright to be free, it must carry a software license whereby the author grants users the aforementioned rights. Software that is not covered by copyright law, such as software in the public domain, is free as long as the source code is in the public domain too, or otherwise available without restrictions.


title: Free software

text: Proprietary software uses restrictive software licences or EULAs and usually does not provide users with the source code. Users are thus legally or technically prevented from changing the software, and this results in reliance on the publisher to provide updates, help, and support. ("See also vendor lock-in and abandonware"). Users often may not reverse engineer, modify, or redistribute proprietary software. Beyond copyright law, contracts and lack of source code, there can exist additional obstacles keeping users from exercising freedom over a piece of software, such as software patents and digital rights management (more specifically, tivoization).


title: Free software

text: Free software can be a for-profit, commercial activity or not. Some free software is developed by volunteer computer programmers while other is developed by corporations; or even by both.


title: Free software

text: Although both definitions refer to almost equivalent corpora of programs, the Free Software Foundation recommends using the term "free software" rather than "open-source software" (an alternative, yet similar, concept coined in 1998), because the goals and messaging are quite dissimilar. According to the Free Software Foundation, "Open source" and its associated campaign mostly focus on the technicalities of the public development model and marketing free software to businesses, while taking the ethical issue of user rights very lightly or even antagonistically. Stallman has also stated that considering the practical advantages of free software is like considering the practical advantages of not being handcuffed, in that it is not necessary for an individual to consider practical reasons in order to realize that being handcuffed is undesirable in itself.


title: Free software

text: The FSF also notes that "Open Source" has exactly one specific meaning in common English, namely that "you can look at the source code." It states that while the term "Free Software" can lead to two different interpretations, at least one of them is consistent with the intended meaning unlike the term "Open Source". The loan adjective "libre" is often used to avoid the ambiguity of the word "free" in English language, and the ambiguity with the older usage of "free software" as public-domain software. ("See Gratis versus libre.")


title: Free software

text: The first formal definition of free software was published by FSF in February 1986. That definition, written by Richard Stallman, is still maintained today and states that software is free software if people who receive a copy of the software have the following four freedoms. The numbering begins with zero, not only as a spoof on the common usage of zero-based numbering in programming languages, but also because "Freedom 0" was not initially included in the list, but later added first in the list as it was considered very important.


title: Free software

text: Freedoms 1 and 3 require source code to be available because studying and modifying software without its source code can range from highly impractical to nearly impossible.


title: Free software

text: Thus, free software means that computer users have the freedom to cooperate with whom they choose, and to control the software they use. To summarize this into a remark distinguishing "libre" (freedom) software from "gratis" (zero price) software, the Free Software Foundation says: "Free software is a matter of liberty, not price. To understand the concept, you should think of 'free' as in 'free speech', not as in 'free beer. ("See Gratis versus libre.")


title: Free software

text: In the late 1990s, other groups published their own definitions that describe an almost identical set of software. The most notable are "Debian Free Software Guidelines" published in 1997, and "The Open Source Definition", published in 1998.


title: Free software

text: The BSD-based operating systems, such as FreeBSD, OpenBSD, and NetBSD, do not have their own formal definitions of free software. Users of these systems generally find the same set of software to be acceptable, but sometimes see copyleft as restrictive. They generally advocate permissive free software licenses, which allow others to use the software as they wish, without being legally "forced" to provide the source code. Their view is that this permissive approach is more free. The Kerberos, X11, and Apache software licenses are substantially similar in intent and implementation.


title: Free software

text: There are thousands of free applications and many operating systems available on the Internet. Users can easily download and install those applications via a package manager that comes included with most Linux distributions.


title: Free software

text: The Free Software Directory maintains a large database of free-software packages. Some of the best-known examples include the Linux kernel, the BSD and Linux operating systems, the GNU Compiler Collection and C library; the MySQL relational database; the Apache web server; and the Sendmail mail transport agent. Other influential examples include the Emacs text editor; the GIMP raster drawing and image editor; the X Window System graphical-display system; the LibreOffice office suite; and the TeX and LaTeX typesetting systems.


title: Free software

text: From the 1950s up until the early 1970s, it was normal for computer users to have the "software freedoms" associated with free software, which was typically public-domain software. Software was commonly shared by individuals who used computers and by hardware manufacturers who welcomed the fact that people were making software that made their hardware useful. Organizations of users and suppliers, for example, SHARE, were formed to facilitate exchange of software. As software was often written in an interpreted language such as BASIC, the source code was distributed to use these programs. Software was also shared and distributed as printed source code (Type-in program) in computer magazines (like "Creative Computing", "SoftSide", "Compute!", "Byte", etc.) and books, like the bestseller "BASIC Computer Games". By the early 1970s, the picture changed: software costs were dramatically increasing, a growing software industry was competing with the hardware manufacturer's bundled software products (free in that the cost was included in the hardware cost), leased machines required software support while providing no revenue for software, and some customers able to better meet their own needs did not want the costs of "free" software bundled with hardware product costs. In "United States vs. IBM", filed January 17, 1969, the government charged that bundled software was anti-competitive. While some software might always be free, there would henceforth be a growing amount of software produced primarily for sale. In the 1970s and early 1980s, the software industry began using technical measures (such as only distributing binary copies of computer programs) to prevent computer users from being able to study or adapt the software applications as they saw fit. In 1980, copyright law was extended to computer programs.


title: Free software

text: In 1983, Richard Stallman, one of the original authors of the popular Emacs program and a longtime member of the hacker community at the MIT Artificial Intelligence Laboratory, announced the GNU Project, the purpose of which was to produce a completely non-proprietary Unix-compatible operating system, saying that he had become frustrated with the shift in climate surrounding the computer world and its users. In his initial declaration of the project and its purpose, he specifically cited as a motivation his opposition to being asked to agree to non-disclosure agreements and restrictive licenses which prohibited the free sharing of potentially profitable in-development software, a prohibition directly contrary to the traditional hacker ethic. Software development for the GNU operating system began in January 1984, and the Free Software Foundation (FSF) was founded in October 1985. He developed a free software definition and the concept of "copyleft", designed to ensure "software freedom" for all.


title: Free software

text: Some non-software industries are beginning to use techniques similar to those used in free software development for their research and development process; scientists, for example, are looking towards more open development processes, and hardware such as microchips are beginning to be developed with specifications released under copyleft licenses ("see the OpenCores project, for instance"). Creative Commons and the free-culture movement have also been largely influenced by the free software movement.


title: Free software

text: In 1983, Richard Stallman, longtime member of the hacker community at the MIT Artificial Intelligence Laboratory, announced the GNU Project, saying that he had become frustrated with the effects of the change in culture of the computer industry and its users. Software development for the GNU operating system began in January 1984, and the Free Software Foundation (FSF) was founded in October 1985. An article outlining the project and its goals was published in March 1985 titled the "GNU Manifesto". The manifesto included significant explanation of the GNU philosophy, "Free Software Definition" and "copyleft" ideas.


title: Free software

text: The Linux kernel, started by Linus Torvalds, was released as freely modifiable source code in 1991. The first licence was a proprietary software licence. However, with version 0.12 in February 1992, he relicensed the project under the GNU General Public License. Much like Unix, Torvalds' kernel attracted the attention of volunteer programmers.


title: Free software

text: FreeBSD and NetBSD (both derived from 386BSD) were released as free software when the "USL v. BSDi" lawsuit was settled out of court in 1993. OpenBSD forked from NetBSD in 1995. Also in 1995, The Apache HTTP Server, commonly referred to as Apache, was released under the Apache License 1.0.


title: Free software

text: All free-software licenses must grant users all the freedoms discussed above. However, unless the applications' licenses are compatible, combining programs by mixing source code or directly linking binaries is problematic, because of license technicalities. Programs indirectly connected together may avoid this problem.


title: Free software

text: The majority of free software falls under a small set of licenses. The most popular of these licenses are:


title: Free software

text: The Free Software Foundation and the Open Source Initiative both publish lists of licenses that they find to comply with their own definitions of free software and open-source software respectively:


title: Free software

text: The FSF list is not prescriptive: free-software licenses can exist that the FSF has not heard about, or considered important enough to write about. So it's possible for a license to be free and not in the FSF list. The OSI list only lists licenses that have been submitted, considered and approved. All open-source licenses must meet the Open Source Definition in order to be officially recognized as open source software. Free software, on the other hand, is a more informal classification that does not rely on official recognition. Nevertheless, software licensed under licenses that do not meet the Free Software Definition cannot rightly be considered free software.


title: Free software

text: Apart from these two organizations, the Debian project is seen by some to provide useful advice on whether particular licenses comply with their Debian Free Software Guidelines. Debian does not publish a list of licenses, so its judgments have to be tracked by checking what software they have allowed into their software archives. That is summarized at the Debian web site.


title: Free software

text: It is rare that a license announced as being in-compliance with the FSF guidelines does not also meet the Open Source Definition, although the reverse is not necessarily true (for example, the NASA Open Source Agreement is an OSI-approved license, but non-free according to FSF).


title: Free software

text: There is debate over the security of free software in comparison to proprietary software, with a major issue being security through obscurity. A popular quantitative test in computer security is to use relative counting of known unpatched security flaws. Generally, users of this method advise avoiding products that lack fixes for known security flaws, at least until a fix is available.


