Plot.

At the Springfield Nuclear Power Plant, Homer Simpson believes he will win the Worker of the Week award; it is a union requirement that every employee gets the prize and Homer is the only plant employee who has never won. Instead, Mr. Burns, Homer's boss, gives the award to an inanimate carbon rod. Homer thinks no one respects him, and watches television to lighten his mood. Suddenly, the remote breaks and the TV is stuck on a telecast of a Space Shuttle launch, which Homer finds boring. Later on at Moe's Tavern, he prank calls NASA to complain. NASA subsequently decides to send an average Joe to space to improve their Nielsen ratings and they choose Homer. But when they first approach Homer, he believes he is in trouble and blames the prank call on barfly Barney Gumble. After they invite Barney to participate in a space launch, Homer tells NASA the truth and they agree to train both of them.  At Cape Canaveral, Homer and Barney compete in training exercises. While under NASA's alcohol ban, a sober Barney develops superior skills and is chosen to fly with Buzz Aldrin and Race Banyon. After toasting with a non-alcoholic drink, Barney reverts to alcoholism and leaves via a jetpack. Homer is selected as Barney's replacement, but he grows nervous and runs away during the preparations for takeoff. Marge encourages him to take advantage of the opportunity, and he rejoins the launch; it receives good television ratings.  Homer smuggles a bag of potato chips aboard the shuttle, and opens it upon reaching space. Because of the weightlessness in space, the chips disperse and clog the instruments. While eating them, Homer breaks an ant farm, and the ants destroy the navigation system. During his broadcast of the space mission, newscaster Kent Brockman erroneously believes the ants are giant aliens set to enslave Earth. Musician James Taylor, who was singing over the radio, suggests they blow the ants out the hatch. Homer fails to put on his harness and is nearly blown into space, grabbing on to the hatch handle. The hatch handle bends, preventing it from fully closing. While defending himself from a furious Race, Homer grabs a carbon rod and inadvertently uses it to seal the hatch. The shuttle returns safely to Earth, landing at a press convention. Although Buzz calls Homer a hero, the press only acknowledges the carbon rod; it appears on a "Time" cover and receives a ticker-tape parade. Despite this, Homer's family still celebrates him as a hero.

Production.

"Deep Space Homer" was written by showrunner David Mirkin and directed by Carlos Baeza. He based the episode on NASA's cancellation of the Teacher in Space Project, which sent civilians to space to increase public interest in the Space Shuttle program. The staff worried that sending Homer into space was too large an idea, and "Simpsons" creator Matt Groening said it gave them "nowhere to go". Several gags were toned down to make the episode more realistic, including an idea that everyone at NASA was as stupid as Homer. Instead, Mirkin focused more on Homer's attempts to gain his family's respect.  Buzz Aldrin, the second man to walk on the Moon, and musician James Taylor guest-star as themselves. The staff were concerned Aldrin would consider his line "second comes right after first" an insult, and offered the alternative line, "first to take a soil sample", as a backup. Aldrin however preferred the original line, which was retained in the script. Taylor recorded an altered version of his 1970 single "Fire and Rain" and Carole King's 1971 "You've Got a Friend" for the episode. His recording session appears as an extra on the DVD release of the fifth season. David Silverman directed the potato chip sequence instead of Baeza; the chips were partly animated on an Amiga personal computer to smooth their rotation.

Parodies.

"Deep Space Homer" has multiple references to the 1968 film "". The scene of Homer floating and eating potato chips in space includes Johann Strauss II's waltz "The Blue Danube", which was used in the film. Homer watches an "Itchy and Scratchy Show" episode that shows Itchy torturing Scratchy in an EVA pod, a reference to the film's "Discovery" craft. When Bart Simpson throws a marker pen, it rotates in slow motion and a match cut replaces it with a cylindrical satellite as a parody of a similar transition used in the film; both film and cartoon use Richard Strauss' tone poem "Also sprach Zarathustra" as backing music.

Themes.

"Deep Space Homer" deals with Barney's alcoholism as he sobers up to become fit and clear-thinking, then regresses to his usual drunken persona after he has a non-alcoholic drink, an example of "exaggerated incompetence." The episode also explores the relationships between members of the Simpson family, particularly how they evolve after Homer's voyage to space. At the start of the episode, Bart writes "Insert Brain Here" on the back of Homer's head to imply he is not intelligent enough to earn his family's respect. After Homer returns from space, Bart instead writes "Hero" on the back of his head. His trip to space and his heroic act gains him increased respect from his family, something Homer had struggled with for several years.  NASA's main motivation for sending Homer to space is its low ratings. This is evident when Homer and Bart, who are seen as average Joes, are attempting to quickly change the channel when a space launch is shown. By 1994, NASA could no longer present space exploration as part of the Space Race—the tension between the Soviet Union and the United States had by then dissipated. In the episode, NASA attempts to use social class as a means of increasing ratings by sending an "average schmo" such as Homer or Barney to space. Homer's space journey increased ratings for NASA; according to the professor of English Paul Cantor, this illustrates how easily trends in ratings can be affected by societal change.

Broadcast and release.

"Deep Space Homer" aired at 8:00 p.m. EST on February 24, 1994. It finished 32nd in ratings for the week of February 21–27, 1994, with a Nielsen rating of 11.1, the equivalent of approximately 10.3 million viewing households. Even though it was the highest-rated show on Fox that week, "Deep Space Homer" did not perform as well as the previous week's episode "Lisa vs. Malibu Stacy", which had a Nielsen rating of 11.6, equivalent to 11 million viewing households.  "Deep Space Homer" is a part of the DVD release and Blu-ray of the show's fifth season, which includes commentary by "Simpsons" staff Groening, Silverman, James L. Brooks, Mirkin, Conan O'Brien, and Jim Reardon. The episode is also included in the "Simpsons: Risky Business" box set, and is available to stream at the "Simpsons World" site run by FXX. The "Simpsons" game "Tapped Out" held an event based on the episode; it allowed players to train Springfield citizens for a space mission.

Reception.

In 1994, film magazine "Empire" declared "Deep Space Homer" a "contender for the greatest episode ever", listing it as the third-best "Simpsons" parody of a film. In 1998, "TV Guide" listed it in its list of top twelve "Simpsons" episodes. In his 2004 book "Planet Simpson", Chris Turner cited the episode as one of his five favorites. He described the sequence with Homer eating potato chips in the Space Shuttle and the speech by newscaster Kent Brockman, who believes alien ants have taken over the shuttle, as "simply among the finest comedic moments in the history of television".  In 2011, "The Daily Telegraph" named the episode among their ten favorites for its cameos and jokes. In 2017, MSNBC named "Deep Space Homer" its fourth-favorite "Simpsons" episode, describing Homer's realization that "Planet of the Apes" is set on Earth as "pure genius". Aldrin and Taylor received praise for their performances; "IGN" and "Phoenix.com" ranked Taylor's guest appearance among the show's greatest. In 2019, "Time" ranked the episode sixth in its list of 10 best "Simpsons" episodes picked by "Simpsons" experts.  The episode is a favorite of Silverman, but contains one of Groening's least-favorite jokes: Homer's face morphs into those of Popeye and Richard Nixon while exposed to g-forces, which Groening felt made no sense in context. At the request of astronaut Edward Lu, a copy of the episode was placed on the International Space Station for astronauts to view.

Overlord meme.

Kent Brockman's line, "I, for one, welcome our new insect overlords", became an Internet meme. It is frequently used to show mock submission or suggest a powerful entity, such as robots, could become capable enough to conquer humanity. In 2007, "New Scientist" used the phrase when reporting the British government's research into aliens, and in 2011, Ken Jennings, a long-standing contestant of the game show "Jeopardy!", used it in reference to the computer Watson.

"Deep Space Homer" is the fifteenth episode of the fifth season of American animated sitcom "The Simpsons", which was first broadcast on Fox in the United States on February 24, 1994. In the episode, NASA selects Homer Simpson to participate in a spaceflight to spark public interest in space exploration and boost low ratings of the launches. Once in space, his incompetence destroys the navigation system on board the Space Shuttle.

Homer dans l'espace ("Deep Space Homer") est le quinzième épisode de la saison 5 de la série télévisée d'animation "Les Simpson".


Name.

In a document which uses the courtly language, Church Slavonic, Nicolae describes himself as: ("By the Grace of God "Io" Niecolaie Voivode and Hospodar of the Entire Hungro-Wallachian Country"). Historian Nicolae Iorga highlights the exotic nature of Nicolae's baptismal name, in its temporal context. The last Prince of Wallachia to have been crowned under that name was the 14th-century Nicolae Alexandru, whose memory had faded, and it was only used since by the pretender Nicolaus Bassaraba. The latter, a scion of the Craiovești, had made his most successful bid for the throne in 1563–1564. Iorga proposes that both Bassaraba and Pătrașcu were

Biography.

