title: Martha Hyer

text: By 1964, Hyer had turned 40 and after a decade of success, began having trouble finding good roles, and worked mainly in television and in European and American B-films. She did appear in two episodes of "The Alfred Hitchcock Hour", ('"A Piece Of Action" in 1962 and "Crimson Witness" in 1965). Also in 1965, she was in "The Sons of Katie Elder", a Western with John Wayne and Dean Martin. She guest-starred on the television series "Bewitched" as Margaret Marshall, a wealthy, seductive woman.


title: Martha Hyer

text: In 1966, she was in "The Chase", directed by Arthur Penn and starring Marlon Brando and Robert Redford. On television, she guest-starred on "The Beverly Hillbillies" in the episode "The Richest Woman", in which she plays Tracy Richards, the world's richest woman. In the late 1960s, she starred in the film drama "Some May Live", the crime comedy "The Happening", and the suspense film "Crossplot". In 1967, she guest-starred on "Family Affair" in the episode "Star Dust", in which she plays Carol Haven, a movie star.


title: Martha Hyer

text: Her final film role was in "The Day of the Wolves" (1971) and her final television role was in a 1974 episode of "McCloud". At age 50, she retired from acting, although she later wrote the screenplay to the 1975 Western "Rooster Cogburn", starring John Wayne and Katharine Hepburn.


title: Martha Hyer

text: Hyer enjoyed a quiet retirement through the 1980s and 1990s. She died on May 31, 2014, at the age of 89 from natural causes in Santa Fe, New Mexico, where she had lived for many years.


title: Mali (GPU)

text: The Mali series of graphics processing units (GPUs) and multimedia processors are semiconductor intellectual property cores produced by Arm Holdings for licensing in various ASIC designs by Arm partners.


title: Mali (GPU)

text: Mali GPUs were developed by Falanx Microsystems A/S, which was a spin-off of a research project from the Norwegian University of Science and Technology. Arm Holdings acquired Falanx Microsystems A/S on June 23, 2006 and renamed the company to Arm Norway.


title: Mali (GPU)

text: Originally named "Malaik", the team shortened the name to "Mali", Serbo-Croatian for "small", which was thought to be fitting for a mobile GPU.


title: Mali (GPU)

text: Like other embedded IP cores for 3D rendering acceleration, the Mali GPU does not include display controllers driving monitors, in contrast to common desktop video cards. Instead, the Mali ARM core is a pure 3D engine that renders graphics into memory and passes the rendered image over to another core to handle display.


title: Mali (GPU)

text: ARM does, however, license display controller SIP cores independently of the Mali 3D accelerator SIP block, e.g. Mali DP500, DP550 and DP650.


title: Mali (GPU)

text: ARM also supplies tools to help in authoring OpenGL ES shaders named "Mali GPU Shader Development Studio" and "Mali GPU User Interface Engine".


title: Mali (GPU)

text: Adaptive Scalable Texture Compression (ASTC) is supported by Mali-T620, T720/T760, T820/T830/T860/T880 and Mali-G series.


title: Mali (GPU)

text: Mali Video is the name given to ARM Holdings' dedicated video decoding and video encoding ASIC. There are multiple versions implementing a number of video codecs, such as HEVC, VP9, H.264 and VP8. As with all ARM products, the Mali Video Processor is a semiconductor intellectual property core licensed to third parties for inclusion in their chips. Real time encode-decode capability is central to videotelephony. An interface to ARM's TrustZone technology is also built-in to enable Digital Rights Management of copyrighted material.


title: Mali (GPU)

text: The first version of a Mali Video processor was the V500, released in 2013 with the Mali-T622 GPU. The V500 is a multicore design, sporting 1–8 cores, with support for H.264 and a protected video path using ARM TrustZone. The 8 core version is sufficient for 4K video decode at 120 frames per second (fps). The V500 can encode VP8 and H.264, and decode H.264, H.263, MPEG4, MPEG2, VC-1/WMV, Real, VP8.


title: Mali (GPU)

text: Released with the Mali-T800 GPU, ARM V550 video processors added both encode and decode HEVC support, 10-bit color depth, and technologies to further reduced power consumption. The V550 also included technology improvements to better handle latency and save bandwidth. Again built around the idea of a scalable number of cores (1–8) the V550 could support between 1080p60 (1 core) to 4K120 (8 cores). The V550 supported HEVC Main, H.264, VP8, JPEG encode, and HEVC Main 10, HEVC Main, H.264, H.263, MPEG4, MPEG2, VC-1/WMV, Real, VP8, JPEG decode.


title: Mali (GPU)

text: The Mali V61 video processor (formerly named Egil) was released with the Mali Bifrost GPU in 2016. V61 has been designed to improve video encoding, in particular HEVC and VP9, and to allow for encoding either a single or multiple streams simultaneously. The design continues the 1–8 variable core number design, with a single core supporting 1080p60 while 8 cores can drive 4Kp120. It can decode and encode VP9 10-bit, VP9 8-bit, HEVC Main 10, HEVC Main, H.264, VP8, JPEG and decode only MPEG4, MPEG2, VC-1/WMV, Real, H.263.


title: Mali (GPU)

text: The Mali V52 video processor was released with the Mali G52 and G31 GPUs in March 2018. The processor is intended to support 4K (including HDR) video on mainstream devices.


title: Mali (GPU)

text: The platform is scalable from 1 to 4 cores and doubles the decode performance relative to V61. It also adds High 10 H.264 encode (Level 5.0) and decode (Level 5.1) capabilities, as well as AVS Part 2 (Jizhun) and Part 15 (AVS+, Guangdian) decode capability for YUV420.


title: Mali (GPU)

text: The Mali V76 video processor was released with the Mali G76 GPU and Cortex-A76 CPU in 2018. The V76 was designed to improve video encoding and decoding performance. The design continues the 2–8 variable core number design, with 8 cores capable of 8Kp60 decoding and 8Kp30 encoding. It claims improves HEVC encode quality by 25% relative to Mali-V61 at launch.


title: Mali (GPU)

text: The Mali-D71 added Arm Framebuffer Compression (AFBC) 1.2 encoder, support for ARM CoreLink MMU-600 and Assertive Display 5. Assertive Display 5 has support for HDR10 and hybrid log–gamma (HLG).


title: Mali (GPU)

text: The Mali-D77 added features including asynchronous timewarp (ATW), lens distortion correction (LDC), and chromatic aberration correction (CAC). The Mali-D77 is also capable of 3K (2880x1440) @ 120 Hz and 4K @ 90 Hz.


title: Mali (GPU)

text: On January 3, 2019 the Mali-C52 and C32 were announced, aimed at everyday devices including drones, smart home assistants and security, and internet protocol (IP) camera.


title: Mali (GPU)

text: On September 29, 2020 the Mali-C71AE image signal processor was introduced, alongside the Cortex-A78AE CPU and Mali-G78AE GPU. It supports up to 4 real-time cameras or up to 16 virtual cameras with a maximum resolution of 4096 x 4096 each.


title: Mali (GPU)

text: On June 8, 2022 the Mali-C55 ISP was introduced as successor to the C52. It's the smallest and most configurable image signal processor from Arm, and support up to 8 camera with a max resolution of 48 megapixel each. Arm claims improved tone mapping and spatial noise reduction compared to the C52. Multiple C55 ISPs can be combined to support higher than 48 megapixel resolutions.


title: Mali (GPU)

text: On January 21, 2012, Phoronix reported that Luc Verhaegen was driving a reverse-engineering attempt aimed at the Mali series of GPUs, specifically the Mali 200 and Mali 400 versions. The project was known as "Lima" and targeted support for OpenGL ES 2.0. The reverse-engineering project was presented at FOSDEM, February 4, 2012, followed by the opening of a website demonstrating some renders. On February 2, 2013, Verhaegen demonstrated Quake III Arena in timedemo mode, running on top of the Lima driver. In May 2018, a Lima developer posted the driver for inclusion in the Linux kernel. In May 2019, the Lima driver became part of the mainline Linux kernel. The Mesa userspace counterpart was merged at the same time. It currently supports OpenGL ES 1.1, 2.0 and parts of 2.1, and the fallback emulation in MESA provides full support for graphical desktop environments.


title: Mali (GPU)

text: Panfrost is a reverse-engineered driver effort for Mali Txxx (Midgard) and Gxx (Bifrost) GPUs. Introducing Panfrost talk was presented at X.Org Developer's Conference 2018. As of May 2019, the Panfrost driver is part of the mainline Linux kernel. and MESA. Panfrost supports OpenGL ES 2.0, 3.0 and 3.1, as well as OpenGL 3.1.


title: NATO headquarters

text: The North Atlantic Treaty Organization (NATO) is headquartered in a complex in Haren, part of the City of Brussels municipality of Belgium. The staff at the headquarters is composed of national delegations of NATO member states and includes civilian and military liaison offices and officers or diplomatic missions and diplomats of partner countries, as well as the International Staff (IS) and International Military Staff (IMS) filled from serving members of the armed forces of member states. Non-governmental citizens' groups have also grown up in support of NATO, broadly under the banner of the Atlantic Council/Atlantic Treaty Association movement.