title: Free software

text: Free software advocates strongly believe that this methodology is biased by counting more vulnerabilities for the free software systems, since their source code is accessible and their community is more forthcoming about what problems exist, (This is called "Security Through Disclosure") and proprietary software systems can have undisclosed societal drawbacks, such as disenfranchising less fortunate would-be users of free programs. As users can analyse and trace the source code, many more people with no commercial constraints can inspect the code and find bugs and loopholes than a corporation would find practicable. According to Richard Stallman, user access to the source code makes deploying free software with undesirable hidden spyware functionality far more difficult than for proprietary software.


title: Free software

text: In 2006, OpenBSD started the first campaign against the use of binary blobs in kernels. Blobs are usually freely distributable device drivers for hardware from vendors that do not reveal driver source code to users or developers. This restricts the users' freedom effectively to modify the software and distribute modified versions. Also, since the blobs are undocumented and may have bugs, they pose a security risk to any operating system whose kernel includes them. The proclaimed aim of the campaign against blobs is to collect hardware documentation that allows developers to write free software drivers for that hardware, ultimately enabling all free operating systems to become or remain blob-free.


title: Free software

text: The issue of binary blobs in the Linux kernel and other device drivers motivated some developers in Ireland to launch gNewSense, a Linux based distribution with all the binary blobs removed. The project received support from the Free Software Foundation and stimulated the creation, headed by the Free Software Foundation Latin America, of the Linux-libre kernel. As of October 2012, Trisquel is the most popular FSF endorsed Linux distribution ranked by Distrowatch (over 12 months). While Debian is not endorsed by the FSF and does not use Linux-libre, it is also a popular distribution available without kernel blobs by default since 2011.


title: Free software

text: Selling software under any free-software licence is permissible, as is commercial use. This is true for licenses with or without copyleft.


title: Free software

text: Since free software may be freely redistributed, it is generally available at little or no fee. Free software business models are usually based on adding value such as customization, accompanying hardware, support, training, integration, or certification. Exceptions exist however, where the user is charged to obtain a copy of the free application itself.


title: Free software

text: Fees are usually charged for distribution on compact discs and bootable USB drives, or for services of installing or maintaining the operation of free software. Development of large, commercially used free software is often funded by a combination of user donations, crowdfunding, corporate contributions, and tax money. The SELinux project at the United States National Security Agency is an example of a federally funded free-software project.


title: Free software

text: Proprietary software, on the other hand, tends to use a different business model, where a customer of the proprietary application pays a fee for a license to legally access and use it. This license may grant the customer the ability to configure some or no parts of the software themselves. Often some level of support is included in the purchase of proprietary software, but additional support services (especially for enterprise applications) are usually available for an additional fee. Some proprietary software vendors will also customize software for a fee.


title: Free software

text: The Free Software Foundation encourages selling free software. As the Foundation has written, "distributing free software is an opportunity to raise funds for development. Don't waste it!". For example, the FSF's own recommended license (the GNU GPL) states that "[you] may charge any price or no price for each copy that you convey, and you may offer support or warranty protection for a fee."


title: Free software

text: Microsoft CEO Steve Ballmer stated in 2001 that "open source is not available to commercial companies. The way the license is written, if you use any open-source software, you have to make the rest of your software open source." This misunderstanding is based on a requirement of copyleft licenses (like the GPL) that if one distributes modified versions of software, they must release the source and use the same license. This requirement does not extend to other software from the same developer. The claim of incompatibility between commercial companies and free software is also a misunderstanding. There are several large companies, e.g. Red Hat and IBM (IBM acquired RedHat in 2019), which do substantial commercial business in the development of free software.


title: Free software

text: Free software played a significant part in the development of the Internet, the World Wide Web and the infrastructure of dot-com companies. Free software allows users to cooperate in enhancing and refining the programs they use; free software is a pure public good rather than a private good. Companies that contribute to free software increase commercial innovation.


title: Free software

text: The economic viability of free software has been recognized by large corporations such as IBM, Red Hat, and Sun Microsystems. Many companies whose core business is not in the IT sector choose free software for their Internet information and sales sites, due to the lower initial capital investment and ability to freely customize the application packages. Most companies in the software business include free software in their commercial products if the licenses allow that.


title: Free software

text: Free software is generally available at no cost and can result in permanently lower TCO costs compared to proprietary software. With free software, businesses can fit software to their specific needs by changing the software themselves or by hiring programmers to modify it for them. Free software often has no warranty, and more importantly, generally does not assign legal liability to anyone. However, warranties are permitted between any two parties upon the condition of the software and its usage. Such an agreement is made separately from the free software license.


title: Free software

text: A report by Standish Group estimates that adoption of free software has caused a drop in revenue to the proprietary software industry by about $60 billion per year. Eric S. Raymond argued that the term "free software" is too ambiguous and intimidating for the business community. Raymond promoted the term "open-source software" as a friendlier alternative for the business and corporate world.


title: Molar mass

text: In chemistry, the molar mass of a chemical compound is defined as the mass of a sample of that compound divided by the amount of substance which is the number of moles in that sample, measured in moles. The molar mass is a bulk, not molecular, property of a substance. The molar mass is an "average" of many instances of the compound, which often vary in mass due to the presence of isotopes. Most commonly, the molar mass is computed from the standard atomic weights and is thus a terrestrial average and a function of the relative abundance of the isotopes of the constituent atoms on Earth. The molar mass is appropriate for converting between the mass of a substance and the amount of a substance for bulk quantities.


title: Molar mass

text: The molecular mass and formula mass are commonly used as a synonym of molar mass, particularly for molecular compounds; however, the most authoritative sources define it differently. The difference is that molecular mass is the mass of one specific particle or molecule, while the molar mass is an average over many particles or molecules.


title: Molar mass

text: The formula weight is a synonym of molar mass that is frequently used for non-molecular compounds, such as ionic salts.


title: Molar mass

text: The molar mass is an intensive property of the substance, that does not depend on the size of the sample. In the International System of Units (SI), the coherent unit of molar mass is kg/mol. However, for historical reasons, molar masses are almost always expressed in g/mol.


title: Molar mass

text: The mole was defined in such a way that the molar mass of a compound, in g/mol, is numerically equal to the average mass of one molecule, in daltons. It was exactly equal before the redefinition of the mole in 2019, and is now only approximately equal, but the difference is negligible for all practical purposes. Thus, for example, the average mass of a molecule of water is about 18.0153 daltons, and the molar mass of water is about 18.0153 g/mol.


title: Molar mass

text: For chemical elements without isolated molecules, such as carbon and metals, the molar mass is computed dividing by the number of moles of atoms instead. Thus, for example, the molar mass of iron is about 55.845 g/mol.


title: Molar mass

text: Since 1971, SI defined the "amount of substance" as a separate dimension of measurement. Until 2019, the mole was defined as the amount of substance that has as many constituent particles as there are atoms in 12 grams of carbon-12. During that period, the molar mass of carbon-12 was thus "exactly" 12 g/mol, by definition. Since 2019, a mole of any substance has been redefined in the SI as the amount of that substance containing an exactly defined number of particles, . The molar mass of a compound in g/mol thus is equal to the mass of this number of molecules of the compound in grams.


title: Molar mass

text: The molar mass of atoms of an element is given by the relative atomic mass of the element multiplied by the molar mass constant, For normal samples from earth with typical isotope composition, the atomic weight can be approximated by the standard atomic weight or the conventional atomic weight.


title: Molar mass

text: Multiplying by the molar mass constant ensures that the calculation is dimensionally correct: standard relative atomic masses are dimensionless quantities (i.e., pure numbers) whereas molar masses have units (in this case, grams per mole).


title: Molar mass

text: Some elements are usually encountered as molecules, e.g. hydrogen (H), sulfur (S), chlorine (Cl). The molar mass of molecules of these elements is the molar mass of the atoms multiplied by the number of atoms in each molecule:


title: Molar mass

text: The molar mass of a compound is given by the sum of the relative atomic mass "A" of the atoms which form the compound multiplied by the molar mass constant "M":


title: Molar mass

text: Here, "M" is the relative molar mass, also called formula weight. For normal samples from earth with typical isotope composition, the standard atomic weight or the conventional atomic weight can be used as an approximation of the relative atomic mass of the sample. Examples are:


title: Molar mass

text: An average molar mass may be defined for mixtures of compounds. This is particularly important in polymer science, where different polymer molecules may contain different numbers of monomer units (non-uniform polymers).


title: Molar mass

text: The average molar mass of mixtures formula_2 can be calculated from the mole fractions formula_3 of the components and their molar masses formula_4:


title: Molar mass

text: Molar mass is closely related to the relative molar mass ("M") of a compound, to the older term formula weight (F.W.), and to the standard atomic masses of its constituent elements. However, it should be distinguished from the molecular mass (which is confusingly "also" sometimes known as molecular weight), which is the mass of "one" molecule (of any "single" isotopic composition) and is not directly related to the atomic mass, the mass of "one" atom (of any "single" isotope). The dalton, symbol Da, is also sometimes used as a unit of molar mass, especially in biochemistry, with the definition 1 Da = 1 g/mol, despite the fact that it is strictly a unit of mass (1 Da = 1 u = , as of 2018 CODATA recommended values).


title: Molar mass

text: Gram atomic mass is another term for the mass, in grams, of one mole of atoms of that element. "Gram atom" is a former term for a mole.


title: Molar mass

text: Molecular weight (M.W.) is an older term for what is now more correctly called the relative molar mass ("M"). This is a dimensionless quantity (i.e., a pure number, without units) equal to the molar mass divided by the molar mass constant.