Origins and early life.

Various scholarly disputes surround the origins of Nicolae's father Michael the Brave, or "Mihai Viteazul", who passed himself off as a son of Pătrașcu the Good, from the Drăculești princely clan, and therefore also as a half-brother of Petru Cercel. Some historians accept that he was Prince Pătrașcu's son, or at least a member of his house. Others simply list Michael's paternal roots as disputed. Nicolae's grandmother was Teodora (Tudora), Pătrașcu's alleged mistress. A native or resident of Orașul de Floci, she was of Greek ethnicity and reportedly worked as a barmaid.  In the 16th century, Wallachia was a tributary state of

Becoming Prince.

Michael eventually defeated the Ottoman intruders at Călugăreni in August 1595. Sources differ as to what Nicolae and Stanca were doing during that interval. Some authors believe that they remained in Gherghița until autumn 1596, when they finally moved to the second capital, Târgoviște. In 1599, Michael's biographer Balthasar Walther wrote that the Prince sent "his woman, his children and all that he held dear" to safety in Hermannstadt. Other reports of the period suggests that Michael began negotiating a truce with the Ottomans, during which he offered to send Nicolae as a hostage to Istanbul. According to this narrative, Nicolae was still in Transylvania. Upon receiving news of Wallachia's rapprochement with the Ottomans, Transylvanian Princess Maria Christina ordered Michael's entire family

In Moldavia.

From his campsite in Transylvania, Michael set his sights on Moldavia, which was governed by a hostile Movilești regime, closely allied with the Polish–Lithuanian Commonwealth. Initially, Michael pursued matrimonial diplomacy: Nicolae was to marry a daughter of the Moldavian Prince Ieremia Movilă. The latter refused the offer, as he was instead pushing for his brother, Simion Movilă, to take the Wallachian throne. Michael began preparing for war, but could only hope to succeed if he created a rift between Poland and the Movilești. Around December 1599, he was considering a matrimonial alliance with the "Szlachta", through both Nicolae and Florica. Early the following year, he offered

As hostage.

Despite the pledge, Michael was also very unwilling to send his family abroad, and procrastinated to October 1600. Florica only arrived on December 30, and Teodora, also promised as a hostage, never left Wallachia. Nicolae finally presented himself at Lécfalva on October 16, accompanied by Archbishop Dionysus and "Vistier" Stoica Rioșeanu. All three pledged their loyalty to Rudolf and expressed criticism of Michael's policies. On October 17, Nicolae and his mother were honored guests at Corona, on their way to a gilded imprisonment in the castle of Gilău (Gela). In their dialogue with Michael, the Hungarians offered Gilău as a permanent family "demesne".  After Bucov, Simion Movilă took over Nicolae's throne, in what was

In exile.

A Cozia Monastery record details the meeting between Stanca and Teodora, who was by then a nun. According to Gane, this would suggest that Nicolae traveled back to Wallachia to meet his paternal grandmother, while others indicate that he was forced to stay behind in Transylvania until the second half of 1602. In August, Nicolae addressed the Emperor a letter which reaffirmed his loyalty and asked to be received at the court in Prague, while also issuing a claim to Michael's confiscated assets. On September 28, Nicolae was at Șcheii Brașovului, where he donated various assets to St. Nicholas Church, in exchange for regular memorial services honoring his late father. The

Final years.

Nicolae ultimately married Radu Șerban's daughter, known as Ana or Ancuța, on July 10, 1618. The wedding was blessed by a new Emperor, Matthias, who presented the couple with a silver chalice. The scandal over Michael's inheritance peaked the same year, when Matthias ordered an "Hofkriegsrat" investigation into Michael's killing. The news were poorly received by Nicolae, who complained that the inquiry would open the record to "calumnies" against his father and cement Basta's depiction of the Prince as a "traitor".  The issue was put on hold by

Legacy.

Nicolae's remains were finally exhumed by Ana in 1640, and taken to Wallachia together with Radu Șerban's (recovered from St. Stephen's Cathedral). The reigning Prince Matei Basarab welcomed them in Bucharest, then buried them together in the shared necropolis of Comana Monastery. The epitaph, which probably dates from the late 18th century, commemorates both as heroes of the defense against Islam and "the Hungarian heretic". Unusually, Nicolae and his family were regularly commemorated by a Moldavian church at Golia Monastery. Their likeness remains preserved at Căluiu Monastery, in Oboga, which Michael furbished in 1593–1594. His heir is shown alongside his mother on the Căluiu naos, painted by a Master Mina. Mihăilescu, who also writes that Prince Nicolae was a Wallachian version of Napoleon II, laments that his fate was otherwise "nearly entirely forgotten."  The marriage of Nicolae and Ana produced two sons, Gavril and Mihai Pătrașcu, and a daughter, Ilinca (Elena). Gavril died in 1622, an infant or young child. Nicolae's daughter stayed with her mother in Austria until 1640. Both returned to settle in Filipeștii de Târg, alongside the Cantacuzinos, before recovering their family estates. They could resume ownership of Bârca and Mircești-Simileasca, but not of their serfs, who were recognized as manumitted by Prince Matei. Florica had died shortly after her brother, in

Arms.

Like all Wallachian Princes of the period, Nicolae used as his primary symbol the Wallachian bird, which was by then a cross between golden eagle and raven. As noted by heraldist Dan Cernovodeanu, this "hybrid" was represented with "very elegant" form under Nicolae's alleged grandfather, Pătrașcu the Good. A 1616 roll of arms, created by Valentin Franck, puts Nicolae's arms alongside those of his father-in-law, showing them to be nearly identical: they both have oval shields supported by lions "affrontés", and "hybrid" birds "displayed". In Franck's version, Nicolae's arms feature the bird over a cross potent, and holding a ring in its beak, while Radu Șerban's has a closed beak and no cross. Cernovodeanu proposes that this heraldic distinction highlighted the difference of weight in dynastic claims: Nicolae saw himself as descending from the original House of Basarab, whereas his ally was only related to the Craiovești. However, all seals used by Nicolae, Radu Șerban and Mihai Pătrașcu feature the same display, including lions in supporters and the cross (either behind the bird or in its beak), but without a ring.  Michael the Brave and Nicolae are both associated with another seal, first used on July 27, 1600. Its complex field has the Wallachian bird alongside the Moldavian aurochs, two lions "affrontés", and a variant of the "nova plantatio" theme, with both Princes in supporters. An enduring controversy surrounds the two lions, opposing historians who view them as a variant coat of arms of Transylvania to those who read them as Michael's personal arms; secondary debates range over whether they are shown holding up a sword or rather the trunk of a tree. Among the specialists involved, archivist Aurelian Sacerdoțeanu proposed that the seal was designed by Nicolae in a bid to cement his claim as Michael's successor on the Moldavian throne.

Nicolae Pătrașcu, Petrașco, or Petrașcu, also styled Nicolae Vo[i]evod (Church Slavonic and Romanian Cyrillic: or ; ca. 1580 – late 1627), was the titular Prince of Wallachia, an only son of Michael the Brave and Lady Stanca, and a putative grandson of Pătrașcu the Good. His early childhood coincided with Michael's quick rise through the ranks of boyardom, peaking in 1593, when Michael became Prince and Nicolae his heir apparent. As he began a quest to emancipate Wallachia from the Ottoman Empire, Michael used his son as a party to alliances with the Holy Roman Empire and the Principality of Transylvania, proposing him as either a hostage or a matrimonial guarantee. While entering the Long Turkish War on the Christian side, Michael also negotiated a settlement with the Ottomans, again offering Nicolae as a guarantee.

Nicolae Patrascu fut prince de Valachie de 1599 à 1600. Fils de Mihai Viteazul et de son épouse Dame Stanca, il est associé au trône de Valachie par son père de novembre 1599 à septembre 1600. Après la mort de son père il vécut en exil à Vienne et mourut en 1634.


History.

1981–1983: Formation.

CCCP was formed in 1981 when Ferretti met Zamboni (both were from Reggio Emilia) in a discothèque in Kreuzberg (Berlin). Once they returned home they founded a new band called MitropaNK. During the following summer Ferretti, Zamboni and bassist Umberto Negri returned to Berlin: it was during that trip that CCCP Fedeli alla Linea were born. The band members decided to use a drum machine instead of an actual drummer.  The name of the band celebrates the popular sub-culture of Emilia while also praising the Soviet Union, creating a link between Russia and the typical province of Emilia-Romagna.  During this period the band performed several times in Germany, playing some underground clubs in Berlin such as the Kob or the Spectrumin. Their permanence in Berlin influenced the sound of the band through the local industrial scene. East Berlin's culture and the Islamic community of the West side of the town also influenced Ferretti's lyrics.  The band's first concerts in Italy were met with a negative response from the crowd, leading the band to add two new members to the line-up: Annarella Giudici "Benemerita soubrette", and a performer named Danilo Fatur. Annarella, Fatur, and for a little time Silvia Bonvicini (a second "Benemerita soubrette") contributed to characterize their concerts by playing comic-demential sketches during their gigs.