title: NATO headquarters

text: Problems in the original building stemmed from its hurried construction in 1967, when NATO was forced to move its headquarters from Porte Dauphine in Paris, France following the French withdrawal.


title: NATO headquarters

text: A new €750 million headquarters building was constructed over the period between 2010 and summer 2016, and was dedicated on 25 May 2017 with a ceremony in the presence of allied Heads of State. Secretary-General Jens Stoltenberg addressed the crowd and President Trump hectored some among the crowd over their failure to live up to the 2% GDP target that was expected of them by their senior partner.


title: NATO headquarters

text: The complex was designed by an international design consortium led by the US Firm of Skidmore, Owings and Merrill, including Jo Palma. Both Design and Construction were completed under the auspices of the Belgian Ministry of Defense's Project Management Team led by Colonel Christian LaNotte, Belgian Army Engineers. Project Financing and Requirements definition as well as the Design and Construction Phases were overseen for NATO by its HQ Project Office, led by Donald Hutchins (CAPT, US Navy Civil Engineer Corps, Retired) during the design Phase and Brigadier General Anthony Carruth, (British Army Engineer, Retired) during construction. The New NATO HQ Project is office and home to an international staff of 3800.


title: Adam Pearce

text: Adam John Pearce (born June 24, 1978) is an American professional wrestling executive and former professional wrestler. He is currently employed by WWE as Director of Live Events, producer, trainer, coach, and on-screen authority figure. He is a former five-time NWA World Heavyweight Champion, NWA British Commonwealth Heavyweight Champion, and PWG World Champion. He is also a member of the NWA Hall of Fame and a former full-time trainer and coach at the WWE Performance Center.


title: Adam Pearce

text: Pearce lettered in both football and baseball at Waukegan High School, in Waukegan, Illinois. Between his junior and senior years, Pearce suffered from acute muscular compartment syndrome in both of his lower legs and underwent surgery. As a result, he had to "pretty much learn how to walk all over again" and he stopped playing sports. During his convalescence, he met professional wrestling trainers Sonny Rogers and Randy Ricci, and began training with them in November 1995.


title: Adam Pearce

text: Pearce had his debut match on May 16, 1996, a few weeks before he graduated from high school. Pearce quickly began wrestling for independent professional wrestling promotions, especially in Milwaukee and other cities in Wisconsin. At this time, he also began traveling throughout Michigan with Dave Prazak, and he began working for Dan Curtis' Northern States Wrestling Alliance (NSWA). He was part of the "East Coast Invasion" angle where he had an early breakout match near Thanksgiving 1997 against Reckless Youth. Pearce sided with the local Michigan babyfaces charged with fighting off Youth, Don Montoya, Lance Diamond, and Twiggy Ramirez. A rematch between Pearce and Youth took place in Ian Rotten's Independent Wrestling Association Mid-South (IWA-Mid South) company, where Pearce had captured their IWA Mid-South Light Heavyweight Championship by defeating Cash Flo.


title: Adam Pearce

text: He began wrestling for most notably for Carmine DeSpirito's Mid American Wrestling promotion, and through DeSpirito was booked on a tour of Europe in 1998. Upon his return to the United States, he underwent further training at the Steel Domain Training Center, where he was the first student, under Ace Steel and Danny Dominion. Together Steel, Dominion, and Pearce became regulars in Minnesota, working under the St. Paul Championship Wrestling (later Steel Domain Wrestling) banner. Once again, Pearce's feud with Eaton grabbed headlines as they engaged in a Garbage Can Match. It was one of the first "ECW" style matches in the area. He went on to feud with Danny Dominion over the Northern States TV Title, which was showcased on ex-AWA announcer Mick Karch's weekly TV show, "Slick Mick's Bodyslam Revue". Later, future Domain trainees CM Punk and Colt Cabana debuted in Minnesota and begin their careers under the guidance of Steel, Dominion, and Pearce. Later on, Pearce became a member of the Gold Bond Mafia with CM Punk, Colt Cabana, Dave Prazak, and Chuck E. Smooth.


title: Adam Pearce

text: At the same time, Pearce began working in All-Star Championship Wrestling based in Green Bay, Wisconsin, as the promotion's top babyface and later, top heel. His matches against Dino Bambino were viewed as being among the area's best, and their 1999 Cage Match in Green Bay was voted the 1999 Upper Midwest Match of the Year. Pearce captured the ACW Heavyweight Title by defeating longtime rival Adrian Lynch in Green Bay, and held it until losing to Rob Norwood in a 3-Way-Dance months later. During this time, Pearce also made appearances in Nashville, Tennessee for Bert Prentice's Music City Wrestling and in Pittsburgh for Norm Connors' Steel City Wrestling.


title: Adam Pearce

text: Pearce made several World Wrestling Federation (WWF) appearances as enhancement talent, where he was noticed by Terry Taylor. When Taylor moved to World Championship Wrestling (WCW) Pearce was contacted by Paul Orndorff. After attending the WCW Power Plant, Pearce was offered a WCW developmental contract but he declined, as he did not feel that relocating to Atlanta was a viable option for him. After a stint in the short-lived WXO promotion in early 2000, Pearce had another tryout with WCW, but described WCW as being "disorganized and chaotic". Pearce felt "burnt out" and decided to take time off from professional wrestling.


title: Adam Pearce

text: After eight months, Pearce returned to wrestling at the urging of both Christopher Daniels and Kevin Kelly. Through Kelly, he met Rick Bassman and began working for Bassman's Ultimate Pro Wrestling (UPW) promotion. In UPW, he was teamed with Aaron Aguilera in a tag team called "Hardkore Inc". Pearce has worked several UPW events, most notably against Diamond Dallas Page at UPW's biggest event, "Overload", held in Las Vegas. He also wrestled Chris Masters in Masters' last independent match before being signed by WWF (now WWE).


title: Adam Pearce

text: He also was signed to be a part of the King of Indies 2001 Tournament, promoted by Roland Alexander's All Pro Wrestling (APW). He faced and was defeated in the opening round by Doug Williams. Pearce also competed in IWA-Mid South's 2001 Sweet Science Sixteen, defeating Chris Hero and B. J. Whitmer before losing to Ace Steel. Pearce was generally inactive in a national sense, making sporadic appearances on California independent shows put on by Millennium Pro Wrestling and AWS (both based in Los Angeles) and WCWA (based in San Diego). He also made a few appearances for Mid American Wrestling (based in Milwaukee). This would change when Gary Yap contacted Pearce about the soon-to-be-debuting EPIC promotion. He then signed on to wrestle in EPIC promotion, and after it failed he moved to Pro Wrestling Guerrilla (PWG). He was an early fixture of the promotion, and feuded with Joey Ryan, Aaron Aguilera, and Frankie Kazarian among others. He became the second ever PWG Champion when he defeated Kazarian on February 22, 2004 at "Taste the Radness". He was the promotion's first heel champion feuding with Aguilera and Babi Slymm until he lost the title on July 10, 2004 back to Kazarian at PWG's One Year Anniversary Show "Reason for the Season" in a Steel Cage "Loser Leaves PWG" match.


title: Adam Pearce

text: Pearce was then very active in Southern California, working for Bart Kapitzke's Alternative Wrestling Show, as both wrestler and matchmaker. Many in the SoCal industry credit Pearce's booking as the reason for a huge upswing in AWS's attendance despite the lack of well-known or flown-in talent. Pearce won the AWS Title under a mask as "The Masked Spymaster II", defeating Babi Slymm (The mask of the Masked Spymaster II was later given as a gift to Colt Cabana for his MTV Wrestling Society X character, Matt Classic). Pearce lost the title months later to Human Tornado in a cage match at AWS' "Halloween Slaughterhouse II". Shortly thereafter, he began a feud with former tag team partner Aaron Aguilera. The feud advanced and was tied into a huge WarGames cage match in March 2006, where AWS drew their largest attendance to date. The feud ended in July 2006 when Aguilera defeated Pearce in a brutal strap match. Pearce was also very instrumental in early NWA Pro events in the area, serving as the booker and matchmaker.


title: Adam Pearce

text: Upon leaving PWG, Pearce almost immediately debuted in Mexico for Promociones XLUM, where he feuded with Venum Black, Extreme Tiger, Nicho el Millonario, and Rey Misterio, Sr. XLUM's premiere event of 2004 entitled "Jaulamania" drew a sold-out crowd to see El Hijo del Santo on top, while Pearce and his cohorts worked underneath, and ran in on a bloody cage match, attacking Damián 666 and Halloween. Other notable matches included a wild 8-Man-Tag filmed by Fox Sports Español which saw Pearce and his partners (Al Katrazz, Aaron Aguilera, and Jason Allgood) brawl all over the famous Auditorio de Tijuana. Pearce eventually turned babyface, even cutting promos in Spanish as part of his Dusty Rhodes-esque character. Pearce left Mexico when XLUM folded in early 2005.