title: Molar mass

text: The molecular mass ("m") is the mass of a given molecule: it is usually measured in daltons (Da or u). Different molecules of the same compound may have different molecular masses because they contain different isotopes of an element. This is distinct but related to the molar mass, which is a measure of the average molecular mass of all the molecules in a sample and is usually the more appropriate measure when dealing with macroscopic (weigh-able) quantities of a substance.


title: Molar mass

text: Molecular masses are calculated from the atomic masses of each nuclide, while molar masses are calculated from the standard atomic weights of each element. The standard atomic weight takes into account the isotopic distribution of the element in a given sample (usually assumed to be "normal"). For example, water has a molar mass of , but individual water molecules have molecular masses which range between (HO) and (HO).


title: Molar mass

text: The distinction between molar mass and molecular mass is important because relative molecular masses can be measured directly by mass spectrometry, often to a precision of a few parts per million. This is accurate enough to directly determine the chemical formula of a molecule.


title: Molar mass

text: The term formula weight has a specific meaning when used in the context of DNA synthesis: whereas an individual phosphoramidite nucleobase to be added to a DNA polymer has protecting groups and has its "molecular weight" quoted including these groups, the amount of molecular weight that is ultimately added by this nucleobase to a DNA polymer is referred to as the nucleobase's "formula weight" (i.e., the molecular weight of this nucleobase within the DNA polymer, minus protecting groups).


title: Molar mass

text: The precision to which a molar mass is known depends on the precision of the atomic masses from which it was calculated, and value of the molar mass constant. Most atomic masses are known to a precision of at least one part in ten-thousand, often much better (the atomic mass of lithium is a notable, and serious, exception). This is adequate for almost all normal uses in chemistry: it is more precise than most chemical analyses, and exceeds the purity of most laboratory reagents.


title: Molar mass

text: The precision of atomic masses, and hence of molar masses, is limited by the knowledge of the isotopic distribution of the element. If a more accurate value of the molar mass is required, it is necessary to determine the isotopic distribution of the sample in question, which may be different from the standard distribution used to calculate the standard atomic mass. The isotopic distributions of the different elements in a sample are not necessarily independent of one another: for example, a sample which has been distilled will be enriched in the lighter isotopes of all the elements present. This complicates the calculation of the standard uncertainty in the molar mass.


title: Molar mass

text: A useful convention for normal laboratory work is to quote molar masses to two decimal places for all calculations. This is more accurate than is usually required, but avoids rounding errors during calculations. When the molar mass is greater than 1000 g/mol, it is rarely appropriate to use more than one decimal place. These conventions are followed in most tabulated values of molar masses.


title: Molar mass

text: Molar masses are almost never measured directly. They may be calculated from standard atomic masses, and are often listed in chemical catalogues and on safety data sheets (SDS). Molar masses typically vary between:


title: Molar mass

text: While molar masses are almost always, in practice, calculated from atomic weights, they can also be measured in certain cases. Such measurements are much less precise than modern mass spectrometric measurements of atomic weights and molecular masses, and are of mostly historical interest. All of the procedures rely on colligative properties, and any dissociation of the compound must be taken into account.


title: Molar mass

text: The measurement of molar mass by vapour density relies on the principle, first enunciated by Amedeo Avogadro, that equal volumes of gases under identical conditions contain equal numbers of particles. This principle is included in the ideal gas equation:


title: Molar mass

text: Combining these two equations gives an expression for the molar mass in terms of the vapour density for conditions of known pressure and temperature:


title: Molar mass

text: The freezing point of a solution is lower than that of the pure solvent, and the freezing-point depression (Δ"T") is directly proportional to the amount concentration for dilute solutions. When the composition is expressed as a molality, the proportionality constant is known as the cryoscopic constant ("K") and is characteristic for each solvent. If "w" represents the mass fraction of the solute in solution, and assuming no dissociation of the solute, the molar mass is given by


title: Molar mass

text: The boiling point of a solution of an involatile solute is higher than that of the pure solvent, and the boiling-point elevation (Δ"T") is directly proportional to the amount concentration for dilute solutions. When the composition is expressed as a molality, the proportionality constant is known as the ebullioscopic constant ("K") and is characteristic for each solvent. If "w" represents the mass fraction of the solute in solution, and assuming no dissociation of the solute, the molar mass is given by


title: Dixie Carter

text: Dixie Virginia Carter (May 25, 1939 – April 10, 2010) was an American actress. She starred as Julia Sugarbaker on the sitcom "Designing Women" (1986–1993) and as Randi King on the drama series "Family Law" (1999–2002). She was nominated for the 2007 Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series for her role as Gloria Hodge on "Desperate Housewives" (2006–2007).


title: Dixie Carter

text: Carter made her professional stage debut in a Memphis production of the musical "Carousel" in 1960 and made her Broadway debut in the 1974 musical "Sextet". After appearing for two years as District Attorney Brandy Henderson on the CBS soap "The Edge of Night" (1974–1976), she starred in the 1976 Broadway revival of the musical "Pal Joey". Her other television roles included the sitcoms "On Our Own" (1977–1978), "Filthy Rich" (1982–1983) and "Diff'rent Strokes" (1984–1985). She returned to Broadway to play Maria Callas in the play "Master Class" in 1997 and to play Mrs. Meers in the musical "Thoroughly Modern Millie" in 2004.


title: Dixie Carter

text: Dixie Virginia Carter was born May 25, 1939, to Esther Virginia (née Hillsman) and Halbert Leroy Carter in McLemoresville, Tennessee. Carter spent many of her early years in Memphis. She attended the University of Memphis and Southwestern at Memphis.


title: Dixie Carter

text: In college, she was a member of the Delta Delta Delta sorority. In 1959, Carter competed in the Miss Tennessee pageant, where she placed first runner-up to Mickie Weyland. Carter won the Miss Volunteer beauty pageant at the University of Tennessee the same year.


title: Dixie Carter

text: In 1960, Carter made her professional stage debut in a Memphis production of "Carousel", co-starring George Hearn, whom she would go on to marry 17 years later. She moved to New York City in 1963 and got a part in a production of Shakespeare's "The Winter's Tale".


title: Dixie Carter

text: In 1967, she began an eight-year hiatus from acting, to focus on raising her two daughters; she returned to acting in 1974, when she filled in for actress Nancy Pinkerton as Dorian Cramer on "One Life to Live" while Pinkerton was on maternity leave. She subsequently was cast in the role of Assistant D.A. Olivia Brandeis "Brandy" Henderson on the soap opera "The Edge of Night" from 1974 to 1976. Carter took the role though some advised her that doing a daytime soap might negatively affect her career. However, she was first noticed in this role, and after leaving "Edge of Night" in 1977, she appeared in several episodes of another soap opera, "The Doctors" as socialite Linda Elliott. She relocated from New York to Los Angeles and pursued prime-time television roles. In 1976, she won the "Theater World" Award for "Jesse and the Bandit Queen".


title: Dixie Carter

text: She appeared in series such as "Out of the Blue" (as Aunt Marion), "On Our Own" (as April Baxter), "Diff'rent Strokes" (as the first Maggie McKinney Drummond, Phillip Drummond's second wife), "The Greatest American Hero" (playing a KGB spy) and as the stuck up and conniving Carlotta Beck on "Filthy Rich" (1982).


title: Dixie Carter

text: Carter's appearance in "Filthy Rich" paved the way for her most notable role, that of sharp tongued liberal interior decorator Julia Sugarbaker in the 1986–1993 television program "Designing Women", set in Atlanta. "Filthy Rich" was created by Linda Bloodworth Thomason, who also created "Designing Women". (In the beginning, without knowing the content of the show, Bloodworth-Thomason's only idea was to create a show starring Carter and fellow castmates Delta Burke, Annie Potts and Jean Smart. "Filthy Rich" also featured fellow "Designing Women" cast member Delta Burke in its cast.) After much persuasion from creators Linda Bloodworth-Thomason and her husband Harry Thomason, Hal Holbrook, Carter's real-life husband, had a recurring role as attorney Reese Watson. Carter's daughters Ginna and Mary Dixie Carter also had guest star roles as Julia Sugarbaker's nieces Jennifer and Camilla in the episode "The Naked Truth" in 1989.


title: Dixie Carter

text: In 1997, Carter starred as Maria Callas in Terrence McNally's play "Master Class". She played the role from January to June. The role previously had been played by Zoe Caldwell and Patti LuPone.


title: Dixie Carter

text: Noted for portraying strong-minded Southern women, Carter provided the voice of Necile in Mike Young Productions' cartoon feature "The Life and Adventures of Santa Claus". She was also in the voice cast of "My Neighbors the Yamadas", the English language dub of Studio Ghibli's 1999 anime movie of the same.


title: Dixie Carter

text: From 1999 to 2002, she portrayed Randi King on the legal drama "Family Law". From 1999 to 2000, she was a cast member on the short-lived sitcom "Ladies Man," appearing as a regular on both "Ladies Man" and "Family Law". In 2004, she made a guest appearance on "", playing a defense attorney named Denise Brockmorton in the episode called "Home", in which she defended the paranoid mother of two children (Diane Venora) who had manipulated her older son to kill the younger son after breaking her home rules.


title: Dixie Carter

text: Carter starred in several Broadway musicals and plays. She appeared on- and off-Broadway as well, playing the role of Melba Snyder in the 1976 revival of "Pal Joey" and Maria Callas in "Master Class".


title: Dixie Carter

text: In 2006–2007, Carter found a resurgence of fame with a new generation of fans portraying Gloria Hodge, Bree Van de Kamp's disturbed (and scheming) mother-in-law on "Desperate Housewives". Creator Marc Cherry started in Hollywood as Carter's assistant on the set of "Designing Women". Her first and only Emmy Awards nomination was for the 59th Primetime Emmy Awards under the category of Outstanding Guest Actress in a Comedy Series for her role as Gloria Hodge.