1984–1985: First EPs.

In 1984 the band released "Ortodossia", their first EP on the independent label Attack Punk Records. In the same year the"Ortodossia II" EP was released, which included the same three songs already included in their first EP ("Live in Pankow", "Spara Jurij", and "Punk Islam") plus an additional fourth track ("Mi ami?"). 1985 saw the release of their third EP, "Compagni, Cittadini, Fratelli, Partigiani".  The three EPs were produced and recorded by the band with very little money and few musical instruments in a single room set as a recording studio, near to a city tram line constantly disturbing the recording.

1986: Debut album.

Their first studio album, "1964/1985 Affinità-Divergenze fra il Compagno Togliatti e Noi - Del Conseguimento della Maggiore Età", was recorded during 1985 and published by Attack Punk Records in 1986. It reduced the visceral impact of hardcore while focusing on the eerie contrast between a harsh but spare instrumental background and Ferretti's delirious cut-up lyrics and Brecht-ian delivery. An eclectic stylistic range (from existential psychodrama to dance groove, from erotic cabaret to folk ballad) helped craft an oppressive atmosphere of angst and boredom, particularly in the centerpiece, "Emilia Paranoica".  This album is considered by many music critics one of the masterpieces of contemporary Italian music, and a milestone for the whole European punk movement. The album's sales induced Virgin Dischi, the Italian branch of Virgin to sign the band. Some of the band's fans saw this move as betrayal and nicknamed the band “"CCCP fedeli alla lira"” with "lira" (the old Italian currency before the introduction of Euro) instead of "linea" ('line' in the sense of 'party line', in line with the soviet theme).

1987–1988: Signed for Virgin.

In 1987 the band recorded and released their first single "Oh! Battagliero" and their second album, "Socialismo e Barbarie", which was made with a relatively big budget if compared with the first one. It is a less cohesive work, that ran the gamut from Middle Eastern music to a rock version of the Soviet anthem, from Catholic hymns to feedback workouts.  In 1988 Virgin re-released "Socialismo e Barbarie" on CD, and their first EPs on the compilation "Compagni, cittadini, fratelli, partigiani / Ortodossia II".  In the same year, CCCP released the single "Tomorrow (Voulez vous un rendez vous)", a cover version of a song by the singer and painter Amanda Lear.

1989: Third album.

The third album, "Canzoni, Preghiere, Danze del II Millennio - Sezione Europa" (1989), signs their musical change to electropop. Keyboard, instead of guitar, became the most important instrument. Their sound is now influenced by Middle Eastern music and is softer than in the previous records. It replaces the original sociopolitical emphasis with mystical overtones, and their industrial hardcore with a far less revolutionary synthpop.

1989–1990: Litfiba and demise.

In 1989 CCCP, Litfiba, and Rats went on tour in the Soviet Union (Moscow and Leningrad). In Moscow they played in a palace full of soldiers in uniform. The soldiers stood up when the band played at the end of the concert the Soviet hymn "A Ja Ljublju SSSR". During this year guitarist Giorgio Canali, bassist Gianni Maroccolo, keyboardist Francesco Magnelli, and drummer Ringo De Palma (the last three left the Litfiba because of some artistical difference of opinion with band's manager Alberto Pirelli) joined and transformed the group.  The group, now composed by eight members, recorded their fourth album "Epica Etica Etnica Pathos" in an abandoned 700' villa. This album signes another musical evolution for the band. CCCP reached their zenith with this album, a Frank Zappa-esque stylistic puzzle which also stands as a personal musical encyclopedia, with complex suites such as "MACISTE contro TUTTI", their ""swan song"", and a transition to the new sonorities of the Consorzio Suonatori Indipendenti (C.S.I.), the new band born from the ashes of CCCP.  The acronym used for the new band name, C.S.I., reminds to the new situation in the Soviet Union, with the Commonwealth of Independent States (CIS) ( (CSI)). With the creation of the CIS, the Soviet Union and at the same time the band ceased to exist.  CCCP effectively disbanded the 3 October 1990, in the same date of the German reunification, and the members went on to other projects.

Post-CCCP.

When the Soviet Union collapsed, Ferretti and Zamboni decided to shuffle the line-up and adopt a less political stance. The renamed Consorzio Suonatori Indipendenti (C.S.I.) debuted with a set of songs from "Ko del Mondo" (Polygram, 1993). They rapidly evolved towards a form of chamber rock music (mostly drum-less) with "Linea Gotica" (Polygram, 1996). Unfortunately, "Tabula Rasa Elettrificata" (Polygram, 1997) simply aped the alternative rock fads of the moment.  When C.S.I. disbanded in 1999, Ferretti debuted solo with Co-dex (2000), then formed Per Grazia Ricevuta (PGR) and released "PGR" (2002) that steered towards world-music.

CCCP Fedeli alla Linea [] were an Italian band formed in 1982 in Berlin by vocalist Giovanni Lindo Ferretti and guitarist Massimo Zamboni. The band's style was self-defined by the members themselves as “Musica Melodica Emiliana—Punk Filosovietico” (“Emilian Melodic Music—pro-Soviet punk”)

CCCP Fedeli alla linea, également abrégé CCCP, est un groupe de punk rock italien. Formé en 1982, ce groupe, qui se rattache à la mouvance punk du rock italien, est très militant tout au long da sa carrière. Son nom, CCCP, provient du sigle russe désignant l'Union soviétique. Les deux leaders du groupe sont le chanteur Giovanni Lindo Ferretti et le guitariste Massimo Zamboni. Il est considéré comme l'un des groupes important d'Italie des années 1980.


Military career.

Geoffroi de Charny fought at Hainault and in Flanders, and participated in a crusade under Humbert II of Viennois in the late 1340s. Humbert was a terrible soldier and leader (1) and the crusaders signed a treaty with the Turks in 1348, despite the capture of Smyrna under a previous commander.  We know from the Chronicles of Froissart that de Charny traveled to Scotland by order of the French King on at least two occasions and was well known to the Scottish nobles of the time. The chronicle describes the French Knight's visit and de Charny briefly in this passage written in Middle English: ""... Mctray Duglas and the erle Morette knewe of their comynge, they wente to the havyn and mette with them, and receyved them swetely, sayeng howe they were right welcome into that countrey. And the barons of Scotlande knewe ryght well sir Geffray de Chamey, for he had been the somer before two monethes in their company: sir Greffray acquaynted them with the admyrall, and the other knyghtes of France.""  It is recorded and recently translated that Geoffroi was taken prisoner on two occasions. Once was at the battle of Morlaix. It is further recorded that in 1342 Geoffroi was taken prisoner in Brittany, then taken to Goodrich Castle in England, where his captor was Richard Talbot, 2nd Baron Talbot. An English letters patent of October 1343 describes him as having "gone to France to find the money for his ransom". It was a rare occurrence that a man would be thus trusted and since he went on to fight other battles, someone apparently paid Geoffroi's ransom, and he was knighted the very next year.  Another incident which provides insight into Geoffroi's mind is the retribution exacted upon Lombardy-born Aimery of Pavia, the man who betrayed him in his attempted recapture of Calais on New Year's Eve, 1349. Geoffroi conducted a dangerous raid on Aimery's castle. Geoffroi took Aimery captive to St. Omer, decapitated him, quartered his body, and displayed it on the town gates. Kaeuper adds: "To show that all this was a private matter and not a part of the business of war (there was currently a truce), Charny took possession only of Aimery himself, not his castle."

Negotiations prior to the Battle of Poitiers.

Shortly before his death, Sir Geoffroi's dire predictions proved to be truly prophetic and his recorded words exemplify what only a "true and perfect" medieval knight might be expected to say. They are recorded in the writings of the life of Sir John Chandos and were made in the final moments of a meeting of both sides in an effort to avoid the bloody conflict at Poitiers during The Hundred Years' War. The extraordinary narrative occurred just before that battle and reads as follows:

Death.