title: Adam Pearce

text: Pearce also became involved with New Japan Pro-Wrestling's Los Angeles dojo and trained there in addition to being a part of their short-lived television product, "Toukon Fighting Spirit", which aired for six weeks in Los Angeles County. Pearce was involved in a storyline with NJPW talent Toru Yano, which eventually led to them tagging as "The Beer and Sake Connection". This led to Pearce's Japanese debut for New Japan Pro-Wrestling on May 15, 2005, at the Tokyo Dome in a dark match against Don Frye's sparring partner, George Castro. Pearce was additionally offered a tour in place of Florida-based wrestler Steve Madison, but was forced to decline due to work obligations.


title: Adam Pearce

text: In July 2005, Pearce debuted for Full Impact Pro in Florida, facing Sal Rinauro and Azrieal. Pearce credits CM Punk, Cabana, Samoa Joe, Daniels and Steel with receiving a booking in FIP. From FIP, he moved into Ring of Honor (ROH). Pearce appeared at ROH's "Glory by Honor IV" show in September 2005. At that point, the storyline had him displeased with the way Commissioner Jim Cornette had been treating him, not giving him high-quality matches or title shots.


title: Adam Pearce

text: This booking continued until January 2006, when Pearce became involved in ROH's war with Combat Zone Wrestling (CZW) by challenging, and then pulling Necro Butcher over the rail at a show in Cleveland, Ohio. For this feud, Pearce set aside his differences with Cornette and became one of the main ROH wrestlers leading the fight against CZW. Because of Pearce's speaking and promo skills, he was appointed Lieutenant Commissioner of ROH during the storyline to voice Cornette's intentions on ROH events that he could not attend. During the seven month feud, Pearce was a part of many brawls with CZW's Chris Hero and Necro Butcher, and he was part of the match at ROH's "100th show", which saw CZW defeat ROH after Claudio Castagnoli betrayed ROH. Pearce suffered a severe cranial laceration early in the match which required 20 staples to close. At "Death Before Dishonor IV" on July 15, 2006, Pearce competed in and helped ROH win the 8th Cage of Death match, teaming with Samoa Joe, Ace Steel, B. J. Whitmer, and Bryan Danielson (later replaced by Homicide) to defeat CZW's Chris Hero, Claudio Castagnoli, Necro Butcher, Nate Webb, and Eddie Kingston. Post-match Pearce and J. J. Dillon attacked and handcuffed Homicide to the ring post to allow Cornette to administer a beating. This action elevated Pearce into a main event level feud with Homicide, which began with Pearce turning on former friend and partner, B. J. Whitmer, and siding with a returning Steve Corino. This was pivotal in the Corino versus Homicide feud which saw Homicide team with Samoa Joe to defeat Pearce and Corino at "Suffocation". Pearce at this point named ROH School Graduate, Shane Hagadorn, his "man-servant" and the two began working as a tag team.


title: Adam Pearce

text: Pearce's highest level ROH match since Cage of Death also came in a cage against Homicide at "The Chicago Spectacular: Night 2", which Pearce lost. Pearce had originally challenged Homicide to the first strap match in ROH history, only to have Homicide rebuke it and throw out the cage challenge. Pearce went on to attack and seemingly cost Homicide his chance at the ROH World Title at "Final Battle 2006" in Homicide's match against Bryan Danielson. ROH Senior Officials would have nothing of it and restarted the match, which Homicide eventually won. The feud with Homicide seemingly went to the wayside, as Pearce started interaction with Pelle Primeau and Delirious.


title: Adam Pearce

text: Pearce then formed a stable known as "The Hangmen Three", with B. J. Whitmer, Brent Albright, and Shane Hagadorn. In April 2008 "Sweet N'Sour" Larry Sweeney purchased the contracts of The Hangmen and merged them into Sweet N'Sour Inc. Whitmer balked and was quickly beaten down and kicked out of the group while Albright quit on May 10, 2008. On June 7, 2008, Pearce teamed with Hero and Eddie Edwards in a loss to Brent Albright, Delirious, and Pelle Primeau taped for ROH's Respect is Earned II pay-per-view event. After the match he revealed the NWA World Title to be the item he had been mysteriously carrying in a briefcase and struck Albright in the head with it. This marked the first time ROH recognized Pearce as NWA Champion since he had won the title in September 2007. On June 27, 2008 in Dayton, Ohio, Pearce defeated ROH World Champion Nigel McGuinness via disqualification in a Title vs. Title match. Originally McGuinness had pinned Pearce to win his NWA World Title but the decision was reversed when the NWA's Over The Top Rule was enforced and since Pearce had been thrown over the top rope, McGuinness was disqualified and both men retained their championships.


title: Adam Pearce

text: Pearce's feud with Albright picked up steam, as on June 28, 2008 Pearce and newest Sweet N'Sour Inc. member Go Shiozaki lost to Brent Albright and FIP World Champion Roderick Strong when the referee stopped the match after Albright landed repeated knee strikes to the head of Pearce. Post-match, Pearce threw a fireball into the face of Albright, resulting in Pearce being suspended for 30 days while Albright was out of action to convalesce and recover from the burns. On August 2, 2008, the feud took another turn when Brent Albright defeated Pearce via submission with the crowbar to win the NWA World Championship. This came after NWA Officials presented Pearce with a replica NWA "Red" title belt, repeating history as Jack Brisco defeated Harley Race for the NWA Red Belt after Race was presented with it by Sam Muchnick in 1973. On September 20, 2008, Pearce continued his year-long feud with Albright, defeating him at "Glory by Honor VII" to begin his second reign as champion.


title: Adam Pearce

text: On September 25, 2008, it was announced Pearce had departed Ring of Honor due to company cost-cutting measures. On October 26, 2008, Ring of Honor announced that Adam Pearce would become the new Head Booker of the company, replacing Gabe Sapolsky.


title: Adam Pearce

text: Despite his backstage role, Pearce made occasional wrestling appearances in ROH, notably during Caged Collision pay-per-view in Chicago on January 31, 2009, taking the pin in the Steel Cage main event. He also appeared at the "7th Anniversary Show" in New York, NY on March 21, 2009, losing to Bobby Dempsey in 30 seconds, and at "Eye of the Storm 2" on December 18, 2009 in Manassas, VA, where he teamed with Matt Classic in a loss to The Set.


title: Adam Pearce

text: On August 15, 2010, Pearce was replaced as the head booker of Ring of Honor due to what he described as "a difference of ideology".


title: Adam Pearce

text: Outside of ROH, Pearce has also been feuding with Sean Waltman over the NWA Heritage Championship on NWA Pro events throughout the US on their "Wrestling Summit" arena events, notably at the Orleans Arena in Las Vegas, among other arena venues. Pearce first won the title on October 21, 2006. Waltman took the title in El Paso, Texas on April 21, 2007, only to lose it back to Pearce in Laredo, Texas on April 29.


title: Adam Pearce

text: Pearce faced Brent Albright in the finals of the Reclaiming the Glory tournament to crown a new NWA World Heavyweight Champion. He had lost in the semi-finals to Bryan Danielson, but Danielson pulled out due to injury and Pearce replaced him. Pearce defeated Albright in Puerto Rico at an International Wrestling Association event to become the new NWA World Heavyweight Champion, the first champion since the belt was stripped from TNA. On October 13, 2007, he defended the NWA World Heavyweight Championship in Irving, Texas against Sicodelico, Jr. The match ended in a 30-minute draw with Pearce retaining the belt.


title: Adam Pearce

text: On October 27, 2007, he was one of the six participants in a WarGames cage match, teaming Karl Anderson and C. Edward Vander Pyle against Los Luchas and Sicodelico Jr. He and his team lost the match and were all busted open.


title: Adam Pearce

text: On May 10, 2008, he defended the NWA World Heavyweight Championship in King and Queen County, Virginia against Damien Wayne. The match went the full 60 minute time limit with Pearce retaining the title. Pearce was managed in the contest by Baby Doll, the former valet for Tully Blanchard.


title: Adam Pearce

text: On August 2, 2008, Brent Albright defeated Pearce via submission with the crowbar to win the NWA World Championship. On August 30, 2008, Pearce challenged and was defeated by Albright in Mexico City in a rematch for the NWA World Title. This match was part of the debut of NWA Mexico, promoted by Blue Demon, Jr. Pearce pulled a pair of Brass Knuckles to presumably use on Albright, but Albright knocked them loose and hit Pearce for the pinfall. Post match, Pearce got into a slapping match with Blue Demon, Jr. over the decision.


title: Adam Pearce

text: On September 20, 2008, Pearce continued his year-long feud with Brent Albright, defeating him at "Glory by Honor VII" to begin his second reign as champion.