title: Dixie Carter

text: Carter gave an interview in 2006 for the feature-length documentary "That Guy: The Legacy of Dub Taylor", which received support from Taylor's family and many of Dub's previous coworkers, including Bill Cosby, Peter Fonda, Don Collier, Cheryl Rogers-Barnett and many others. The project was scheduled to have its world premiere at Taylor's childhood hometown of Augusta, Georgia on April 14, 2007.


title: Dixie Carter

text: Her final film was "That Evening Sun", which she filmed with her husband Hal Holbrook in East Tennessee in summer 2008. The film, produced by Dogwood Entertainment (a subsidiary of DoubleJay Creative), is based on a short story by William Gay. "That Evening Sun" premiered at South By Southwest, where it competed for the narrative feature grand jury prize.


title: Dixie Carter

text: In 1967, Carter married businessman Arthur Carter (no relation). Following the birth of her daughters, Carter left acting for eight years to raise her children with Arthur's three children, Jon, Whendy and Ellen Carter.


title: Dixie Carter

text: She divorced Arthur Carter in 1977 and married theater and TV actor George Hearn the same year. Two years later, she divorced Hearn.


title: Dixie Carter

text: She was married for the third time on May 27, 1984, to fellow actor Hal Holbrook whom she met on the set of "The Killing of Randy Webster". She and Holbrook divided their time between their homes in Beverly Hills, California and McLemoresville, Tennessee where she cared for her father until his death.


title: Dixie Carter

text: In 1996, Carter published a memoir titled "Trying to Get to Heaven", in which she talked frankly about her life with Hal Holbrook, "Designing Women" and her plastic surgery during the show's run. She acknowledged, along with other celebrities, having used human growth hormone for its antiaging properties.


title: Dixie Carter

text: Carter was a registered Republican who described her political views as libertarian. She was interviewed by Bill O'Reilly along with Pat Boone at the 2000 Republican National Convention, and once jokingly described herself as "the only Republican in show business". However, Carter's "Designing Women" character, Julia Sugarbaker, was known for her liberal political views and related speeches, for which she was nicknamed "The Terminator." Carter disagreed with many of her character's beliefs, and made a deal with the show's producers that if Julia delivered a "Terminator" monologue, she would get to sing a song in a future episode.


title: Dixie Carter

text: Carter died on April 10, 2010, in Houston, Texas. Carter's husband said her death was caused by complications from endometrial cancer, diagnosed earlier in 2010. Dixie Carter was interred in McLemoresville, Tennessee.


title: Dixie Carter

text: The Dixie Carter Performing Arts and Academic Enrichment Center (informally called "The Dixie") in Huntingdon, Tennessee, is named in honor of Carter.


title: Dixie Carter

text: A public service announcement made by Carter in 2003 describing and offering outreach to sufferers of spasmodic torticollis/cervical dystonia began appearing in New York and New Jersey and then across the United States in 2010.


title: Kubo and the Two Strings

text: Kubo and the Two Strings is a 2016 American stop-motion animated action fantasy film directed by Travis Knight (in his feature directorial debut) and produced by animation studio Laika. Written by Marc Haimes and Chris Butler, it stars the voice roles of Charlize Theron, Art Parkinson, Ralph Fiennes, George Takei, Cary-Hiroyuki Tagawa, Brenda Vaccaro, Rooney Mara, and Matthew McConaughey. The film revolves around Kubo, a young boy who wields a magical (a Japanese stringed instrument) and whose left eye was stolen during infancy. Accompanied by an anthropomorphic snow monkey and beetle, he must embark on a quest to defeat his mother's evil twin Sisters and his power-hungry grandfather, the Moon King, who is responsible for stealing his left eye.


title: Kubo and the Two Strings

text: Laika's production designer Shannon Tindle pitched the fantasy story stop-motion animated film based on samurais to Knight. By December 2014, Laika announced that "Kubo and the Two Strings" would be released in August 2016, with Knight to direct and produce the project, as well as the voice casting announcement. He was enthusiastic about the project by owing partly his affinity towards both the "epic fantasy" genre as well as Japanese culture in general, despite the studio never ventured into the genre before. The stop-motion animation were inspired by Japanese media such as ink wash painting and origami among others. Assistance came from 3D printing firm Stratasys who allowed Laika to use their newest technologies in exchange for feedback on them. According to Knight, he mentioned that the story for the film was partly inspired by works of Japanese animator Hayao Miyazaki. Dario Marianelli, who composed the music for Laika's one prior film, returned to compose the film's musical score for its second.


title: Kubo and the Two Strings

text: "Kubo and the Two Strings" premiered at Melbourne International Film Festival on August 13, 2016 and was released by Focus Features in the United States on August 19. The film received critical acclaim for its craftsmanship, musical score and story, but was a box-office disappointment, grossing $77 million worldwide against a $60 million budget. It received criticism for its perceived whitewashing casting choice. The film won the BAFTA Award for Best Animated Film, and was nominated for Academy Awards for Best Animated Feature and Best Visual Effects, becoming the second stop-motion animated film ever to be nominated in the latter category following 1993's "The Nightmare Before Christmas", and the first Laika film to be nominated for both.


title: Kubo and the Two Strings

text: In feudal Japan, a 12-year-old boy with only one eye named Kubo tends to his ill mother in a mountain cave near a village. He earns their living by magically manipulating origami with music from his for the village folk, telling the tale of his missing father Hanzo, a samurai warrior. Kubo is never able to finish his story, as he does not know what happened to Hanzo and his mother cannot recall the end due to her deteriorating mental state. His mother warns him not to stay out after dark as her Sisters, and his grandfather, the Moon King (who took his eye when he was a baby) will find him and take his remaining eye.


title: Kubo and the Two Strings

text: One day, Kubo learns of the village's Bon festival allowing them to speak to deceased loved ones. Kubo attends but is angry that Hanzo does not appear from his lantern, and forgets to return home before sunset. The Sisters quickly find him and attack, but his mother suddenly appears and uses her magic to send Kubo far away, telling him to find his father's armor.


title: Kubo and the Two Strings

text: Kubo wakes up in a distant land to find Monkey, his wooden snow monkey charm, has come alive. Monkey tells him his mother is gone and the village destroyed. With help of "Little Hanzo", an origami figure based on Kubo's father, they set out to find the armor. Along the way, they meet Beetle, an amnesiac samurai who was cursed to take the form of a stag beetle/human hybrid but believes himself to have been Hanzo's apprentice.


title: Kubo and the Two Strings

text: Kubo, Monkey, and Beetle reclaim the "Sword Unbreakable" from a cave guarded by a giant skeleton. They cross the Long Lake in a leaf boat to locate the "Breastplate Impenetrable" deep underwater. Kubo and Beetle swim down to retrieve it and encounter a sea monster, the "Garden of Eyes", who first uses its many eyes to entrance its victims by showing them visions of secrets, then eats them. Kubo is caught in the creature's sight, but while entranced, comes to realize that Monkey is the reincarnated spirit of his mother. Beetle rescues the unconscious Kubo and obtains the Breastplate, but on returning to the boat, they find that Monkey has been badly wounded fighting and vanquishing one of the Sisters.


title: Kubo and the Two Strings

text: They go to shore to recover, where Monkey explains that she and her Sisters were ordered by the Moon King to kill Hanzo, but she instead fell in love with him, and the Moon King branded her an enemy. That night, Kubo dreams of meeting a blind elderly man, who points him towards the "Helmet Invulnerable" in Hanzo's abandoned fortress. They travel there the next day but realize too late it is a trap set by the Moon King and the remaining Sister. The Sister reveals that Beetle is Hanzo, whom they cursed for taking their sister away from them, and kills Hanzo. Monkey sacrifices herself, buying Kubo the time to use his to vanquish the Sister, breaking two of the three strings on it. Little Hanzo provides insight to Kubo that the Helmet is actually the bell at the village, and Kubo breaks the last string to quickly travel there.


title: Kubo and the Two Strings

text: At the village, Kubo meets the old man from his dream, who is revealed as the Moon King. He offers to take Kubo's other eye to make him immortal, but Kubo refuses. The Moon King transforms into a giant "Dunkleosteus"-like dragon, the Moon Beast, and pursues Kubo and the remaining villagers into its cemetery. When the armor proves ineffective, Kubo removes it and restrings his using his mother's hair, his father's bowstring, and his own hair. With the instrument, he summons the spirits of the villagers' loved ones, who show the Moon King that memories are the strongest magic of all and can never be destroyed. Kubo and the spirits' magic protect themselves and the villagers from the Moon King, stripping him of his powers and leaving him a mortal human without any memories. Spurred on by Kubo's stories, the villagers choose compassion and tell him he was a man of many positive traits, accepting him into the village. Kubo is able to speak to his parents' ghosts during the subsequent Bon ceremony, as they watch the deceased villagers' lanterns transform into golden herons and fly to the spirit world.


title: Kubo and the Two Strings

text: Announced by the stop-motion animation studio Laika in December 2014, the project is the directorial debut of Laika's CEO Travis Knight. Laika's production designer Shannon Tindle pitched the story to Knight as a "stop-motion samurai epic". Although the studio had never ventured into the genre before, Knight was enthusiastic about the project; owing partly his affinity towards both the "epic fantasy" genre as well as Japanese culture in general.