Sir Geoffroi de Charny was killed at the Battle of Poitiers in 1356, a great defeat for the French in which the French king was taken prisoner to England. The French nobility lost here as well as at Crecy, thus their most capable were almost completely wiped out. Froissart’s words vividly (but inaccurately) describe Geoffroi’s last actions, his bravery to his King and Country and his dedication to the Oriflamme at the Battle of Poitiers on 19 September 1356: "There Sir Geoffroi de Charny fought gallantly near the king (note: and his fourteen-year-old son). The whole press and cry of battle were upon him because he was carrying the king’s sovereign banner, the Oriflamme. Geoffroi also had before him his own banner, gules, three escutcheons argent. So many English and Gascons came around him from all sides that they cracked open the king’s battle formation and smashed it; there were so many English and Gascons that at least five of these men at arms attacked one [French] gentleman. Sir Geoffroi de Charny was killed with the banner of France in his hand, as other French banners fell to earth."

Brass effigy.

The brass effigy is of the son, French knight Geoffroi de Charny II. It is presented for historical reference only since there are no known images of the father. It is said to be an authentic likeness to the father as well and the son. The effigy translation was provided by author Ian Wilson. It states as follows: "Here lies the noble man Monsieur Geoffroy de Charny at one time seigneur of Thory, in the district of Beauvais, who died the 22nd day of the month of May 1398. Pray God for his soul."  The effigy is frequently represented elsewhere as being of the father but the translation clearly shows it is of Geoffroi II, the son.

Shroud of Turin.

Geoffroi de Charny and his wife Jeanne de Vergy are the first reliably recorded owners of the Shroud of Turin. The first public exhibition of the Shroud is memorialized in The Pilgrimage Medal shown here and dating from that time. The medal shows the image of the Shroud with very precise indications in spite of its small dimensions. On this medal one can see a frontal and dorsal view of the body, the linen herring patterns, four marks of burns as well as the coats of arms of the Charny and Vergy families. This pilgrimage medal is exhibited at the Cluny museum in Paris (France).

Literary works.

Geoffroi de Charny's most famous work is his 'Book of Chivalry', written around 1350, which is, along with the works of Ramon Llull and Chretien de Troyes one of the best sources to understand how knights themselves described and prioritised chivalric values in the 14th century. Geoffroi discusses many subjects but above all he values skill at arms over all other knightly virtues and war over all other forms of contest at arms.  He was also the author of 'Demands pour la joute, les tournois, et la guerre', in English, 'Questions for the joust, tournaments and war', a book on knightly pursuits. Only the questions survive; however, the way that the questions are phrased, as well as Geoffroi's actions in his lifetime, allow scholars to reach further conclusions about Geoffroi's conception of chivalry and war.

Geoffroi de Charny ( – 19 September 1356), also known as Geoffry de Charny, was a French knight and author of at least three works on chivalry. He was born around 1300. His father, Jean de Charny was the Lord of Lirey in Burgundy and his mother was Margaret de Joinville. His grandfather on his mother's side, Jean de Joinville, was a close friend of King Louis IX and author of his biography. Geoffroi was a knight in the service of King Jean II of France and a founding member of the Order of the Star, an order of chivalry founded on 6 November 1351 by Jean II of France similar to the Order of the Garter (1347) by Edward III of England. He was also the carrier of the Oriflamme, the standard of the crown of France, an immensely privileged, not to mention dangerous, honour, as it made the holder a key target of enemy forces on the battlefield. Geoffroi de Charny was one of Europe's most admired knights during his lifetime, with a widespread reputation for his skill at arms and his honour. It was said that in his time he was known as a "true and perfect Knight".

Geoffroi de Charny, né vers 1300-1306 et tué à la bataille de Poitiers le, seigneur de Lirey, de Savoisy et de Montfort, est un chevalier français de la première moitié du, auteur de trois ouvrages portant sur la chevalerie.


History of the flag.

As many other flags of medieval origin, the Senyera, or ""Senyal Reial"" (royal ensign), was used in those years as the arms of the King of Aragon. While not existing still in the Middle Ages, the concept of national flag as understood today, the true symbol of the nationality was constituted on the royal shield. It is traditionally considered that a Senyera was granted by James I of Aragon as the arms of Valencia following the Christian conquest from Moorish rule in 1238, although the earliest sources related to this are dated in 1377, when the City Council agreed to replace the old arms used for seals with a new one with the Senyera. While the origins of the usage of the Senyera as a coat of arms remain unclear in the agreement, a crown in the helm and two "L" as supporters were added, according to an honour awarded by Peter IV of Aragon for the loyalty and courage shown by Valencians to him in several wars such as the War of the Two Peters against the Kingdom of Castile.  This Valencian coat of arms began to be used in textile standard as a pennon, including the crown in a fringe, although the blue colour was slightly different. It was "bipartida", meaning two swallow tails, or "abocellada", that's only one swallow rounded and higher tail. The latter is one of the two shapes used and officially regulated today, together with the rectangle, for Valencian municipalities.  The only currently preserved pennon, commonly considered a copy of the original, was made in the 17th century and is kept, though very damaged, at the City Historical Archive of Valencia.  coleccion=iberlex&ref=1985/01806&anyo=1985&nbo=23&lim=A&pub=BOE&pco=2256&pfi=2262 Boletín Oficial del Estado number 164]: Article 5, 1: "The traditional flag of the CV is made up of four red stripes on a yellow field crowned over a blue band by the hoist." 2. "A Law of the Cortes Valencianas [the autonomous parliament] may determine the heraldical symbols of the Community which shall contain those [arms] of the provinces of Castellón, Valencia and Alicante, and its incorporation to the flag over the stripes". The drawing uses a ratio of 2:3. The precious stones are -E-S-E-S- (E: emerald or green oval; S: sapphire or blue quatrefoil; each hyphen would represent a pearl or white circle), from bottom hoist to top. The width of the blue band (including the thin red stripe carrying the jewels) is about 1/5 of the fly. Also quoted here</ref> There are no official proportions specified, but two ratios, 1:2 and 2:3, are being used.

Flag protocol.

The flag of Valencia is to be hoisted both outside and inside of each and every public and civil building of the Valencian Community, without endangering the prominence and most honorable place of the Flag of Spain. It has to be hoisted at the right of the National flag (left from viewer's point). The Flag of Valencia can't be bigger than the Flag of Spain nor smaller than the flags of other entities.

Historical flags.

Political Flags

The flag of the Valencian Community and of the city of Valencia, known as Reial Senyera (, "Royal Senyera"), is the traditional Senyera, composed of four red bars on a yellow background, crowned with a blue strip party per pale next to the hoist with 1/4 of the total length. It was adopted on July 1, 1982.

Le drapeau de la Communauté valencienne, en Espagne, a été adopté le. Il reprend les couleurs traditionnelles de la Couronne d'Aragon (quatre bandes rouges sur fond or). Ce drapeau est « couronné », c'est-à-dire qu'un motif de couronne (or, rouge et vert sur fond bleu) est représenté verticalement sur le côté gauche. Il est communément appelé'(' signifiant drapeau en langue catalane; en castillan, il est nommé généralement ', plutôt que ').


Background and themes.

The Midrash states that Psalm 91 was composed by Moses on the day he completed the building of the Tabernacle in the desert. The verses describe Moses' own experience entering the Tabernacle and being enveloped by the Divine cloud. Midrash Tehillim and Zohar teach that Moses composed this psalm while ascending into the cloud hovering over Mount Sinai, at which time he recited these words as protection from the angels of destruction.  In Jewish thought, Psalm 91 conveys the themes of God's protection and rescue from danger. The Talmud ("Shevu'ot" 15b) records opinions calling this psalm the "song of evil spirits" and the "song of plagues" ("shir shel pega'im" and "shir shel nega'im," respectively), for "one who recites it with faith in God will be helped by Him in time of danger". Since the times of the Geonim, this psalm was recited to drive away demons and evil spirits. According to midrashim, the psalm references many types of demons that threaten man, including the "Terror", "Arrow", "Pestilence", and "Destruction" mentioned in verses 5–6. The psalm was written in amulets by both Jews and Christians from the Late Antique period. According to the Talmud (Shevu'ot 15b), the subsequent verse, verse 7 ("A thousand shall fall at your side," etc.) is a reference to the demons which would perish upon recitation of this psalm. In the same vein, Psalm 91 was included as one of the "Four Psalms Against Demons" in Dead Sea Scroll 11QapocrPs, the other three psalms being previously unknown, which are thought to have been used by the Qumran community for exorcisms.  Modern-day Christians see the psalm as a source of comfort and protection, even in times of suffering.  Verse 13, in the King James Version "Thou shalt tread upon the lion and adder: the young lion and the dragon shalt thou trample under feet", was the origin of the iconography of Christ treading on the beasts, seen in the Late Antique period and revived in Carolingian and Anglo-Saxon art.

Text.

Hebrew Bible version.

Following is the Hebrew text of Psalm 91:

Uses.