title: Adam Pearce

text: On October 25, 2008, in Mexico City, Mexico, Blue Demon, Jr. defeated Pearce to win the NWA Championship. Pearce defeated Dru Onyx on January 23, 2010, in Quebec City, Quebec, for the NWA British Commonwealth Heavyweight Championship.


title: Adam Pearce

text: Pearce defeated Blue Demon Jr, then holder of the NWA World Heavyweight Championship, and Phil Shatter in a three-way match to win the NWA World Heavyweight Championship for a third time on March 14, 2010 at NWA New Beginnings. Then at the NWA Legends Fanfest on August 7, 2010, Pearce successfully defended the NWA World Heavyweight Championship against Bryan Danielson. Pearce's third title reign ended on March 6, 2011, when he was defeated for the title by Colt Cabana at the NWA Championship Wrestling from Hollywood television tapings.


title: Adam Pearce

text: After leaving Ring of Honor, Pearce began working as head booker for NWA Championship Wrestling from Hollywood until stepping down due to 'family obligations'. Pearce's resignation allowed Joey Ryan to take over the book. Pearce continues to perform on the television show and acts as a producer for the series (credited as A.J. Pearce).


title: Adam Pearce

text: On July 31, 2011, Pearce won the NWA World Heavyweight Championship for the fourth time by defeating Chance Prophet, Jimmy Rave and Shaun Tempers in a four-way match to win the vacant title. He would lose the title to Colt Cabana on April 8, 2012. On July 21, Pearce regained the title from Cabana by defeating him in a Two Out of Three Falls match. On October 27, Pearce vacated the title, after the NWA refused to allow him to defend the title against Colt Cabana in a deciding match in the Best of Seven Series. After losing the series against Cabana, Pearce left the NWA. Pearce's NWA hiatus lasted only three months before NWA Smoky Mountain announced him as a participant in the Smoky Mountain Cup on April 26, 2013. After the event he made regular appearances for NWA until he retired from wrestling in 2014.


title: Adam Pearce

text: On February 5, 2015, Pearce was enshrined in the NWA Hall of Fame as the first inductee of the 2015 class.


title: Adam Pearce

text: Following Pearce's loss of the NWA title for a second time to Colt Cabana on April 8, 2012, Pearce challenged Cabana to a Best-of-Seven series which was dubbed the "Seven Levels of Hate". The series would be contested under seven different stipulations in seven different locations, and the NWA championship would be at stake in each match.


title: Adam Pearce

text: The series began on May 13, 2012 in Glendale, California with a First Blood match in which Cabana would retain. Stage Two and a second Cabana win took place on June 8, 2012 with a Boston Street Fight, taking place in Bridgewater, Massachusetts. Pearce would ultimately go down 3-0 in the series, dropping the fall in the Stage Three "I Quit" match, which took place on July 7, 2012 in Hopkins, Minnesota. Pearce would claim his first win of the series, and his fifth NWA championship, by besting Cabana in their Stage Four match taking place under as a Two-out-of-Three Falls match. The match took place on July 21, 2012 in Kansas City, and would see Pearce knock Cabana out with the championship belt in order to score the deciding fall.


title: Adam Pearce

text: Pearce would go on a run for the next couple of matches, besting Cabana in their Stage Five Dog Collar match on August 18, 2012 in Bridgewater, Massachusetts and on September 30, 2012 in Stage Six’s Texas Death match, which took place in Salem, Oregon. It was from this point on that the series took a dramatic turn due to internal politics and a power struggle within the NWA. As outlined in the 2013 "Seven Levels of Hate" documentary produced by Pearce, Texas attorney R. Bruce Tharpe filed a lawsuit against the promotion that resulted in him eventually assuming control over the NWA brand. As detailed in the film, Tharpe would soon sever ties with most everyone associated, including Colt Cabana and Adam Pearce.


title: Adam Pearce

text: The seventh and final Stage of Seven Levels of Hate would ultimately take place on October 27, 2012 in suburban Melbourne, Australia in a Steel Cage match. Cabana would win the bout and the series, but the behind-the-scenes unravelling of the NWA forced the match to remain "unsanctioned" by the brand, thus leaving Pearce technically still champion and in possession of the NWA title. After the match, both Pearce and Cabana verbally lambasted the NWA, with Cabana refusing to accept the title that Pearce felt he fairly won. Pearce, having lost the series, felt he had could no longer go on as the recognized champion, so both men symbolically dropped the championship belt onto the mat and walked off, leaving the NWA in the process.


title: Adam Pearce

text: The "Seven Levels of Hate" series and documentary film would go on to critical acclaim, with the Pearce-Cabana series being voted Third Runner-Up for "Feud of the Year" by Pro Wrestling Illustrated for all of professional wrestling in 2012. The film (produced and directed by Adam Pearce) would garner similar praise and would tour the United States on a limited festival run with stops in Chicago and New York. The DVD box set compilation was given a five-star review by Amazon.com, though it is currently out of print.


title: Adam Pearce

text: Adam Pearce made his WFX Wrestling debut at 'Conflict of Interest to the Extreme 2010'. He defended the NWA World Heavyweight Championship against Wavell Starr, and later in the event attacked Shane Douglas with the NWA Title belt, avenging Douglas' casting aside of the same title in 1994.


title: Adam Pearce

text: On July 20, 2011, Pearce debuted as U.S. Marshal Adam J. Pearce at Juggalo Championship Wrestling's event Above The Law. There he aligned himself with Officer Colt Cabana, whom he later helped win the JCW World Heavyweight Championship.


title: Adam Pearce

text: On March 28, 2013, Pearce appeared on "Impact Wrestling" as it was announced that he would compete in a TNA Gut Check match against Magno for next week. On the April 4, 2013 edition of "Impact Wrestling" Pearce defeated Magno in a winning effort by holding the ring ropes in a TNA Gut Check match. The following week he was eliminated from the contest.


title: Adam Pearce

text: Pearce retired as an active professional wrestler on December 21, 2014 following a television taping of Championship Wrestling from Hollywood. Pearce lost to Colt Cabana on the card in what was the ninth and final chapter of their Seven Levels of Hate series. Pearce would soon relocate to Florida to join WWE full-time as a coach and producer at the WWE Performance Center.


title: Adam Pearce

text: Pearce returned to the now-renamed World Wrestling Entertainment (WWE) when he first worked as a guest coach and trainer from December 2 through 6, 2013. He would continue to appear as a guest coach and trainer several times during 2014. On December 11, 2014, Pearce worked as a producer on WWE's "" event, making him the first unsigned Independent Contractor to produce live WWE programming. In May 2015, Pearce signed to join WWE full-time as a trainer at the WWE Performance Center and producer for NXT. He has since been promoted to the role of a producer on the main roster's "Raw" on USA Network and "SmackDown" on FOX.


title: Adam Pearce

text: On the June 5, 2018 episode of "Smackdown Live", Pearce and Dean Malenko appeared during the contract signing between A.J. Styles and Shinsuke Nakamura. Pearce has been seen in on-screen speaking roles as of late, appearing on the January 17, 2020 episode of "Smackdown" backstage making a match between Bayley and Lacey Evans and more recently on the May 29 episode of "SmackDown" setting up a battle royal where the winner would face Daniel Bryan in the Intercontinental Championship tournament.


title: Adam Pearce

text: More recently, Pearce has been one of the main coaches tasked with training celebrities for WWE appearances, notably Bad Bunny and Logan Paul.


title: Adam Pearce

text: Pearce became the on-screen WWE authority figure for Raw and SmackDown in 2020, first appearing in an authority role on January 17. On the August 28, 2020 episode of "SmackDown", Vince McMahon ordered Pearce to gather the signatures of Braun Strowman, Roman Reigns and "The Fiend" Bray Wyatt on the contract for their triple threat no holds barred Match at Payback. Pearce was successful getting Strowman and Wyatt to sign, but Reigns declined because there were changes that he wanted fixed.


title: Adam Pearce

text: On the November 23, 2020 episode of "Raw", Pearce was attacked by Braun Strowman, which resulted in Strowman being suspended for over two months.


title: Adam Pearce

text: On the January 8, 2021 episode of "SmackDown", Pearce began a storyline with WWE Universal Champion Roman Reigns. Reigns took issue with Pearce's recent booking decisions, including scheduling a gauntlet match for that night to determine Reigns' championship contender at the 2021 Royal Rumble. Against Pearce's decisions, Reigns' special counsel Paul Heyman convinced upper management to also book Pearce for the match, despite his on-screen role as a WWE official, subsequently being Pearce's first scheduled match since 2014 and his first match in WWE since 1997. Pearce was the final entrant in the gauntlet match, but as he was about to face Shinsuke Nakamura, Reigns and his cousin Jey Uso attacked Nakamura and Pearce, laying Pearce's body on top of Nakamura's for the pinfall and giving the win to Pearce. As a result, Pearce became Reigns' opponent at the Royal Rumble. On the January 15 episode of SmackDown, Pearce replaced himself with Kevin Owens, stating he was not "medically cleared" to compete. On the January 22 episode of SmackDown, Paul Heyman challenged Pearce to a match, but at the last minute replaced himself with Roman Reigns, who attacked Pearce before Kevin Owens intervened.