title: Kubo and the Two Strings

text: The art took inspiration from such Japanese media as ink wash painting and origami among others. A particular influence came from the ukiyo-e woodblock style, with Laika intending to make the entire film "to look and feel as if it's a moving woodblock print" Assistance came from 3D printing firm Stratasys who allowed Laika to use their newest technologies in exchange for feedback on them. Knight mentioned that the story for the film was partly inspired by works of Japanese animator Hayao Miyazaki.


title: Kubo and the Two Strings

text: For the Skeleton monster the team created a giant , puppet, which Laika claims is the record holder for largest stop-motion puppet. The idea to make such a massive puppet was born out of a fear that individual smaller parts (meant to represent the larger monster) would not work well on screen interacting with the other puppets. The resulting puppet was built in two parts which were then attached together by magnets. For movement Laika had to design a robot to easily manipulate it. The team at one point purchased an industrial robot from eBay but found that it would not work with their setup.


title: Kubo and the Two Strings

text: On December 22, 2014, Art Parkinson, Matthew McConaughey, Charlize Theron, Rooney Mara, Ralph Fiennes and Brenda Vaccaro were joined the voice cast.


title: Kubo and the Two Strings

text: Dario Marianelli composed and conducted the score for the film. The score album featuring 16 tracks, including a rendition of The Beatles' track, "While My Guitar Gently Weeps" by Regina Spektor, was released by Warner Records on August 5, 2016.


title: Kubo and the Two Strings

text: "Kubo and the Two Strings" screened at the Melbourne International Film Festival on August 13, 2016, and was theatrically released in the United States on August 19, 2016.


title: Kubo and the Two Strings

text: "Kubo and the Two Strings" grossed $48 million in North America and $29.5 million in other territories for a worldwide total of $77.5 million, against a budget of $60 million.


title: Kubo and the Two Strings

text: In the United States, the film was released on August 19, 2016, alongside "Ben-Hur" and "War Dogs", and was projected to gross $12–15 million from 3,260 theaters in its opening weekend with some going as high as $17–20 million. It made $515,000 from its Thursday night previews and $4.1 million on its first day. It went on to gross $12.6 million in its opening weekend, finishing 4th at the box office behind War Dogs, Sausage Party and Suicide Squad.


title: Kubo and the Two Strings

text: Review aggregation website Rotten Tomatoes gives the film an approval rating of 97% based on reviews from 228 critics, with an average rating of 8.40/10. The website's critical consensus reads, ""Kubo and the Two Strings" matches its incredible animation with an absorbing—and bravely melancholy—story that has something to offer audiences of all ages." On Metacritic, the film has a weighted average score of 84 out of 100, based on 38 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it an 85% overall positive score and a 63% "definite recommend".


title: Kubo and the Two Strings

text: Christy Lemire of RogerEbert.com awarded the film three and a half out of four stars, saying that "one of the most impressive elements of "Kubo and the Two Strings"—besides its dazzling stop-motion animation, its powerful performances and its transporting score—is the amount of credit it gives its audience, particularly its younger viewers." IGN's Samantha Ladwig gave the film 7.5/10, stating that the film is "Dark, twisted, and occasionally scary, but also with humor, love, and inspiration." Jesse Hassenger, of "The A.V. Club", praised the film, saying that "no American animation studio is better-suited to dreamlike plotting than Laika, and the animation of Kubo is truly dazzling, mixing sophistication and handmade charm with inspired flow."


title: Kubo and the Two Strings

text: Michael O'Sullivan of "The Washington Post" gave the film four out of four stars, stating that the film is "both extraordinarily original and extraordinarily complex, even for a grown-up movie masquerading as a kiddie cartoon (which it kind of is)." In "The New York Times", Glenn Kenny said that "the movie's blend of stop-motion animation for the main action with computer-generated backgrounds is seamless, creating what is the most visually intoxicating of all Laika's movies." Peter Debruge of "Variety" wrote that ""Kubo" offers another ominous mission for a lucky young misfit, this one a dark, yet thrilling adventure quest that stands as the crowning achievement in Laika's already impressive oeuvre." Jordan Hoffman of "The Guardian" was more critical of the film, giving it a two out of five stars and saying that "Older kids, except for a few teacher’s pets, will soon realise that this is hardly a fun action-adventure cartoon at all, but a plate of vegetables."


title: Kubo and the Two Strings

text: Jonathan Pile of "Empire", wrote of the film: "Yet another success for stop-motion giants Laika … boasts big laughs and effective scares in a typically gorgeous animated tale."


title: Kubo and the Two Strings

text: While the film received critical acclaim for its craft and story, it was criticized for its perceived whitewashing as a movie set in ancient Japan but featuring a centrally white voice cast. George Takei and Cary-Hiroyuki Tagawa were the only actors of Asian descent and both played minor characters.


title: Kubo and the Two Strings

text: At the 89th Academy Awards, "Kubo and the Two Strings" was nominated for two awards, Best Animated Feature and Best Visual Effects, but lost to two Disney films respectively: "Zootopia" and "The Jungle Book".


title: Kubo and the Two Strings

text: "Kubo and the Two Strings" was released on DVD, Blu-ray, and digital media on November 22, 2016, a new edition from Shout! Factory under license from Universal was released in September 2021.


title: Angus Barbieri's fast

text: Angus Barbieri (1939 – 7 September 1990) was a Scottish man who fasted for 382 days, from June 1965 to July 1966. He lived on tea, coffee, soda water, and vitamins while living at home in Tayport, Scotland, and frequently visiting Maryfield Hospital for medical evaluation. He lost and set a record for the length of a fast.


title: Angus Barbieri's fast

text: In 1965, Barbieri, then a 27-year-old from Tayport, Scotland, checked into the Maryfield Hospital in Dundee. Initially only a short fast was planned, due to the doctors believing that short fasts were preferable to longer ones. Barbieri did not believe them, insisting on continuing because "he adapted so well and was eager to reach his 'ideal' weight". For 382 days (1 year, 17 days) ending on 11 July 1966, he consumed only vitamins, electrolytes, an unspecified amount of yeast (a source of all essential amino acids) and zero-calorie beverages such as tea, coffee, and sparkling water, although he occasionally consumed small amounts of milk and/or sugar with the beverages, especially during the final weeks of the fast. He quit working at his father's fish and chip shop, which closed down during the fast. Barbieri's starting weight was recorded at and he stopped fasting when he reached his goal weight of . He lost weight at an average of per day, or per month.


title: Angus Barbieri's fast

text: In the 1971 edition of "The Guinness Book of Records", Barbieri's 382-day fast was recognized as the longest recorded. In 1973, Dennis Galer Goodwin went on a hunger strike for 385 days, but he was force-fed during this period. , Barbieri retains the record for the longest fast without solid food, according to Guinness officials. Guinness no longer officially endorses records relating to fasting for fear of encouraging unsafe behaviour.


title: Annaleigh Ashford

text: Annaleigh Amanda Ashford (née Swanson; born June 25, 1985) is an American actress, singer, and dancer. She is known for her work on television as Betty DiMello on the Showtime period drama "Masters of Sex", and on Broadway as Lauren in "Kinky Boots" (2013–14) and her Tony Award–winning performance as Essie Carmichael in "You Can't Take it With You" (2014–15). In 2017, Ashford starred in the critically acclaimed, limited-run revival of "Sunday in the Park with George" opposite Jake Gyllenhaal.


title: Annaleigh Ashford

text: She released her debut recording "" in 2015. Ashford's other notable film and television credits include "Unbelievable" (2019), "Bad Education" (2019), the FX drama "" (2021), and the CBS sitcom "B Positive" (2020–22).


title: Annaleigh Ashford

text: Ashford was born in Denver on June 25, 1985, the daughter of Holli Swanson, an elementary school gym teacher, and Chris Swanson, a small-business owner. Ashford participated in Kids Cross Country and track at the age of six, coached by her mother. Ashford discovered that she hated running, and it was very clear that she was more interested in the race uniforms than the actual races. The last race she ever ran was the 400 metre dash. After that, her mother enrolled her in the nearest dance studio. She began practicing at Kit Andrée's Dance and Performing Arts Center the same day she started the second grade. She acted and sang in numerous performances and competitions in her hometown. Ashford's professional career began at age nine in Denver, when she was cast as Tina Denmark, the lead in the musical "Ruthless!". At fourteen, she was profiled as "The Teen to Watch" by the "Rocky Mountain News". Other Denver credits include appearing in the ensemble of "The Sound of Music", "West Side Story", and "Paint Your Wagon", as well as in "Little Women" as Amy March, "Rodgers and Hammerstein's Cinderella" as Ella, "Grease" as Sandy Dumbrowski, and "Anything Goes" as Reno Sweeney. She graduated from Wheat Ridge High School in three years, at the age of 16, and then attended Marymount Manhattan College, where she earned a degree in theatre in another three years, at the age of 19. While attending Marymount Manhattan College, Ashford played Rosa Bud in "The Mystery of Edwin Drood" and Emma in "Tell Me on a Sunday".


title: Annaleigh Ashford

text: In 2004, while hanging around in New York City's Lower East Side club scene, Ashford met nightlife personality Lady Starlight, a local rock DJ and performance artist. Lady Starlight invited Ashford to dance at her 1970s glitter rock party "Lady Starlight's English Disco" and christened her "Hollywood Starr". Ashford performed in Tom Kitt and Brian Yorkey's "Feeling Electric" as Natalie at the New York Musical Theatre Festival in 2005.