Judaism.

Psalm 91 is prominent in Jewish liturgy and ritual. is recited during the Pesukei Dezimra in the Shabbat, Yom Tov, and Hoshana Rabbah morning services. It is also recited after the evening prayer on Motza'ei Shabbat and during the nightly Bedtime Shema. In each of these prayers, verse 16 is said twice. According to Machzor Vitry, the verse is doubled to complete the spelling of a name of God.  Psalm 91 is recited seven times during a burial ceremony. As the casket bearers approach the grave, they stop every few feet, repeating the psalm. In the case of the burial of a woman, the casket bearers do not stop the procession, but they do repeat the psalm seven times.  Verse 11 of the psalm is recited after the liturgical poem "Shalom Aleichem" at the Friday night meal.  Psalm 91 is often recited as a prayer for protection. Some say it before embarking on a journey.

Western Christianity.

In Western Christianity it is often sung or recited during services of Compline.  In the Revised Common Lectionary (Year C) the psalm is appointed for the first Sunday in Lent, linking it to the temptation of Christ, where the devil quotes this psalm.  In the medieval Western Church it was included in the readings for Good Friday.

Eastern Orthodoxy.

In Eastern Orthodoxy it is used in the prayers of the Sixth Hour, at Great Compline, and also in the Memorial Service for the departed (Pannikhida).

Musical settings.

Classical.

Polish composer Józef Elsner set the three last verses of this psalm as an offertorium "Quoniam in me speravit", Op.30 (published ca.1829). Felix Mendelssohn composed a setting of two verses of Psalm 91 in the motet "Denn er hat seinen Engeln befohlen" (1844) which he also included in his oratorio "Elijah".

Contemporary Christian music.

Michael Joncas loosely based his hymn "On Eagle's Wings" on Psalm 91.  The Christian band Sons of Korah covered Psalm 91 on their 2011 album "Wait".

In popular culture.

Psalm 91 is known as the Soldier's Psalm or Soldier's Prayer. Camouflage bandanas imprinted with the psalm are often distributed to US troops.  Sinéad O'Connor's debut album "The Lion and the Cobra" includes a recitation of verses 11–13 in Irish by singer Enya on the song "Never Get Old".  Canadian metal band Cryptopsy references verses 5–8 of the psalm in their song "The Pestilence That Walketh in Darkness" on their 2005 album "Once Was Not".  Brazilian-American metal band Soulfly recited the psalm in Portuguese on the bonus track "Salmo-91" on their fifth album "Dark Ages".  The Jerry Garcia Band quotes verses 5–6 in its song "My Sisters and Brothers".  Madonna references Psalm 91 in "Virgin Mary (Intro)" on her 2012 "The MDNA Tour".

Psalm 91 is the 91st psalm of the Book of Psalms, generally known in English by its first verse in the King James Version: "He that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty." In the Greek Septuagint version of the Bible, and in its Latin translation Vulgate, this psalm is Psalm 90 in a slightly different numbering system. In Latin, it is known as 'Qui habitat". As a psalm of protection, it is commonly invoked in times of hardship. Though no author is mentioned in the Hebrew text of this psalm, Jewish tradition ascribes it to Moses, with David compiling it in his Book of Psalms. The Greek Septuagint translation of the Old Testament attributes it to David.

Le Psaume 91 (90 dans la numérotation grecque), communément référé comme "Yoshèv bessètèr" en hébreu et "Qui habitat" en latin, est connu comme le Psaume de la Protection. Il est possible, d'après A. J. Kolatch, qu'il ait été utilisé par le passé dans le cadre d'exorcismes. Il est associé à des circonstances lourdes, dont le deuil tant dans le judaïsme que dans le christianisme, ce qui l'a rendu très populaire dans des œuvres de fiction. Dans les pays anglophones, il est souvent chanté lors de l'office des Complies, dans sa traduction suivant le Psautier écossais.


History.

Shelby American was founded by Carroll Shelby in 1962 to build and market high performance parts and modified cars for individuals. The company was based at Santa Fe Springs, California (1962), Venice, California (1962–1967). Production was moved to the A. O. Smith Company located in Ionia, Michigan (1968-1985), Whittier, California (1986–1998) and Las Vegas, Nevada (since 1998).  The Ford Mustang platform was adapted by Shelby American to produce the Shelby GT350, and Shelby GT500.  Shelby American cars made their mark in American and international sportscar competition. The Cobra was campaigned successfully in the United States Road Racing Championship series and was the platform for the Shelby Daytona Coupe that competed successfully in the GT class of the 1964 and 1965 World Sportscar Championship seasons. The Daytona Coupe finished first in class at the 1964 24 Hours of Le Mans and achieved the first title for an American constructor in the World Sportscar Championship in 1965. From 1965 to 1967, Shelby American also provided support to Ford's World Sportscar Championship effort with the Ford GT40's, clinching the championship with a 1-2-3 finish at the 1966 24 Hours of Le Mans. Shelby had success the following year, with wins at Sebring and Le Mans with the GT40 Mark IV.  Shelby American moved in 1998 to Nevada becoming the first automobile manufacturer in Nevada and began production.  In 1999 the company was sold to Venture Corporation, for production of the Series I model. Cobra production was not part of the transfer of ownership.  In 2003, a new holding company was formed called "Carroll Shelby International, Inc.", and it was taken public. Shelby Automobiles was also created as a subsidiary and manufacturing arm of the new company.  In 2004, Shelby Automobiles purchased Shelby American Inc. and the assets to the Series I model.  On December 15, 2009, Carroll Shelby International announced in a press release that Shelby Automobiles was being renamed to "Shelby American" in celebration of the 45th anniversary of 427 Cobra and GT350.

Shelby Museum.

The Shelby Museum is located on site in Las Vegas, NV. It includes a wide range of Shelby vehicles, from the first Cobra CSX2000 to prototypes of Series 1 and some of the latest creations.

Cobras.

Total small-block Cobras 655  Total Cobras built 1,003

Shelby production totals 1965-89.

1965  Total 1965 Shelby Mustangs - 562  1966  Total 1966 Shelby Mustangs - 2,380  1967  Total 1967 Shelby GT Mustangs - 3,240  1968  Total 1968 Ford Shelby Cobra GT Mustangs - 4,451  1969 & 1970  Total 1969-70 Ford Shelby Cobra GT Mustangs - 3,294  Shelby cars totals - 13,912  1986-1989  Total Dodge production- 6,050  Shelby vehicle total- 19,962

Carroll Shelby International () is an American automobile manufacturer formed in 2003 from custom performance vehicle manufacturer Shelby American, when founder and owner Carroll Shelby took the company public, and additionally forming Shelby Automobiles as a subsidiary from which to continue manufacturing vehicles and parts. In 2009, "Shelby Automobiles" was officially renamed to "Shelby American", bringing back the original company name to celebrate the 45th anniversary of the 427 Cobra and GT350. Carroll Shelby Licensing is the second wholly owned subsidiary that forms Carroll Shelby International, which is based in Nevada. Shelby American manufactures component automobiles, including replicas of the small-block and large-block AC Cobras, the Shelby GT350 and the GT500 Super Snake. Since 2005, Shelby American has released new models each year.

Shelby-American Inc. est une marque et ancienne écurie automobile américaine fondée par l'ancien pilote Carroll Shelby spécialisé dans la modification de modèles Ford et en particulier de la Ford Mustang (équivalent de la concession Abarth pour exemple). La marque deviendra célèbre à partir de 1962 avec l'AC Cobra, un dérivé musclé de la petite anglaise AC Bristol, et finira d'asseoir sa notoriété grandissante avec la Shelby GT 350 ainsi que la Shelby GT 500, faisant de son nom une légende.


Plot.

The film is a transgressive romp, covering topics from homosexuality and free love to drug use and political rebellion to animal rights and body odor and religions. Sissy Hankshaw is a woman born with a mutation (she would not call it a defect) giving her enormously large thumbs. Sissy makes the most of her thumbs by becoming a hitchhiker. Her travels eventually take her to New York, where she becomes a model for a homosexual feminine hygiene products mogul, known as "The Countess." A few years later, he introduces her to his "beauty ranch," the Rubber Rose Ranch. The main plot revolves around the cowgirls who work at the ranch after they violently take over and drug the endangered whooping cranes who nest along the lake on their land making the once migratory birds stay. The cowgirls end up in a showdown with government agencies because the cranes won't leave the ranch and the cowgirls refuse to allow the men on the ranch to take the cranes. Sissy and the ranch leader, Bonanza Jellybean have a brief love affair. After a fatal shootout between the cowgirls and the various agencies, the cranes leave, and Sissy takes over running the ranch.

Production.