title: Adam Pearce

text: On the March 1, 2021 episode of "Raw", Pearce, at the direction of Shane McMahon, and Braun Strowman challenged Cedric Alexander, and Shelton Benjamin, for the Raw Tag Team Championship. Pearce was pinned when Strowman reluctantly tagged in Pearce at the direction of Shane McMahon.


title: Adam Pearce

text: On the March 3, 2021 episode of WWE NXT, during the WWE Women's Tag Team Championship match, when the referee was down, Shayna Baszler applied the kirifuda clutch to where Pearce called for a referee to come down to the ring as Baszler passed out Dakota Kai even though she wasn't the legal competitor. This awarded Nia Jax and Baszler the win, retaining their titles.


title: Adam Pearce

text: On the October 22, 2021 episode of "SmackDown", Pearce was attacked by Brock Lesnar after he suspended Lesnar for his wrongful actions outside the ring. On the October 29, 2021 episode of "SmackDown", Pearce sanctioned Lesnar to pay a one million dollar fine with the suspension.


title: Adam Pearce

text: During the 2014 Major League Baseball season, Pearce auditioned for the vacant San Diego Padres public address announcer position at Petco Park. Pearce survived multiple rounds of cuts, landing in the Top 10 before being eliminated during the last week of auditions.


title: Art for art's sake

text: Art for art's sake—the usual English rendering of l'art pour l'art (), a French slogan from the latter part of the 19th century—is a phrase that expresses the philosophy that the intrinsic value of art, and the only 'true' art, is divorced from any didactic, moral, political, or utilitarian function. Such works are sometimes described as "autotelic" (from Greek: "autoteles", 'complete in itself'), a concept that has been expanded to embrace "inner-directed" or "self-motivated" human beings.


title: Art for art's sake

text: The term is sometimes used commercially. A Latin version of this phrase, ars gratia artis (), is used as a motto by Metro-Goldwyn-Mayer and appears in the film scroll around the roaring head of Leo the Lion in its iconic motion picture logo.


title: Art for art's sake

text: The original phrase ""l'art pour l'art"" ('art for art's sake') is credited to Théophile Gautier (1811–1872), who was the first to adopt it as a slogan in the preface to his 1835 book, "Mademoiselle de Maupin".


title: Art for art's sake

text: Gautier was not, however, the only one to write those words: they appear in the works of Victor Cousin, Benjamin Constant, and Edgar Allan Poe. For instance, Poe argues in his essay "The Poetic Principle" (1850):


title: Art for art's sake

text: We have taken it into our heads that to write a poem simply for the poem's sake ... and to acknowledge such to have been our design, would be to confess ourselves radically wanting in the true poetic dignity and force:– but the simple fact is that would we but permit ourselves to look into our own souls we should immediately there discover that under the sun there neither exists nor can exist any work more thoroughly dignified, more supremely noble, than this very poem, this poem per se, this poem which is a poem and nothing more, this poem written solely for the poem's sake.


title: Art for art's sake

text: "Art for the sake of art" became a bohemian creed in the 19th century; a slogan raised in defiance of those—from John Ruskin to the much later Communist advocates of socialist realism—who thought that the value of art was to serve some moral or didactic purpose. It was a rejection of the Marxist aim of politicising art. Art for the sake of art affirmed that art was valuable "as" art in itself; that artistic pursuits were their own justification; and that art did not need moral justification, and indeed, was allowed to be morally neutral or subversive.


title: Art for art's sake

text: As such, James McNeill Whistler wrote the following in which he discarded the accustomed role of art in the service of the state or official religion, which had adhered to its practice since the Counter-Reformation of the 16th century: "Art should be independent of all claptrap – should stand alone...and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism and the like." Such a brusque dismissal also expressed the artist's distancing of himself from sentimentalism. All that remains of Romanticism in this statement is the reliance on the artist's own eye and sensibility as the arbiter.


title: Art for art's sake

text: The explicit slogan is associated, in the history of English art and letters, with Walter Pater and his followers in the Aesthetic Movement, which was self-consciously in rebellion against Victorian moralism. It first appeared in English in two works published simultaneously in 1868: in Pater's review of William Morris's poetry in the "Westminster Review", and the other in "William Blake" by Algernon Charles Swinburne. A modified form of Pater's review appeared in his "Studies in the History of the Renaissance" (1873), one of the most influential texts of the Aesthetic Movement.


title: Art for art's sake

text: Arnold Bennett made a facetious remark on the issue: "Am I to sit still and see other fellows pocketing two guineas apiece for stories which I can do better myself? Not me. If anyone imagines my sole aim is art for art's sake, they are cruelly deceived."


title: Art for art's sake

text: In Germany, the poet Stefan George was one of the first artists to translate the phrase ('Kunst für die Kunst') and adopt it for his own literary programme which he presented in the first volume of his literary magazine "Blätter für die Kunst" (1892). He was inspired mainly by Charles Baudelaire and the French Symbolists whom he had met in Paris, where he was friends with Albert Saint-Paul and consorted with the circle around Stéphane Mallarmé.


title: Art for art's sake

text: Friedrich Nietzsche claimed that there is 'no art for art's sake', arguing that the artist still expresses them being through it:


title: Art for art's sake

text: When the purpose of moral preaching and of improving man has been excluded from art, it still does not follow by any means that art is altogether purposeless, aimless, senseless — in short, "l'art pour l'art", a worm chewing its own tail. "Rather no purpose at all than a moral purpose!" — that is the talk of mere passion. A psychologist, on the other hand, asks: what does all art do? does it not praise? glorify? choose? prefer? With all this it strengthens or weakens certain valuations. Is this merely a "moreover"? an accident? something in which the artist's instinct had no share? Or is it not the very presupposition of the artist's ability? Does his basic instinct aim at art, or rather at the sense of art, at life? at a desirability of life? Art is the great stimulus to life: how could one understand it as purposeless, as aimless, as "l'art pour l'art"?


title: Art for art's sake

text: Marxists have argued that art should be politicised for the sake of transmitting the socialist message.


title: Art for art's sake

text: George Sand, who was not a Marxist but a socialist writer, wrote in 1872 that "L'art pour l'art" was an empty phrase, an idle sentence. She asserted that artists had a "duty to find an adequate expression to convey it to as many souls as possible," ensuring that their works were accessible enough to be appreciated.


title: Art for art's sake

text: Senegalese president, head of the Socialist Party of Senegal, and co-founder of Negritude Leopold Sedar Senghor and anti-colonial Africanist writer Chinua Achebe have both criticised the slogan as being a limited and Eurocentric view on art and creation. Senghor argued that, in "black African aesthetics," art is "functional" and that in "black Africa, 'art for art's sake' does not exist." Achebe is more scathing in his collection of essays and criticism entitled "Morning Yet on Creation Day", in which he asserts that "art for the sake of art is just another piece of deodorised dog shit [sic]."


title: Art for art's sake

text: Walter Benjamin, one of the developers of Marxist hermeneutics, discusses the slogan in his seminal 1936 essay "The Work of Art in the Age of Mechanical Reproduction". He first mentions it in regard to the reaction within the realm of traditional art to innovations in reproduction, in particular photography. He even terms the ""L'art pour l'art"" slogan as part of a "theology of art" in bracketing off social aspects. In the Epilogue to his essay, Benjamin discusses the links between fascism and art. His main example is that of Futurism and the thinking of its mentor Filippo Tommaso Marinetti. One of the slogans of the Futurists was ""Fiat ars – pereat mundus"" ('Let art be created, though the world perish'). Provocatively, Benjamin concludes that as long as fascism expects war "to supply the artistic gratification of a sense of perception that has been changed by technology," then this is the "consummation," the realization, of ""L'art pour l'art"."


title: Art for art's sake

text: Diego Rivera, who was a member of the Mexican Communist Party and "a supporter of the revolutionary cause," claims that the art for the sake of art theory would further divide the rich from the poor. Rivera goes on to say that since one of the characteristics of so called "pure art" was that it could only be appreciated by a few superior people, the art movement would strip art from its value as a social tool and ultimately make art into a currency-like item that would only be available to the rich.


title: Art for art's sake

text: Chinese communist leader Mao Zedong said: "There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics. Proletarian literature and art are part of the whole proletarian revolutionary cause; they are, as Lenin said, cogs and wheels in the whole revolutionary machine."