title: Annaleigh Ashford

text: Soon after graduating from college, Ashford got her big break performing as one of Glinda's friends, Pfanne, and understudying the role of Glinda on the First National Tour of "Wicked". She joined the cast in December 2005 and left in September 2006. She then originated the role of Margot in "Legally Blonde: The Musical", her Broadway debut. She understudied the lead role of Elle Woods, but only played it once. She was featured on the original cast recording and appeared in the MTV televised airing. Ashford left the show in September 2007.


title: Annaleigh Ashford

text: In July 2007, she worked on a musical adaptation of "Catch Me If You Can" as Brenda Strong. She previously did a staged reading for the project under the Tony Award-winning director of "Hairspray", Jack O'Brien.


title: Annaleigh Ashford

text: Ashford then returned to "Wicked," this time playing the lead role of Glinda in the Broadway production. She replaced Kendra Kassebaum on October 9, 2007. She departed the company on May 11, 2008, when Kassebaum returned to the role, and transferred to the Chicago production, replacing Kate Fahrner as Glinda on June 3, 2008. She played her final performance as Glinda on January 25, 2009, when the Chicago production closed.


title: Annaleigh Ashford

text: In 2008, she made her film debut with a small part in "" playing a "spoiled label queen". She also appeared in the film "Rachel Getting Married" as a counter girl.


title: Annaleigh Ashford

text: In August 2008, Ashford played Wednesday Addams in the staged reading for musical adaptation of "The Addams Family" with Nathan Lane and Bebe Neuwirth, but she was later replaced by Krysta Rodriguez. Other readings include "" as Campbell, "The Black Suits", "C'mon Get Happy", "Pal Joey", and a gender-bent version of Stephen Sondheim's "Company".


title: Annaleigh Ashford

text: In 2009, it was announced that Ashford would be one of the principal characters and singers in the new vaudeville styled Cirque du Soleil show, "Banana Shpeel". However, it was later announced that Ashford and her colleague Michael Longoria were no longer in the cast of the show. Publicists announced that it was a creative decision to remove large portions of dialogue from the show, therefore making their characters non-existent. Ashford was originally slated to stay in the production from its premiere in Chicago until sometime in 2010.


title: Annaleigh Ashford

text: Ashford starred as Jeanie in the Broadway revival of "Hair". She succeeded Kacie Sheik in the role from March 9, 2010, through June 27, 2010, when the production closed.


title: Annaleigh Ashford

text: In September 2010, Ashford made her directorial debut at Birdland Jazz Club, directing fellow "Hair" alum Jay Armstrong Johnson in his solo concert debut. The concert was met with rave reviews, including a notice for Ashford's "thoughtfully put together" directorial style.


title: Annaleigh Ashford

text: In September 2010, Ashford played Veronica Sawyer in a concert version of the new musical "Heathers".in New York City. The role was later played by Barrett Wilbert Weed in the 2014 off-Broadway premiere.


title: Annaleigh Ashford

text: In November 2010, Ashford was part of a reading of the musical "Carrie". In December 2010, she participated in a "creative workshop" reading of the stage musical version of "Diner" as Beth.


title: Annaleigh Ashford

text: In January 2012, Ashford ended her run playing Maureen Johnson in the Off-Broadway revival of "Rent", which began July 14, 2011 and closed on September 9, 2012. Emma Hunton replaced Ashford as Maureen on January 13, 2012. In February 2012, Ashford made a cameo on "Smash" as Lisa McMann and returned for another short appearance in 2013 before the show's cancellation.


title: Annaleigh Ashford

text: From June 27 to August 19, 2012, she appeared in the Off-Broadway musical "Dogfight", based on the 1991 film of the same name, playing a toothless hooker named Marcy. The role was played in the film by Elizabeth Daily. Ashford also performed on the original cast recording of the musical.


title: Annaleigh Ashford

text: In 2013, Ashford provided the voice of a troll in "Frozen". She has a short line greeting Kristoff and sings the second female solo after Maia Wilson in the song "Fixer Upper" for the soundtrack.


title: Annaleigh Ashford

text: In 2013, after appearing in the Chicago try-outs, Ashford reprised her role as Lauren in the Broadway production of "Kinky Boots", a musical with a book by Harvey Fierstein and music and lyrics by Cyndi Lauper. For this role, Ashford received nominations for the Tony Award for Best Featured Actress in a Musical and the Drama Desk Award for Outstanding Featured Actress in a Musical. Ashford left her role in "Kinky Boots" on March 2, 2014.


title: Annaleigh Ashford

text: In 2013, Ashford appeared in the recurring role of young sex worker Betty DiMello in season one of the Showtime series "Masters of Sex". Her part was upgraded from a recurring to regular for Season 2.


title: Annaleigh Ashford

text: On January 14, 2014, Ashford released her first single, "Another Time (Andrew's Song)", with musical director Will Van Dyke on iTunes. In addition to writing music and lyrics, Van Dyke is the featured pianist on the single. The track also features Michael Aarons on guitar, Steve Gilewski on bass, Sammy Merendino on drums, Philip Payton on violin/viola, and Allison Seidner on cello. It was recorded at Harlem Parlour Recording in New York City by Derik Lee, who also mixed and mastered the recording.


title: Annaleigh Ashford

text: Beginning on August 26, 2014, Ashford played the role of Essie Carmichael in the Broadway revival of "You Can't Take It with You", directed by Scott Ellis. She appeared alongside Rose Byrne, James Earl Jones, and Elizabeth Ashley. The show closed on February 2, 2015. For this role, Ashford won the 2015 Tony Award for Best Featured Actress in a Play.


title: Annaleigh Ashford

text: In a limited run from October 2, 2015, to January 3, 2016, Ashford starred as the titular canine in the first Broadway production of A. R. Gurney's comedy "Sylvia". The show opened at the Cort Theatre on October 27, 2015. Directed by Daniel J. Sullivan, the show also starred Julie White, Matthew Broderick, and Robert Sella. Tony Award-winning director Daniel Sullivan compared Ashford to Bill Irwin, writing, "she is a great clown, aside from being a wonderful actor...she has that same kind of, just throw it up there, keep trying, finding it, and refining it."


title: Annaleigh Ashford

text: On November 20, 2015, BroadwayWorld announced that Ashford would be the involved in a filmed career retrospective Q&A with SAG-AFTRA, taking place on December 3, 2015, at The New School. The Q&A was released via YouTube on December 14, 2015.


title: Annaleigh Ashford

text: On November 20, 2015, Ashford was selected to present the sixth annual Clive Barnes Theatre Award, taking place on January 11, 2016.


title: Annaleigh Ashford

text: On November 30, 2015, Ashford played eight roles in a reading of Paul Rudnick's critically acclaimed play "Jeffrey", directed by Christopher Ashley. Other cast included Michael Urie, Robin de Jesus, James Monroe Iglehart, Andrew Keenan-Bolger, and Russell Tovey.


title: Annaleigh Ashford

text: On February 1, 2016, it was announced that Ashford would play the role of Columbia in the FOX television remake "".


title: Annaleigh Ashford

text: On July 14, 2016, it was announced that Ashford would be starring opposite Jake Gyllenhaal in New York City Center's three October concert performances of"Sunday in the Park with George" as Dot/Marie, a role originated by Bernadette Peters on Broadway.


title: Annaleigh Ashford

text: On December 13, 2016, it was announced that Ashford would reprise her role as Dot/Marie opposite Gyllenhaal in "Sunday in the Park with George" in the show's Broadway 10-week revival at the Hudson Theater. Ashford was not eligible for a Tony Award for this performance, as the production withdrew itself from any award competition, including the Tony Awards. A statement was released on February 3, 2016 saying: "The producers of "Sunday in the Park with George" will not be submitting Hudson Theatre’s engagement of this New York City Center production for awards eligibility. With a season so full of tremendous, soon-to-be long-running new musicals and revivals, the producers feel this extremely limited, special run stands most appropriately outside of any awards competition. The production is nevertheless proud to be part of such a landmark Broadway season."


title: Annaleigh Ashford

text: On April 4, 2017, it was announced that Ashford would be joining The Public Theater's Shakespeare in the Park production of "A Midsummer Night's Dream" as Helena.


title: Annaleigh Ashford

text: On April 20, 2017, it was announced that the revival of "Sunday in the Park with George" would be preserved on an album to be released by Warner Music Group. The cast recording was released on September 21, 2017. It was produced and mixed by Bart Migal and features the full Broadway company, including Jake Gyllenhaal, Robert Sean Leonard, Erin Davie, and Penny Fuller.


title: Annaleigh Ashford

text: On September 12, 2017, it was announced that Ashford would join the cast of Woody Allen's drama film "A Rainy Day in New York", which was completed on October 23, 2017. The film was released in Europe, Asia, Central America, and South America in 2019 and in the UK and US in 2020. On November 3, 2017, it was announced that Ashford would make her New York Philharmonic debut in a televised New Year's Eve concert celebrating the music of Leonard Bernstein. Also featuring Laura Osnes, Aaron Tveit, and Christopher Jackson, "New Year’s Eve: Bernstein on Broadway" featured songs from Bernstein's scores for "On the Town", "West Side Story", "Candide", and "Wonderful Town". It was accompanied by Bramwell Tovey and aired on PBS on December 31, 2017, at 9:00pm.


title: Annaleigh Ashford

text: Ashford appeared as Elizabeth Cote in four episodes of the mini-series "", which premiered on January 17, 2018. On February 15, 2018, it was announced that Ashford would lead a single-camera comedy pilot "Southern Hospitality" for ABC. Tristram Shapeero was set to direct. The pilot was not picked up.