"Even Cowgirls Get the Blues" was shot throughout Oregon: Portland, Terrebonne, Sisters, and Bend.

Reception.

The film was a critical and commercial failure. After its world premiere in September 1993 at the 1993 Toronto International Film Festival, the film was set to open, but due to the negative response, it was delayed for more editing. The picture opened in wide release on May 20, 1994 and grossed a mere $1,708,873 against an estimated $8 million budget. On Rotten Tomatoes it has an approval rating of 19% rating based on reviews from 26 critics. On Metacritic the film has a score of 28% based on reviews from 16 critics, indicating "generally unfavorable reviews".  According to film critic/historian Leonard Maltin, "The novel was hopelessly dated, and there is not enough peyote in the entire American Southwest to render this movie comprehensible "or" endurable...K.D. Lang's score is the picture's sole worthy component."

Home media.

The film was released on Region 1 DVD on November 2, 2004, containing its original aspect ratio of 1.85:1 and on NTSC LaserDisc by Image Entertainment on November 4, 2004, also in its original aspect ratio of 1:85.1. It received a second DVD release in the United States from UCA on April 6, 2010, now in a new cropped 1.78:1 widescreen version.  In 2007, the film received its first DVD release in the UK from Universal Pictures Home Entertainment in a 1.33:1 full frame version.

Soundtrack.

The soundtrack was released on November 2, 1993 by Sire Records. k.d. lang performed the music. The album was composed by k.d. lang and Ben Mink. The soundtrack went top 10 in Australia and top 5 in New Zealand (#10 and #4, respectively), and also peaked at #82 on the "Billboard" 200 in the United States.

Even Cowgirls Get the Blues is a 1993 American romantic comedy-drama film based on Tom Robbins' 1976 novel of the same name. The film was directed by Gus Van Sant (credited as Gus Van Sant, Jr.) and starred an ensemble cast led by Uma Thurman, Lorraine Bracco, Angie Dickinson, Noriyuki "Pat" Morita, Keanu Reeves, John Hurt, and Rain Phoenix. Robbins himself was the narrator. The soundtrack was sung entirely by k.d. lang. The film was dedicated to the late River Phoenix.

Le film est dédié à la mémoire de River Phoenix, mort avant la sortie du film et acteur principal de son précédent film "My Own Private Idaho".


United States.

The first Decapods were built for the Lehigh Valley Railroad in the late-1860s. They proved too rough on the track because of their long coupled wheelbase. No more followed for 19 years, until the Northern Pacific Railway bought two for use on the switchbacks over Stampede Pass, while the tunnel was being built. In low-speed service where high tractive effort was critical, these Decapods were successful. Small numbers of other Decapods were built over the next twenty years, mostly for service in steeply graded mountainous areas where power at low speeds was the requirement. The type did not prove as popular as the successful Consolidation (2-8-0) type. Among Decapod users was the Atchison, Topeka and Santa Fe Railway. The engines were tandem compounds but their ongoing reversing limitations became the genesis of the 2-10-2 wheel arrangement. The first boost in the number of Decapods occurred when Imperial Russia ordered approximately 1,200 Decapods from American builders during World War I. When the Bolshevik revolution occurred in 1917, 857 had already been delivered, but more than 200 were either awaiting shipment or were in the process of construction. These stranded locomotives were adopted by the United States Railroad Administration (USRA), the body created by the Government to oversee and control the railroads during the War, converted to American standards, and put to use on American railroads. Small and light-footed, these Russian decapods proved popular with smaller railroads, and many of them remained in service long after the USRA's control of the railroads ceased. Many indeed lasted until the end of steam on those railroads. Swengel suggested the 2-10-0 arrangement was 'obsolete' by 1916, when the Pennsylvania Railroad (PRR) commenced an experiment with a 2-10-0 locomotive at its Juniata plant. Most 10 coupled engines constructed for U.S. railroads during World War 1 were of the USRA 2-10-2 arrangement, but the PRR committed to 122 of the 2-10-0s. Swengel argued this commitment to the 2-10-0, nicknamed "Deks", was controversial even in 1916 and was more so in 1922 when the PRR placed additional orders. The PRR was soon the biggest user of Decapods in the United States. The type was ideally suited to the Pennsy's heavily graded Allegheny Mountains routes, which required lugging ability according to tractive effort, not speed according to horse power.  The PRR bought 598 2-10-0s including 123 built at its own shops. In one of the largest locomotive orders ever, the rest came from the Baldwin Locomotive Works. The PRR 2-10-0s weighed and developed about of tractive effort with an axle loading of over. The engines steamed at and had a relatively large superheater. The grate area of about was on the small side, but a mechanical stoker partly compensated for this.  The PRR decapod, class I1s, was unlike the Russian decapod; it was huge, taking advantage of the PRR's heavy trackage and high axle loading, with a fat, free-steaming boiler that earned the type the nickname of 'Hippos' on the PRR. Two giant cylinders (301⁄2 x 32 inch) gave the I1s power and their tenders permitted hard and long workings between stops. They were unpopular with the crews, for they were hard riding. The last operations on the PRR were 1957.  A small number of other Decapods were ordered by other railroads; the I-2 Decapods built for the Western Maryland Railway were the largest ever built, at almost weight, and are a notable exception to the rule of thumb for the comfort of the ride on a 2-10-0 wheel arrangement, crews said the engines cruised smoothly up to 50mph without becoming a rough ride. (After the running gear was redesigned by the WM) The WM's I-2 are also noted as the strongest Decapods ever built, at 96,315lbs of tractive effort. (Not to be confused with the 10 Russian Decapods the WM held in their roster, which were standard Russian Decapods aside from heavier steel frames the WM used to replace the original cast iron frames, the new frames also made the WM Russian Decapods 2 inches longer than other Russian Decapods)  Baldwin developed two standard 2-10-0s for railroads with low axle-load requirements.  Thirteen Decapod locomotives survive in the US, including two Baldwin standards, six Russian Decapods and one PRR I1. Two, Great Western 90, a Baldwin Decapod at the Strasburg Rail Road, and Frisco 1630, a Russian Decapod at the Illinois Railway Museum, are operational. One Decapod survives as a static exhibit at the North Carolina Transportation Museum in Spencer, North Carolina (Seaboard Air Line 2-10-0 #544).  Preserved Decapods in the Unites States include:

Germany.

The 2-10-0 arrangement was a very popular one in Germany. The first were built by the individual state railways from 1915 to 1918, and these later became the DRG BR58. The DRG then produced a number of standard classes of 2-10-0s: the heavy 3-cylinder BR44 (1753 built), the two-cylinder version BR43 (35 built), and the lightweight BR50 (3164 built). During wartime, the BR44 and BR50 designs were simplified as ÜK ("Übergangs Kriegslokomotiven", or interim war locomotives). By 1941, it was clear that even these were too complicated, expensive, time-consuming to build, and used too much material in short supply, so new "Kriegslokomotive" (war locomotive) designs were developed: the lightweight BR52 (6161 built) and the intermediate weight BR42 (844 built).  Postwar locomotives of these types, particularly the BR 52, were spread all over Europe and were taken into service by the railways of many different countries:

United Kingdom.

Locomotives with ten driving wheels were rare in British railway history. In 1913 an initial design for a four-cylinder 2-10-0 of tractive effort was produced by the Lancashire and Yorkshire Railway, but none were built. This had been inspired by's 2-10-0s working in Belgium and used a similar tapered boiler, with the round-topped firebox almost filling the loading gauge. The first 2-10-0 was built during the Second World War, as a variant of the "Austerity" 2-8-0 for lightly built railways.  The only other 2-10-0 type was the 251-strong Standard class 9F introduced by British Railways in 1954. The class included 92220 "Evening Star", the last steam locomotive built for British Railways, in 1960; and 92203 (named "Black Prince" when preserved), which in 1983 set a record for the heaviest steam locomotive-hauled train in Britain when it started a 2,162-ton train at Foster Yeoman quarry in Somerset.

Finland.

The State Railroads of Finland purchased 20 American Decapods after WWII - these were originally built for the Soviet Union, but never delivered to them. Of the 20 engines, 10 were made by Baldwin, 10 by Alco. Since they were originally built for the USSR, they had the correct gauge for Finland, too ( exactly). One (Alco # 75214, 1947) is preserved at the Finnish Railway Museum in Hyvinkää, Finland.The Finnish designation was Tr2.  The locomotive was nicknamed "Truman" in Finland. It was used for hauling heavy freight trains.

France.

From 1910 to 1951, the French industry built more than 500 decapods for three railway companies (Paris-Orléans, Nord, Est) and for the national railways (SNCF). Moreover, at the end of World War II, SNCF inherited more than 200 units of German decapods built in France, mostly BR 44. The last decapod, a SNCF 150P, was withdrawn in 1968. All 2-10-0s, of French or of German design, proved reliable and powerful in service. One can notice that some engines of the Paris-Orléans company were dedicated to passenger service on difficult mountain lines.