title: Kubb

text: Kubb (pronounced in Swedish and Gutnish) is a lawn game where the objective is to knock over wooden blocks () by throwing wooden batons () at them. Kubb can be described as a combination of bowling and horseshoes. Play takes place on a small rectangular playing field, known as a "pitch". "Kubbs" are placed at both ends of the pitch, and the "king", a larger wooden block, is placed in the middle of the pitch. Some rules vary from country to country and from region to region, but the ultimate objective of the game is to knock over the "kubbs" on the opposing side of the pitch, and then to knock over the "king", before the opponent does. Games can last from five minutes to well over an hour. The game can be played on a variety of surfaces such as grass, sand, concrete, snow, or even ice.


title: Kubb

text: The features of kubb most distinguishing it from other pin-toppling games (such as bowling and skittles) are that 1) teams "own" opposite sides of the playing field, and 2) toppled pins are "recycled" back into play and may be tossed to opposite sides. Endrei & Zolnay briefly note an unnamed game, played in Poland "as early as the sixteenth century", which seems to exhibit both features.


title: Kubb

text: Though differing from kubb in detail, , as published in Leipzig in 1800, displays most of the fundamental features of kubb, including team sides, recycled pins, a kingpin, and even the requirement to throw from behind one's own pins; though as in the Polish game, the main projectile is a ball rather than a baton.


title: Kubb

text: The Karelian game kyykkä and the possibly Siberian game bunnock both feature team sides and (unlike the Polish game and kaisers) use versions of batons as projectiles rather than balls.


title: Kubb

text: Though typologically related to kubb, no definite historical connection between these games and kubb has been shown.


title: Kubb

text: Sören Wallin has identified the Swedish game (as described in a 1911 encyclopedia) as essentially the same as, and the forbear of, kubb. This game was known on the Swedish mainland at least as early as 1878, when it was described in "Ungdomens Bok", a sort of "Boys' Own Book".


title: Kubb

text: Kägelkrig, the Polish game, and kaisers all seem to feature felled pins being thrown to the opponent side "in order themselves to fell opponent pins", which is not a feature of contemporary kubb.


title: Kubb

text: Kubb was evidently unknown in Gotland in 1912, when a list of traditional Gotlandic games was drawn up, in conjunction with the Olympic Games (held in Stockholm that year). However, in 1931 a Gotlandic ethnologist, visiting the island of Fårö, just to the north of Gotland, recorded the earliest known use of the name "kubb" for this game, and it was played by residents of Gotland by at least the mid-20th century.


title: Kubb

text: In the 1980s it became a local craze, leading to the first local commercial manufacturing efforts in the late 1980s. In 1995 a tournament was initiated in Rone, Gotland — the Kubb World Championship — somewhat ironically titled, as it was at this time still a thoroughly local affair. However, within only a few years, mainland and international teams were coming to Gotland to compete, and a major Swedish manufacturer was selling Kubb sets; in the 2000s Kubb spread to several European countries, as well as the USA and Canada. Large kubb tournaments now occur throughout Europe and the United States of America. Belgium alone held over 50 tournaments in 2012.


title: Kubb

text: The Kubb World Championship takes place at the same time as "Medieval Week" in Visby (which has been "the island's main tourist magnet since the mid 1980s"). Medieval Week also incorporated the playing of kubb, and this connection has likely motivated kubb's being marketed, both in the US and in Europe, with such unfounded appellations as "Viking Chess" and "Old Norse Viking outdoor game".


title: Kubb

text: On 13 December 2011, Eau Claire, Wisconsin declared itself to be the 'Kubb Capital of North America'. The city has hosted the U.S. National Kubb Championship since 2007, and is home to "Kubbnation" magazine and many clubs and leagues, including the Eau Claire Kubb League, which is the largest weekly kubb league in the world. In addition, kubb sets are in the local schools, with some schools having kubb units in physical education classes and kubb clubs.


title: Kubb

text: According to the US Championship rules and World Championship rules, kubb is played on a rectangular pitch 5 metres by 8 metres. Corner stakes are placed so that a rectangle is formed. The center stakes are placed in the middle of the sidelines (long edges of the rectangle), which divides the pitch into two halves. No other markers are required to demarcate the field's boundaries, although markings that do not interfere with game play are allowed (such as chalk lines).


title: Kubb

text: The king is placed upright in the center of the pitch, and the kubbs are placed on the baselines (short edges of the rectangle), five kubbs on each side equidistant from each other.


title: Kubb

text: Kubbs starting the game on the baseline are referred to as "base kubbs". The baseline should run through the center of the kubbs. For young children, the 8-meter pitch length can be shortened.


title: Kubb

text: Two official tournament rulesets available for kubb are the World Championship rules and the U.S. National Championship rules.


title: Kubb

text: If a kubb is thrown out of play, "i.e.", outside the boundary markers or not beyond the middle line (Note: after being raised, at least half of the kubb must be in the field of play to be considered in play), then one more attempt is given. If this also goes out, the kubb becomes a "punishment kubb" and can be placed anywhere in the target half by the opposing team as long as it is at least one baton length from a corner marker or the King.


title: Kubb

text: If a thrown kubb knocks over an existing baseline or field kubb, then the field kubbs are raised at the location where they rest, and baseline kubbs are raised at their original location.


title: Kubb

text: Play then changes hands, and Team B throws the batons at Team A's kubbs, but must first knock down any standing field kubbs. If a baseline kubb is knocked down before all remaining field kubbs, the baseline kubb is returned to its upright position. (Field kubbs that right themselves due to the momentum of the impact are considered knocked down. Kubbs are considered knocked down if they end up tilting and relying on a game piece for support.) Again, all kubbs that are knocked down are thrown back over onto the opposite half of the field and then stood up.


title: Kubb

text: If either team does not knock down all field kubbs before their turn is over, the kubb closest to the centerline now represents the opposite team's baseline, and throwers may step up to that line to throw at their opponent's kubbs. This rule applies only to throwing the batons at the opposing team's field and baseline kubbs; fallen kubbs are thrown from the original baseline, as are attempts to knock over the king (see below).


title: Kubb

text: Play continues in this fashion until a team is able to knock down all kubbs on the opposing team's half of the field. If the former team still has batons left to throw, they now attempt to knock over the king. If a thrower successfully topples the king, their team has won the game.


title: Kubb

text: If at any time during the game the king is knocked down by a baton or kubb while the opposing team still has kubbs in its half of the field, the throwing team immediately loses the game.


title: Kubb

text: For informal play between players of widely differing abilities, such as an adult and a child, it is permissible to shorten the length of the pitch. Another option is for both players to play on the same team and keep switching sides during play.


title: Kubb

text: The Kubb World Championship is held annually on the island of Gotland, Sweden. The U.S. Championship is held annually in Eau Claire, WI.


title: Kubb

text: Tournaments in the U.S. have exploded since 2007, especially in the Midwest. In 2016, the U.S. tournament list includes over 40 tournaments. The majority of tournaments are located in Minnesota and Wisconsin.


title: Kubb

text: In 2013, the U.S. Midwest Championship was re-introduced. The annual tournament travels throughout the Midwest. (2013: Rockford, IL; 2014: Decorah, IA; 2015: Madison, WI; 2016: Madison, WI; 2017: Shakopee, MN; 2018: Canton, OH)


title: Kubb

text: European tournaments are held in Sweden, Germany, Switzerland, Belgium, the Netherlands, Czech Republic, the UK and Italy. Most countries have their own national championship tournament.


title: Mercury Marauder

text: The Mercury Marauder is an automobile nameplate that was used by three distinct full-size cars produced by the Mercury division of Ford Motor Company. Deriving its name from the most powerful engines available to the Mercury line, the Marauder was marketed as the highest-performance version of the full-size product range.


title: Mercury Marauder

text: Introduced as a 1963 model line for its first production run, the Mercury Marauder was distinguished by its fastback-styled roofline (shared with the Ford Galaxie). The nameplate was a sub-model of the three Mercury model lines (Monterey, Monterey Custom, and S-55).


title: Mercury Marauder

text: For 1966, the Marauder was replaced by the Mercury S-55 as a stand-alone model line, which remained the Mercury counterpart of the Ford Galaxie 500XL.


title: Mercury Marauder

text: For the 1969 model year, the Marauder returned as a fastback version of the Mercury Marquis. Designed to bridge the gap between the Mercury Cougar and Continental Mark III, the Mercury Marauder was repackaged as a personal luxury car. Following the 1970 model year, the model line was discontinued.


title: Mercury Marauder

text: For the 2003 model year, the Mercury Marauder nameplate was revived as a high-performance variant of the full-size Grand Marquis using the Ford Panther platform. After lower than expected sales, the Marauder was discontinued at the end of the 2004 model year. As of current production, the Mercury Marauder remains the final rear-wheel drive sedan introduced by Ford Motor Company in North America.


title: Mercury Marauder

text: The Marauder name made its first appearance in 1958 as Ford introduced a new family of V8 engines for its Mercury, Edsel, and Lincoln brands; the Marauder nameplate was in reference to people associated with outlaws or piracy. Within the engine family, two V8 engines were exclusive to the Mercury division.