title: Annaleigh Ashford

text: Ashford co-starred in the Jennifer Lopez-led comedy film "Second Act" as Hildy, opposite Vanessa Hudgens. The film was released in 2018. On July 23, 2018, it was announced that Ashford would be starring in "American Reject", a new musical film.


title: Annaleigh Ashford

text: Ashford was set to reprise her role as Dot/Marie in "Sunday In The Park With George" at the Savoy Theatre in London in 2020. However, due to the COVID-19 pandemic, the run was postponed to 2021.


title: Annaleigh Ashford

text: In February 2020, Ashford was cast as one of the two main lead roles for the CBS situation comedy "B Positive", in which she plays Gina, an unstable woman who is the perfect match for a person in need of a kidney, who happens to be a divorced father who she knows from the past. For its second season, the series was revamped and centered on Ashford's character. Ashford also performed the series' lengthy opening theme in a musical-theater style. The final episode aired March 10, 2022. The series was greenlit by CBS on May 8, 2020, as an entry in the 2020–21 television season.


title: Annaleigh Ashford

text: Ashford has celiac disease, and therefore maintains a strict gluten-free diet. Ashford and fellow actor Joe Tapper were married at the Devil's Thumb Ranch in Tabernash, Colorado on July 29, 2013. On May 11, 2016, "People" announced that Ashford was pregnant with their first child, a boy. Ashford and Tapper's son was born in 2016.


title: Annaleigh Ashford

text: On April 7, 2008, Ashford made her professional cabaret debut as a part of the "Broadway at Birdland" series at Birdland Jazz Club. She performed an early version of what has now become her critically acclaimed "Lost in the Stars" show. Many songs from her debut, including "Love Hurts", "Mona Lisas and Mad Hatters", and the titular song, "Lost in the Stars", stayed with the show and are now featured on her live album. Alex Lacamoire served as her musical director.


title: Annaleigh Ashford

text: In February 2014, Ashford made her 54 Below concert debut with her now acclaimed cabaret show, "Lost in the Stars". After two sold-out shows on the 3rd of the month, Ashford added an encore performance due to popular demand. She returned to 54 Below for a special Christmas-themed reincarnation of her cabaret act for the first two Mondays of December with "a little more holiday cheer involved". She was reviewed by Stephen Holden of "The New York Times" for her show on December 1. On February 11, 2015, it was announced that Ashford would be joined by Van Dyke and The Whiskey Five band in a tour of her acclaimed cabaret show in five cities. In addition to her February 11 return to 54 Below, she also played in Chicago, San Francisco, Las Vegas, and two special shows in her hometown of Denver, Colorado.


title: Annaleigh Ashford

text: On August 30, 2015, Ashford had a secret popup "Brunch With Annaleigh: The Concert" at 54 Below, which was an extension of the "Lost in the Stars" show. This concert was recorded to serve as part of Ashford's debut album, which is a compilation of multiple New York City dates at 54 Below in 2014 and 2015.


title: Annaleigh Ashford

text: Ashford returned to 54 Below for a New Year's Eve special, "Lost in the Stars: New Year's Magic". On November 26, 2015, "Lost in the Stars" was nominated for a BroadwayWorld Cabaret Award in the category "Best Show, Celebrity Female". On September 13, 2016, it was announced that Ashford would once again return to 54 Below for an updated version of "Lost in the Stars: New Year's Magic".


title: Journey to the Center of the Earth

text: Journey to the Center of the Earth (), also translated with the variant titles A Journey to the Centre of the Earth and A Journey into the Interior of the Earth, is a classic science fiction novel by Jules Verne. It was first published in French in 1864, then reissued in 1867 in a revised and expanded edition. Professor Otto Lidenbrock is the tale's central figure, an eccentric German scientist who believes there are volcanic tubes that reach to the very center of the earth. He, his nephew Axel, and their Icelandic guide Hans rappel into Iceland's celebrated inactive volcano Snæfellsjökull, then contend with many dangers, including cave-ins, subpolar tornadoes, an underground ocean, and living prehistoric creatures from the Mesozoic and Cenozoic eras (the 1867 revised edition inserted additional prehistoric material in Chaps. 37–39). Eventually the three explorers are spewed back to the surface by an active volcano, Stromboli, located in southern Italy.


title: Journey to the Center of the Earth

text: The category of subterranean fiction existed well before Verne. However his novel's distinction lay in its well-researched Victorian science and its inventive contribution to the science-fiction subgenre of time travel—Verne's innovation was the concept of a prehistoric realm still existing in the present-day world. "Journey" inspired many later authors, including Sir Arthur Conan Doyle in his novel "The Lost World", Edgar Rice Burroughs in his "Pellucidar" series, and J. R. R. Tolkien in The Hobbit.


title: Journey to the Center of the Earth

text: The story begins in May 1863, at the home of Professor Otto Lidenbrock in Hamburg, Germany. While leafing through an original runic manuscript of an Icelandic saga, Lidenbrock and his nephew Axel find a coded note written in runic script along with the name of a 16th-century Icelandic alchemist, Arne Saknussemm. When translated into English, the note reads:


title: Journey to the Center of the Earth

text: Lidenbrock departs for Iceland immediately, taking the reluctant Axel with him. After a swift trip via Kiel and Copenhagen, they arrive in Reykjavík. There they hire as their guide Icelander Hans Bjelke, a Danish-speaking eiderduck hunter, then travel overland to the base of Snæfellsjökull.


title: Journey to the Center of the Earth

text: In late June they reach the volcano and set off into the bowels of the earth, encountering many dangers and strange phenomena. After taking a wrong turn, they run short of water and Axel nearly perishes, but Hans saves them all by tapping into a subterranean river, which shoots out a stream of water that Lidenbrock and Axel name the "Hansbach" in the guide's honor.


title: Journey to the Center of the Earth

text: Following the course of the Hansbach, the explorers descend many miles and reach an underground world. The travelers build a raft out of semipetrified wood and set sail. While at sea, they encounter prehistoric fish such as "pterichthyodes" (here called "pterichthys) and giant marine reptiles from the age of dinosaurs, namely an ichthyosaurus and a plesiosaurus. A lightning storm threatens to destroy the raft and its passengers, but instead throws them onto the site of an enormous fossil graveyard, including bones from the "pterodactylus", "Megatherium", and mastodon, and the preserved body of a man.


title: Journey to the Center of the Earth

text: Lidenbrock and Axel venture into a forest featuring primitive vegetation from the Tertiary Period; in its depths they are stunned to find a prehistoric humanoid more than twelve feet in height and watching over a herd of mastodons. Fearing it may be hostile, they leave the forest.


title: Journey to the Center of the Earth

text: Continuing to explore the coastline, the travellers find a passageway marked by Saknussemm as the way ahead, but it has been blocked by a recent cave-in. The adventurers lay plans to blow the rock open with gun cotton, meanwhile paddling their raft out to sea to avoid the blast. On executing this scheme, they find a bottomless pit beyond the impeding rock and are swept into it as the sea rushes down the huge open gap. After spending hours descending at breakneck speed, their raft reverses direction and rises inside a volcanic chimney that ultimately spews them into the open air. When they regain consciousness, they learn that they have been ejected from Stromboli, a volcanic island located off Sicily.


title: Journey to the Center of the Earth

text: The trio returns to Germany, where they enjoy great acclaim; Professor Lidenbrock is hailed as one of the great scientists of the day, Axel marries his sweetheart Gräuben, and Hans returns to his peaceful, eiderduck-hunting life in Iceland.


title: Journey to the Center of the Earth

text: The original French editions of 1864 and 1868 were issued by J. Hetzel et Cie, a major Paris publishing house owned by Pierre-Jules Hetzel.


title: Journey to the Center of the Earth

text: The novel's first English edition, translated by an unknown hand and published in 1871 by the London house Griffith & Farran, appeared under the title "A Journey to the Centre of the Earth" and is now available at Project Gutenberg. A drastically rewritten version of the story, it adds chapter titles where Verne gives none, meanwhile changing the professor's surname to Hardwigg, Axel's name to Harry, and Gräuben's to Gretchen. In addition, many paragraphs and details are completely recomposed, and its text as a whole has been excoriated by scholars as one of the poorest extant Verne translations.


title: Journey to the Center of the Earth

text: An 1877 London edition from Ward, Lock, & Co. appeared under the title "A Journey into the Interior of the Earth". Its translation, credited to Frederick Amadeus Malleson, is more faithful than the Griffith & Farran rewrite, though it, too, concocts chapter titles and modifies details. Its text is likewise available at Project Gutenberg.


title: Nancy Kulp

text: Nancy Jane Kulp (August 28, 1921 – February 3, 1991) was an American character actress and comedienne best known as Miss Jane Hathaway on the CBS television series "The Beverly Hillbillies".


title: Nancy Kulp

text: Kulp was born to Robert Tilden and Marjorie C. (née Snyder) Kulp in Harrisburg, Pennsylvania. She was their only child. Kulp's father was a traveling salesman, and her mother was a schoolteacher and later a principal. The family moved from Mifflintown, Pennsylvania, to Miami-Dade County, Florida, sometime before 1935.


title: Nancy Kulp

text: In 1943, Kulp graduated with a bachelor's degree in journalism from Florida State College for Women. She continued her studies for a master's degree in English and French at the University of Miami, where she was a member of the sorority Pi Beta Phi. Early in the 1940s, she also worked as a feature writer for the "Miami Beach Tropics" newspaper, writing profiles of celebrities such as Clark Gable and the Duke and Duchess of Windsor.