Romania.

After the Second World War, Romania built the 150.000 Class, after DRB Class 50. A total of 282 locomotives were built between 1946-1960, at Malaxa (later "23 August Works") in Bucharest, and in Reşiţa.  Builder details:

Soviet Union.

2-10-0 were fairly common freight locomotives in the former Soviet Union. They came from several sources: US imports (class Ye (), built by ALCO and Baldwin, respectively), German war trophy DRB 52 class locomotives (what became the Soviet TE-series) and locally built. The locally built 2-10-0 locomotives were represented by some TE (built from captured German parts), SO (Sergo Ordjonikidze) and L (Lebedyanski)–series locomotives. The L-series locomotives were one of the more advanced steam locomotives built in the former Soviet Union. They used an automatic stoker to feed coal and had a relatively low axle load (18 tonnes or 40,000 lb) to be compatible with the war-torn railroads of the former Soviet Union. Several examples of these locomotives are still preserved in working order.

Under the Whyte notation for the classification of steam locomotives, 2-10-0 represents the wheel arrangement of two leading wheels on one axle, ten powered and coupled driving wheels on five axles, and no trailing wheels. This arrangement was often named Decapod, especially in the United States, although this name was sometimes applied to locomotives of 0-10-0 "Ten-Coupled" arrangement, particularly in the United Kingdom. Notable German locomotives of this type include the war locomotives of Class 52.

Decapod est un type de locomotive à vapeur dont les essieux ont la configuration suivante (de l'avant vers l'arrière) :


History.

The beginning.

Atlante was founded on April 18, 1916 with the name Sinaloa by a group of young Mexican football enthusiasts, led by Refugio "El Vaquero" Martínez. The team began playing at "La Condesa" neighborhood in Mexico City. After changing its name to Lusitania and U-53, Refugio Martínez proposed the name Atlante, after the mighty battles fought at the Atlantic Ocean during World War I. During the 1920s, players such as the Rosas brothers, Manuel "Chaquetas" Rosas, Felipe "Diente" Rosas, as well as Juan "El Trompo" Carreño, they all helped to propel Atlante in becoming one of the most popular teams, mostly among the working classes, which led to its most famous and legendary nickname, El Equipo del Pueblo, "People's team". Atlante's legend Juan Carreño scored Mexico's first goal in the Olympic Games in Amsterdam 1928, as well as Mexico national team's first ever goal in a FIFA World Cup during the inaugural match against France in Uruguay 1930.  Despite its popularity, the Mexican Federation did not allow the team to be involved at the Mexican championship, the Liga Mayor. In order for Atlante to be allowed into the league, it had to win several proof-matches against Toluca and América, two powerful football clubs. The duels were finally won by Atlante with scores of 7–2 and 2–1, respectively. Accepted within the Liga Mayor, Atlante formed a major rivalry against Necaxa, which became the first classic in Mexican football. The games between these two were furious battles, even drawing in points at the end of the 1931–32 tournament.  Through the beginnings of the history of the football in Mexico, when famed foreign teams began to challenge the Mexican teams, they swept with most clubs except one: Atlante. What today many do not recall is that Atlante was the first Mexican team that acquired national fame by knocking down those foreign "giants". In 1929, Atlante defeated Sabaria of Hungary 3–1. In 1930, Atlante defeated two times the Sportivo of Buenos Aires 2–1 and 3–2. And one of their more recalled feats was the 3–2 victory in 1931 over Bella Vista of Uruguay who had three players that won the first World Cup a year before in Montevideo.  In the 1940s, during the final years of World War II, Atlante's Horacio Casarín began being noticed for his tremendous skill and ability, which also led him to become a major figure in the Mexico national team.  Propelling Atlante's popularity, it was even brought to the big screen in many films of the country's cinematographic golden era. Some of those films are "Los Hijos de Don Venancio", "Los Nietos de Don Venancio", "El Vividor", "El que con niños se acuesta", among many others. Players Horacio Casarín and Martí Ventolrà were even part of those films' casting.

Professional era and first championship title.

In 1943, the Mexican Federation founded the Professional League with six clubs of the Primera Fuerza of Mexico City, two clubs from the Liga Occidental (Western League) and two members from the Liga Veracruzana (Veracruz League), being Atlante one of those six clubs of Mexico City. Together, they all became what is known today as the Mexican Primera División.  After 4 tournaments, and with the aid of its owner General Jose Manuel Nuñez (a retired militar asked personally by former President Lázaro Cárdenas to watch over the team) as well as of its sensational player Horacio Casarín, the team obtained its first championship in the 1946–47 season. The final match against León was attended by 48,622 people, including the current President Miguel Alemán Valdés (he even got into the field after the match in a famous photograph with the champions). Before that, in 1945 the team imposed the Latin American record for more goals in a single season with 121 goals in 30 matches (more than four goals per game). Atlante also became the first Mexican team to be crowned at the Champion of Champions cup (a "super cup" scheme championship) during the 1941–42 season.  After the first title, several other teams dominated the championship; nevertheless, Atlante remained as a powerful rival and still a popular team for the working classes, along with its runner-up, Mexican Cup and the Champion of Champions titles in the early 1950s. In 1966, General Jose Manuel Nuñez decided to sell the team to Fernando González, "Fernandón". Poor level and irregular campaigns proceeded the selling, which led Atlante to be relegated from the Primera División to Segunda División in 1976.

The IMSS era.

The team managed to return to the Primera División for the 1977–78 season. In October 1978, the Instituto Mexicano del Seguro Social (IMSS) acquired the team in a 100% ownership, promising to make the largest football club in the world with 22 million associates throughout the country. With the financial support of the governmental institution, the team experienced successful campaigns with reinforcements such as the old-time idol Horacio Casarín as head coach and the Mexican football's all-time top goalscorer Cabinho, who would become three-time champion striker with Atlante in 1980, 1981 and 1982. Its productive campaigns led them to the 1981–82 final championship match against Tigres UANL, and after regular and extra time, Atlante became runner-up at penalty kicks. Nevertheless, a year later Atlante won its first continental title with the CONCACAF Champions' Cup against Suriname's "Robinhood".  While the government still owned the team, another institution took over the management activities. The Departamento del Distrito Federal, DDF (the former body which controlled the Mexican Federal District) intended to propel the team with little results. After playing for several years at the Estadio Azteca, the team even had to leave this venue and setting its new battleground at the Estadio Ciudad de los Deportes, nowadays Cruz Azul's Estadio Azul.  In 1989, the media broke out with a major news: The DDF sold the team to Jose Antonio García, a businessman owner of the sports' goods & apparel company Garcis. After a failed campaign at a new venue, this time at Querétaro's Estadio Corregidora, the team was relegated, again, to the Segunda División.

Second championship title.

Right from its ashes, and back to its homeground Estadio Ciudad de los Deportes, now rebaptized as Estadio Azulgrana, Atlante managed to make an incredible come back to the Primera División, after 3 outstanding games against Pachuca in the final series for the Segunda División Championship. After the series' end, which led to extra time, penalty kicks and sudden death, Atlante's goalkeeper Félix Fernández scored the last penalty kick for a 9–8 final score.  In 1992–93, and guided by Ricardo La Volpe, Atlante obtained its second championship title against Monterrey, with the final match played at Monterrey's stadium, Estadio Tecnológico. Atlante's new legends emerged from that championship title, to mention: 2011 U-17 champion coach Raúl Gutiérrez, Felix Fernández, former Atlante's coaches Miguel Herrera, José Guadalupe Cruz and René Isidoro García, Pedro Massacessi, Wilson Graneolatti, Roberto Andrade, Guillermo Cantú, as well as feared strikers Luis Miguel Salvador and Daniel Guzmán. In a memorable moment for all Atlantistas throughout the world, the team was crowned as champion for its second time in 45 years, and received recognition, cheers and applauses of all the Monterrey's fans that remained at the stadium to congratulate the new champion. By winning the title, Atlante was able to access, once again, the Concacaf's Champions Cup, which eventually was lost against Cartaginés of Costa Rica at the final match.  Right after winning the championship title, Atlante was eliminated for the next years from the play-off stage, even with important acquisitions such as Hugo Sánchez, Jorge Campos & Venezuelan player Gabriel Miranda, among others. Once again, the team faced relegation issues; therefore, Grupo Televisa decided to acquire Atlante and move it back again to the Estadio Azteca. With this boost, Atlante was able to be reinforced by notable players, such as Luis Roberto Alves "Zague", Martín Felix Ubaldi, José Damasceno Tiba and Luis García, as well as the renamed coach Miguel Mejía Barón, who just had a positive result coaching the National team at United States' World Cup 1994. Despite in having memorable campaigns, such as being the first all-championship leader for a short tournament (Invierno 1996), and qualifying for the play-offs in Verano 1997 and Invierno 1997, the team did not accomplished any major results, and even had disastrous moments such as the embarrassing play-off series against Toros Neza in Verano 1997, which was lost in a 9–2 global score.