title: Mercury Marauder

text: Dubbed "Marauder", a 383 cubic-inch V8 produced 330hp with an optional 4-barrel carburetor. In that configuration, the engine was offered in the midline Montclair and the Colony Park station wagon.


title: Mercury Marauder

text: Dubbed "Super Marauder", a 430 cubic-inch V8 produced 400hp (the first mass-produced engine sold in the United States with an advertised 400hp output). While the 430 V8 was shared with Lincoln, the Super Marauder was given its own set of intake manifolds and "tri-power" 3x2-barrel carburetors. Offered for the entire Mercury line, the Super Marauder was developed as a competitor for the 392 Hemi of the Chrysler 300C high-performance coupe.


title: Mercury Marauder

text: For 1959, Mercury revised its V8 engine offerings; while the Super Marauder V8 was discontinued, the 430 V8 remained (retuned with slightly reduced engine output). For 1960, the Marauder V8 became an option across the Mercury line, including the Monterey, Park Lane, and Commuter.


title: Mercury Marauder

text: For 1961, full-size Mercury vehicles adopted a greater degree of commonality with their Ford counterparts, with Mercury dropping the 383 and 430 large-block engines entirely. The Marauder name returned, moving from the 383 MEL V8 to Ford-based FE V8 engines.


title: Mercury Marauder

text: The Mercury Marauder nameplate made its debut in 1963 1/2 as a model of each of the three Mercury full-size series, including the Monterey, Monterey Custom, and S-55. For the first time for a mid-year introduction, the Marauder was introduced as a "1963" model (as was an entire line of new, "sports" models from Ford in many of the existing series). All 1963 Marauders were "fastbacks", in two-door form only. The two-door notchback (Breezeway) hardtop coupe was listed at US$3,650 ($ in dollars ) and 3,863 were manufactured. For model year 1964, the Marauder model was available in the base Monterey trim, next level Montclair or top of the line Parklane. Marauders were now available as four-door cars.


title: Mercury Marauder

text: In contrast to the distinctive reverse-slant "Breezeway" roofline option on Mercury's full-size models, the Marauder hardtop coupe was styled with a conventional sloping notchback rear roofline as well as a fastback appearance. It was the same roofline introduced at the same time on the contemporary Ford Galaxies. This roofline was optimized to make the large sedan more competitive for stock car racing. Along with the "sportier" roofline, the Marauder S-55 trim package included bucket seats and a center console, similar to its Ford counterpart. However, the base model Marauder came with a front bench seat and a column shift unlike the S-55 package.


title: Mercury Marauder

text: For 1964, the availability of Mercury Marauder expanded to four-door hardtops; along with two-doors, four-door hardtops also included a fastback roofline. The "Breezeway" roofline models continued as before.


title: Mercury Marauder

text: Shared with the rest of the Mercury sedan line, the Mercury Marauder was powered by Ford "FE-Series" V8 engines, shared with the big Fords and the Thunderbird. A 390 cubic-inch Marauder V8 was standard, along with a 4V 427 cubic inch and a 2 4V 427 cubic-inch Super Marauder V8 as options. Along with 3-speed and 4-speed manual transmissions (4 speed mandatory with the 427 ), a 3-speed "Merc-O-Matic" automatic transmission was offered.


title: Mercury Marauder

text: For 1965, Mercury advertising emphasized the car's luxury and close relationship with Lincoln. The Marauder option continued to be offered in all three series (Park Lane, Montclair, and Monterey) in two- or four-door hardtop body styles. These models were not promoted and not even mentioned in dealer brochures. Marauders featured a small emblem (with flag) on the "C" pillar to distinguish them from other models. All full-size Mercury hardtop coupes got the same "slant back" roofline as in the big Ford, which was basically a more sharply-angled version of the 1964 Marauder roofline. Four-door hardtops got a new formal "limousine" styled notchback roofline that was shared with Ford's Galaxie hardtop sedans. Mercury continued to advertise the big-block FE-series V8s as "Marauder" engines.


title: Mercury Marauder

text: For the 1966 model year, as Mercury shifted away from full-size performance vehicles, the Marauder was replaced by a repackaged S-55. The move also consolidated the options of three model lines into a distinct nameplate.


title: Mercury Marauder

text: For the 1969 model year, Mercury returned the Marauder nameplate to its product line. Positioned as a personal luxury car, the Marauder replaced the performance-oriented S-55 and sought to appeal to the interest generated by the Lincoln Continental Mark III introduced in 1968 and the Mercury Cougar while competing for buyers of the 1969 Ford Thunderbird.


title: Mercury Marauder

text: Slotted below the Marquis in size, the Marauder was derived from multiple Mercury and Ford vehicles. Sharing its fastback roofline with the Ford XL and Ford Galaxie 500 SportsRoof, the Marauder shared its front sheet metal, interior trim and concealed headlights with the Marquis. The Marauder shared its 121-inch wheelbase with Ford sedans and the Colony Park station wagon. Similar to other 1960s vehicles with fastback rooflines, its rear window was "tunneled", with large rear C-pillars. The rear quarter panels featured non-functional louvered side air intakes. The listed retail price was US$3,351 ($ in dollars ) and 9,031 were sold.


title: Mercury Marauder

text: By the end of the 1960s, demand for high-performance full-size cars had largely disappeared. In total, Mercury would sell about 15,000 examples for 1969, and barely a third of that for 1970; in comparison to the Marauder, Mercury would sell nearly 173,000 Cougars at the same time. Within the Lincoln-Mercury Division, the far more expensive Continental Mark III outsold the Marauder more than two-to-one from 1969 to 1970.


title: Mercury Marauder

text: Standard versions of the Marauder were equipped with the Ford FE engine and a manual 3-speed transmission. The Marauder X-100 was only equipped with the engine with a 3-speed FMX automatic as an option. The only transmission available with the 429 was the 3-speed Ford C6 automatic.


title: Mercury Marauder

text: To offer a higher-performance version of the Marauder, Mercury introduced the Marauder X-100. While nearly all features of the X-100 were cosmetic, the Marauder X-100 offered a choice of twin comfort lounge seats, bench seat, or bucket seats with a floor console housing a U-shaped automatic transmission shift handle. The X-100 also featured Kelsey-Hayes road wheels along with rear fender skirts, and was listed at US$4,074 ($ in dollars ) selling 9,031 examples.


title: Mercury Marauder

text: For the 2003 model year, Mercury revived the Marauder nameplate after a 33-year hiatus. Similar in concept to its 1960s namesake, the new Marauder offered upgraded chassis, suspension, and powertrain components over the standard Grand Marquis. For the first time since 1960, Mercury offered a full-size sedan with no Ford counterpart, developing it as a marketplace successor to the 1994-1996 Chevrolet Impala SS. When the Marauder was cancelled, Chrysler reintroduced the 2005 Chrysler 300 as a rear-drive luxury sedan with the all-new Hemi V8.


title: Mercury Marauder

text: The introduction of the Marauder launched a near-complete replenishment of the Mercury model line. Though the Grand Marquis sedan and Mountaineer SUV would remain in production, from 2004 to 2006, Mercury introduced the Monterey minivan (2004) and Mariner SUV (2005); the Sable was replaced by the Montego and Milan sedans (2005 and 2006).


title: Mercury Marauder

text: After the end of the 2004 model year, the Marauder was discontinued with no direct Mercury or Ford replacement. Initially predicted for sales of 18,000 vehicles per year, the revived Marauder sold slowly, with only 11,052 sold over its two-year production (compared to nearly 180,000 Grand Marquis sold in the same time). In a key marketing success, the Marauder attracted younger buyers into Lincoln-Mercury showrooms; the average age of its buyer (51) was 18 years younger than that of the Grand Marquis (69).


title: Mercury Marauder

text: At the 2002 Chicago Auto Show, Ford introduced the Mercury Marauder as a concept car. Serving as a preview of the production vehicle, the 2002 concept car was a five-passenger, two-door convertible. Starting life as a 1999 Ford Crown Victoria LX, the body was reconfigured and the 215hp 4.6 L V8 replaced by a 335hp supercharged 4.6 L SOHC V8.


title: Mercury Marauder

text: The first full-sized convertible produced by Ford since the 1972 Ford LTD convertible and the first full-sized two-door sedan (by Ford) since 1987, the Marauder convertible was strictly intended as a concept car. At the time of its development, production of the 2-door convertible was under consideration, related to consumer demand.


title: Mercury Marauder

text: The 2003–2004 Marauder utilized the Panther platform, adopting the chassis upgrades introduced as part of its 2003 update (including the introduction of rack-and-pinion steering). The Marauder also used heavier-duty brake and suspension components from the Ford Crown Victoria Police Interceptor.