title: Nancy Kulp

text: During World War II, Kulp left the University of Miami in 1944 to join the United States Naval Reserve. She attained the rank of lieutenant, junior grade, and received several decorations while in the service, including the American Campaign Medal. She was honorably discharged in 1946.


title: Nancy Kulp

text: In 1951, not long after marrying Charles Malcolm Dacus, Kulp moved to Hollywood, California, to work in MGM's publicity department. Director George Cukor at the studio soon convinced her that she should be an actress, so the same year she began her publicity job at MGM, she also made her film debut as a character actress in "The Model and the Marriage Broker". She then appeared in other films, including "Shane", "Sabrina", and "A Star is Born". After working in television on "The Bob Cummings Show" and on "Perry Mason" in "The Case of the Deadly Toy" in 1959, Kulp returned to movies in "Forever, Darling", "The Three Faces of Eve", "The Parent Trap", "Who's Minding the Store?", and "The Aristocats". In 1966, she appeared as Wilhelmina Peterson in the film "The Night of the Grizzly", starring Clint Walker and Martha Hyer.


title: Nancy Kulp

text: In 1955 Kulp joined the cast of "The Bob Cummings Show" ("Love That Bob") with Bob Cummings, portraying pith-helmeted neighborhood bird watcher Pamela Livingstone. In 1956, she appeared as a waitress in the episode "Johnny Bravo" of the ABC/Warner Brothers series "Cheyenne", with Clint Walker. Kulp played the role of Anastasia in three episodes of the NBC sitcom "It's a Great Life" in 1955 and 1956. In 1958, she appeared in Orson Welles' little-known pilot episode "The Fountain of Youth" in the television series "Colgate Theatre". In 1960, she appeared as Emma St. John in the episode "Kill with Kindness" of the ABC/WB detective series "Bourbon Street Beat", starring Andrew Duggan.


title: Nancy Kulp

text: Kulp appeared on "I Love Lucy" in the 1956 episode "Lucy Meets the Queen", performing as an English maid, who shows Lucy and Ethel how to curtsy properly before Queen Elizabeth. Kulp also appeared in episodes of "The Real McCoys", "Perry Mason" ("The Case of the Prodigal Parent", 1958, and "The Case of the Deadly Toy", 1959), "The Jack Benny Program" ("Don's 27th Anniversary with Jack"), "87th Precinct" ("Killer's Choice"), "Pete and Gladys", "The Twilight Zone" (as Mrs. Gann in "The Fugitive"), and "Outlaws" ("The Dark Sunrise of Griff Kincaid, Esquire"). Kulp portrayed a slurring-drunk waitress in a scene with James Garner and Jean Willes in the 1959 "Maverick" episode "Full House". She played a housekeeper in a pilot for "The William Bendix Show", which aired as the 1960–1961 season finale of CBS's "Mister Ed" under the title "Pine Lake Lodge". On the series "My Three Sons" in 1962, she portrayed a high school math and science teacher in two episodes under different character names, Miss Harris and Miss Fisher.


title: Nancy Kulp

text: Shortly after her performances on "My Three Sons" in 1962, Kulp landed her breakout role as Jane Hathaway, the love-starved, bird-watching, perennial spinster, on the CBS television series "The Beverly Hillbillies". In 1967, she received an Emmy Award nomination for her role, and she remained with the show until its cancellation in 1971. In 1978, she appeared on "The Love Boat" in the episode "Mike and Ike / The Witness / The Kissing Bandit" and she played Aunt Gertrude in the episode "Tony and Julie / Separate Beds / America's Sweetheart". On April 7, 1989, she played a nun in the "Quantum Leap" season 1 episode "The Right Hand of God". Kulp also appeared on "The Brian Keith Show" and "Sanford and Son".


title: Nancy Kulp

text: Kulp also performed in the Broadway production of "Morning's at Seven" in 1980 to 1981 as Aaronetta Gibbs as a replacement for Elizabeth Wilson in the Lyceum Theatre.


title: Nancy Kulp

text: In 1984, after working with the Democratic state committee in her home state of Pennsylvania "on a variety of projects" over a period of years, Kulp ran unopposed as the Democratic nominee for the United States House of Representatives from Pennsylvania's 9th congressional district. As an opponent of the Republican incumbent Bud Shuster in a Republican-dominated district, Kulp was the decided underdog. Sixty-two years old at the time, Kulp said some voters might feel her background as an actress was "frivolous"; but she noted that Ronald Reagan had taken the route from screen to politics, and she said anyone who "listens and cares" can do well.


title: Nancy Kulp

text: To her dismay, her "Hillbillies" co-star Buddy Ebsen contacted the Shuster campaign and volunteered to make a radio campaign ad in which he called Kulp "too liberal". Kulp said of Ebsen, "He's not the kindly old Jed Clampett that you saw on the show ... It's none of his business and he should have stayed out of it." She said Ebsen and she "didn't get along because I found him difficult to work with. But I never would have done something like this to him." Garnering 59,449 votes—just 33.6% of the ballots cast in the election—to Shuster's 117,203 votes and 66.4%, she lost. After this, according to her close friends and family, Ebsen was regarded as "persona non grata" to Kulp and she made it clear to people not to bring him up in conversation around her with the exception of interviews related to her time on "Hillbillies". In his later years, especially after Kulp's death, Ebsen privately expressed remorse for doing the ad and they only reconciled shortly before Kulp's death.


title: Nancy Kulp

text: After her defeat, she worked at Juniata College, a private liberal arts college in Huntingdon, Pennsylvania, as an artist-in-residence. Later she taught acting.


title: Nancy Kulp

text: Kulp married Charles Malcolm Dacus on April 1, 1951, in Dade County, Florida; they divorced in 1961. After her retirement from acting and teaching, she moved first to a farm in Connecticut and later to Palm Springs, California, where she became involved in several charity organizations, including the Humane Society of the Desert, the Desert Theatre League, and United Cerebral Palsy. In 1989, Kulp gave an interview to author and LGBT activist Boze Hadleigh in which she said,


title: Nancy Kulp

text: As long as you reproduce my reply word for word, and the question, you may use it ... I'd appreciate it if you'd let me phrase the question. There is more than one way. Here's how I would ask it: "Do you think that opposites attract?" My own reply would be that I'm the other sort — I find that birds of a feather flock together. That answers your question.


title: Nancy Kulp

text: Hadleigh states that Kulp was indicating that she was a lesbian. (Note that Boze Hadleigh is famous for publishing interviews of actors, after they've died, in which he states that they came out during the interview. Yet he refuses to share the audio tapes that would prove his claims.)


title: Nancy Kulp

text: Kulp was diagnosed with cancer in 1990, for which she received chemotherapy. By 1991, the cancer had spread, and she died on February 3, 1991, aged 69, in Palm Desert, California. Her remains are interred at Westminster Presbyterian Cemetery in Mifflintown, Pennsylvania.


title: Tricyclic antidepressant

text: Tricyclic antidepressants (TCAs) are a class of medications that are used primarily as antidepressants, which is important for the management of depression. They are second-line drugs next to SSRIs. TCAs were discovered in the early 1950s and were marketed later in the decade. They are named after their chemical structure, which contains three rings of atoms. Tetracyclic antidepressants (TeCAs), which contain four rings of atoms, are a closely related group of antidepressant compounds.


title: Tricyclic antidepressant

text: Although TCAs are sometimes prescribed for depressive disorders, they have been largely replaced in clinical use in most parts of the world by newer antidepressants such as selective serotonin reuptake inhibitors (SSRIs), serotonin–norepinephrine reuptake inhibitors (SNRIs) and norepinephrine reuptake inhibitors (NRIs). Adverse effects have been found to be of a similar level between TCAs and SSRIs. Another class of antidepressants, tetracyclic antidepressants, are also used around the world, and they have many similarities to the tricyclic antidepressants.


title: Tricyclic antidepressant

text: The TCAs were developed amid the "explosive birth" of psychopharmacology in the early 1950s. The story begins with the synthesis of chlorpromazine in December 1950 by Rhône-Poulenc's chief chemist, Paul Charpentier, from synthetic antihistamines developed by Rhône-Poulenc in the 1940s. Its psychiatric effects were first noticed at a hospital in Paris in 1952. The first widely used psychiatric drug, by 1955 it was already generating significant revenue as an antipsychotic. Research chemists quickly began to explore other derivatives of chlorpromazine.


title: Tricyclic antidepressant

text: The first TCA reported for the treatment of depression was imipramine, a dibenzazepine analogue of chlorpromazine code-named G22355. It was not originally targeted for the treatment of depression. The drug's tendency to induce manic effects was "later described as 'in some patients, quite disastrous'". The paradoxical observation of a sedative inducing mania led to testing with depressed patients. The first trial of imipramine took place in 1955 and the first report of antidepressant effects was published by Swiss psychiatrist Roland Kuhn in 1957. Some testing of Geigy's imipramine, then known as Tofranil, took place at the Münsterlingen Hospital near Konstanz. Geigy later became Ciba-Geigy and eventually Novartis.


title: Tricyclic antidepressant

text: Dibenzazepine derivatives are described in U.S. patent 3,074,931 issued 1963-01-22 by assignment to Smith Kline & French Laboratories. The compounds described share a tricyclic backbone different from the backbone of the TCA amitriptyline.


title: Tricyclic antidepressant

text: Merck introduced the second member of the TCA family, amitriptyline (Elavil), in 1961. This compound has a different three-ring structure than imipramine.