The third "relegation" era.

Several issues occurred in Atlante's history during the last years of the 20th Century, those very issues that were going to define the team's future. Inexperienced head coaches (Zlatko Petricevic, Angel Cappa, Roberto Saporitti and Eduardo Rergis) arriving to the team, weak and vain players, and even a short decision in changing the main uniform's colours of red & blue to orange, made the team and its followers to feel without identity. Fans began switching into other successful teams, and Atlante's local matches began to feel desolated. Awful and boring matches, poorish skill level and players without a real commitment to the team, led Atlante to face again relegation issues to Segunda División, now transformed into Primera División A.  Manuel Lapuente, who had recently succeeded with the National team at France 1998, had the responsibility to guide the team throughout the Verano 2001 tournament and save the team of an imminent relegation: at the end, Lapuente and his players did not accomplished the goal. However, a ray of light appeared, since the Mexican Federation was looking to expand the Primera División with 2 new teams. After paying a 5 million dollar fee, Atlante was allowed to play a promotion-series' matches against the Primera A's runner-up, which turned out to be Veracruz. Atlante won the series 4–1, allowing them to remain at the top division as one of the new expansion teams.

The rebirth of atlantismo.

A serious commitment has been taken since then by the directors' board. After breaking up its relationship with Televisa and Alejandro Burillo Azcárraga (owner of telecomm's company Pegaso) being the sole owner, the youth level program has been developed as the main philosophy, which has made Atlante the team with most youth debuts at Primera División since 2000. First Carlos Reinoso and then Miguel Herrera, both managed to build a new spirited team with its own personality, and with fabulous players such as popular Sebastián "Chamagol" González, Luis Gabriel Rey, and the emblematic goalie Federico Vilar, the team returned to the spotlight of the playoffs, arriving into 3 quarter-finals and 2 semi-finals stages. The team suffered a failed relocation to a different venue, this time to the Estadio Azulgrana Neza 86, and back again to Estadio Azteca.  Former players (now turned into head coaches) René Isidoro García and José Guadalupe Cruz struggled into maintaining the spirit, strength and skill of this Atlante's new era. However, the lack of assistants to their home matches remained as the major problem of the team, due Mexico City teams' lack of assistance to local matches, as well as both, the irregular football level and the lack of identity for the team.

The third crown at Quintana Roo.

On May 14, 2007 Atlante officially left the Estadio Azteca because its games there were not profitable. This was largely due to poor attendance at its home matches. They hoped that the move to Estadio Andrés Quintana Roo of Cancún, Quintana Roo, would grow back its popularity and improve attendance. In a fantastic tournament, Atlante adapted quickly to its new venue and began winning important matches, either at home or visiting. Following a tough play-off against Cruz Azul and Guadalajara, Atlante faced Pumas UNAM for the title's final series. On December 9, 2007, only 5 months after arriving at its new venue, and after a great series of matches played by goalie Federico Vilar, as well as remarkable matches of Giancarlo Maldonado, Gabriel Pereyra, Javier Muñoz, José Joel "El Chicharo" González and Clemente Ovalle (who scored the championship goal, 4 minutes before the end of the game), Atlante earned its third championship, growing back its popularity nationwide and especially at its new home city, Cancún.  Atlante won the Apertura 2007 Championship and by doing so, it qualified to the CONCACAF Champions' Cup 2008, where they were eliminated by Costa Rican Saprissa in the quarter-finals. By winning its title, Atlante qualified as well to the SuperLiga 2008, where they were eliminated by the New England Revolution at the semi-final stage. Atlante joined Santos Laguna, Cruz Azul and Pumas UNAM at the CONCACAF Champions League in its inaugural season 2008–09, where they reached the final match against Cruz Azul. Atlante won the series 2–0, thus being crowned as CONCACAF Club Champion and earning the right to play at the FIFA Club World Cup to be held in Abu Dhabi, UAE.

The return to international spotlight.

Along with the FIFA Club World Championship, Atlante was invited to replace Celtic at the Peace Cup to be held in Andalucia, Spain, where it faced Málaga and Aston Villa. In words of former coach Jose Cruz, "we have done well within this last 2 years and our work has been heard beyond our borders; thus, it is a fair reward". Nevertheless, Atlante was soon eliminated with a single-goal difference against eventual champions, Aston Villa.  Atlante acquired Santiago Solari to reinforce the team. It is the last major figure since Hugo Sanchez's acquisition in 1995, and joins the selected group of major international players to ever play in the team: Grzegorz Lato, Ruben "Ratón" Ayala, Ricardo La Volpe, Cabinho, Miodrag Belodedici, Ilie Dumitrescu and Faustino Asprilla.  Headed to Abu Dhabi for its commitment at the Club World Championship, Atlante trained for two weeks at U.A.E. soil. During its presentation within the tournament, Atlante defeated Auckland City 3–0 at the quarter-final stage. For its next stop at semifinals, it faced Barcelona in a curious match that faced two Mexicans with the same name, Rafael Márquez Álvarez of Barcelona and Rafael Márquez Lugo of Atlante, and two teams with the same jerseys' colors – FIFA eventually ruled out Barcelona to play with the blue-and-red stripes over Atlante, even though the tournament's seeding placed Atlante as local. Atlante began winning the match at the 4th minute; nevertheless, the final score was a 3–1 defeat. For the third place match, Atlante faced Pohang Steelers in a tough match which eventually finished in a 1–1 draw; this forced the game to be defined with a penalty shootout stage, and by missing two of their 4 shots, Atlante was 4th place at the tournament.

Atlante Fútbol Club, is a Mexican football club based in Cancun, Quintana Roo. Founded in 1918, Atlante were original members of the Mexican professional league when it began in 1943.

Le Club de Fútbol Atlante, plus connu sous le nom de CF Atlante, est un club de football installé à l'origine à Mexico puis délocalisé à Cancún durant la saison 2007-2008.


Mechanics of abrasive machining.

Abrasive machining works by forcing the abrasive particles, or grains, into the surface of the workpiece so that each particle cuts away a small bit of material. Abrasive machining is similar to conventional machining, such as milling or turning, because each of the abrasive particles acts like a miniature cutting tool. However, unlike conventional machining the grains are much smaller than a cutting tool, and the geometry and orientation of individual grains are not well defined. As a result, abrasive machining is less power efficient and generates more heat. The grain size may be different based on the machining. For rough grinding, coarse abrasives are used. For fine grinding, fine grains (abrasives) are used.

Abrasive machining processes.

Abrasive machining processes can be divided into two categories based on how the grains are applied to the workpiece. In bonded abrasive processes, the particles are held together within a matrix, and their combined shape determines the geometry of the finished workpiece. For example, in grinding the particles are bonded together in a wheel. As the grinding wheel is fed into the part, its shape is transferred onto the workpiece. In loose abrasive processes, there is no structure connecting the grains. They may be applied without lubrication as dry powder, or they may be mixed with a lubricant to form a slurry. Since the grains can move independently, they must be forced into the workpiece with another object like a polishing cloth or a lapping plate. Common abrasive processes are listed below.

Abrasives.

The most important property of an abrasive is its hardness. For abrasive grains to effectively cut, they must be significantly harder than the workpiece material. They can be grouped based on their hardness into two categories: conventional abrasives and superabrasives. Conventional abrasive materials have been used since the advent of machining. They are made of materials that exist naturally on Earth, and they are abundant and cheap. Conventional abrasives can suitably machine most materials. Superabrasives are much harder than conventional abrasives. Since they are much more expensive, they are used when conventional abrasives will not suffice. Common abrasives are listed below.

Abrasive machining is a machining process where material is removed from a workpiece using a multitude of small abrasive particles. Common examples include grinding, honing, and polishing. Abrasive processes are usually expensive, but capable of tighter tolerances and better surface finish than other machining processes

L’usinage par abrasion ou meulage, consiste à enlever une partie de la matière de pièces métalliques ou autres au moyen d'outils constitués de particules coupantes agglomérées par un liant : chaque particule enlève un petit copeau quand l'une de ses arêtes se présente favorablement sur la pièce, généralement à grande vitesse ; le copeau est de très petite section, de l’ordre de 0,001 mm2 ; il n’est pas tranché mais gratté.