title: Mercury Marauder

text: For production Marauders, Mercury used a 302hp 4.6L DOHC V8; an evolution of the Lincoln Mark VIII engine, the V8 was shared with the Mustang Mach 1 and Lincoln Aviator. For 2003, the engine used a 4-speed 4R70W automatic, switching to a 4R75W automatic for 2004.


title: Mercury Marauder

text: The Marauder shared its limited-slip differential (and 3.55:1 rear-axle ratio) with the Crown Victoria Police Interceptor, along with its aluminum driveshaft.


title: Mercury Marauder

text: In line with the B-body Chevrolet Impala SS, the 2003 Marauder was given a monochromatic appearance, with a wide majority of cars sold in black. In contrast to the Grand Marquis, the only chrome on the Marauder is its window trim, wheels, and Mercury emblems on the grille and trunklid.


title: Mercury Marauder

text: On the exterior, the Marauder shares most of its trim with the Grand Marquis; much of the rear and side trim is shared with the Crown Victoria LX Sport. Both bumpers are unique to the Marauder; the rear features the model name embossed on the bumper and is modified further to accommodate the larger Megs chrome tailpipe tips. The front bumper was redesigned with a central air intake added to improve engine ventilation; round Cibié fog lamps were added below the headlights. The headlight and corner light lenses (from the Grand Marquis) had their non-reflective surfaces blacked out and the grille was painted black with a body-color surround. The taillight and reverse light lenses (from the Crown Victoria LX Sport) were dark-tinted to the minimum of DOT standards. Unique to the Marauder, the 18-inch five-spoke wheels have center caps with a revival of a 1960s Mercury emblem (a silhouette of the Roman god Mercury).


title: Mercury Marauder

text: The interior of the Marauder resembled the configuration of the 2002 concept convertible, adopting a five-seat layout with a center console-mounted transmission shifter (shared with the Crown Victoria LX Sport and Grand Marquis LSE). Leather seating was standard, with (simulated) satin aluminum trim replacing wood trim. Unique to the Marauder, the instrument panel was redesigned, with aluminum-finish gauges, a 140-mph speedometer; unique among Panther platform vehicles (at the time), the Marauder was fitted with a tachometer, requiring the relocation of the voltmeter and oil pressure gauges (forward of the shifter).


title: 1942: A Love Story

text: 1942: A Love Story, also known as 1942 A Love Story, is a 1994 Indian Hindi-language patriotic romance film, directed by Vidhu Vinod Chopra. It stars Anil Kapoor, Manisha Koirala and Jackie Shroff, with Anupam Kher, Danny Denzongpa, Pran and Brian Glover. The film revolves around two lovers—Naren (Kapoor) and Rajjo (Koirala), who come from contrasting family backgrounds and shows how their relationship is threatened owing to the outbreak of the Indian revolutionary movement.


title: 1942: A Love Story

text: The film's core plot was reported to be inspired by the Kannada-language film "Mysore Mallige" which itself was based on the 1942 work of same title by K. S. Narasimhaswamy. The screenplay was jointly written by Sanjay Leela Bhansali, Kamna Chandra and Chopra. Binod Pradhan acted as the cinematographer while Renu Saluja edited the film. R. D. Burman composed the highly successful soundtrack with lyrics penned by Javed Akhtar. This was the last film work of R. D. Burman, who died before the release of the film.


title: 1942: A Love Story

text: The film is set in 1942, when the British Raj was declining from power. It was a time when many Indian citizens were either working for the British regime or rallying in underground meetings and protests against them. In this atmosphere, Narendra Singh (Anil Kapoor) falls in love with Rajeshwari Pathak (Manisha Koirala). Their romance is shown developing in spite of the political and social unrest at the time.


title: 1942: A Love Story

text: Narendra's father Diwan Hari Singh (Manohar Singh) is a loyal British employee working for the brutal British General Douglas (Brian Glover), who is infamous in tracking down and executing citizens who are believed to be revolutionaries. Rajeshwari's father Raghuveer Pathak (Anupam Kher) is a revolutionary fighting against British rule, as he holds a grudge against Douglas for murdering his son. When Narendra asks Raghuveer for Rajeshwari's hand in marriage, Raghuveer becomes livid by this. However, Narendra declares that he is willing to sacrifice everything for Rajeshwari and convinces Raghuveer of his love for her. Raghuveer relents, but tells Narendra to talk to his father first. When Narendra does so, Hari is angry that his son has chosen the daughter of a revolutionary, but pretends that he will do anything for Narendra's happiness.


title: 1942: A Love Story

text: However, Hari tricks Narendra into revealing Raghuveer's secret location and leaks the information to Major Bisht (Danny Dengzongpa) and the British authorities. Soon, police barge into Raghuveer's hideaway and try to kill him, only to find him waiting to light a bomb, killing both himself and the men. Rajeshwari, who was out at that time, realises what has happened and runs away. She is taken into refuge by Shubhankar (Jackie Shroff), a compatriot of Raghuveer who has learned of his death. Under Shubhankar's tutelage, Rajeshwari follows her father's revolutionary path. Meanwhile, Narendra get furious at his father for using him in killing Raghuveer and driving Rajeshwari away. Promising to make up to Rajeshwari and help her cause, Narendra pledges to become a revolutionary by severing all ties with his father; even Bisht's daughter Chanda (Chandni) does the same after witnessing Bisht murdering her teacher Abid Ali Baig (Pran), who is a revolutionary allied with Shubhankar, much to Bisht's remorse.


title: 1942: A Love Story

text: To prove more his point, Narendra attempts to murder Douglas in front of the city, but is caught in the act after shooting down a few soldiers. Narendra is then convicted and sentenced to hang for attempted murder. Douglas then orders his troops to fire at the town square, resulting several deaths of citizens, including Chanda. However, Shubhankar saves Narendra from being hanged and Bisht develops a change of heart after witnessing Chanda's death, helping Shubhankar and Narendra in finishing off Hari and the remaining loyalists and stabbing Douglas with a flagpole. With the loyalists dead, Narendra reconciles with Rajeshwari while Shubhankar hangs Douglas to death, avenging all those who perished under Douglas' wrath. The film ends with Narendra, Rajeshwari, Shubhankar, Bisht and the surviving citizens hoisting and saluting the Indian flag.


title: 1942: A Love Story

text: Kamna Chandra, one of the script writers of the film, had gone to America to meet her daughters "Tanuja" and "Anupama" (whom Vidhu Vinod Chopra would later marry) as they were studying there. Having watched Chopra's film "Parinda" on video and being impressed with it, both of them asked their mother to write a story and approach him to direct it. Chandra had previously written "Prem Rog" and "Chandni"; both were love stories. She knew Chopra made "dark films", but decided to meet him.


title: 1942: A Love Story

text: After returning, Chandra met Chopra at Natraj Studios. She made him listen to two or three of her ideas, among which he liked one and asked her to develop it. Chandra finished the script and dialogues by a year, until a day when Chopra himself called her and suggested that they should make a love story set in another era instead of the present time. This provoked Chandra; she could not sleep that night. However, she became excited in the next few days. She had grown up amidst the Indian freedom struggle, so she decided to place the story at that time. This formed the core plot for "1942: A Love Story".


title: 1942: A Love Story

text: "Aamir Khan" had initially been offered the role of Narendra; but he declined. "Anil Kapoor" was then approached, who was hesitant to do the film and suggested "Bobby Deol" and "Aamir Khan" for the role. However, he was later convinced. To prepare himself for the role, Kapoor worked hard — he lost weight, cut short his hair, trimmed his moustache and worked on his costumes to create the character. "Shah Rukh Khan" was under consideration for the role later done by "Raghuvir Yadav"; he did not feature as he had already been playing lead roles. "Jackie Shroff" was cast as Shubankar. He gave financial assistance to the film. For instance, some (extra) houses built at the film's set (which were first disapproved of by Vidhu Vinod Chopra due to the limited budget) were paid for by Shroff. Moreover, he also paid composer R. D. Burman on behalf of Chopra when he made them listen the music of the film for the very first time.


title: 1942: A Love Story

text: Chopra had crafted the role of "Rajeshwari Pathak" alias "Rajjo" in accordance to "Madhuri Dixit"; lyricist "Javed Akhtar" had also kept her in mind while penning the lyrics for "Ek Ladki Ko Dekha To". By the time the film was launched, Dixit had packed schedules, which meant she couldn't do the film. "Manisha Koirala", who had given an audition for the role of Rajjo's sister (the role was later excluded from the film), was then asked by Chopra to give a screen test. But, after seeing Koirala enacting a scene, Chopra deemed her a "terrible actress". Koirala, however, asked him for a second chance. She went back home, practised her lines and came back prepared the next day. She pleased Chopra with her performance and was thereafter signed. "Ashwini Bhave" was also one of those who had auditioned for the role. She was rejected on the spot.


title: 1942: A Love Story

text: "Nana Patekar", who had previously worked with Chopra in "Parinda" (1989), was selected to portray Raghuvir Pathak. But he insisted on being cast as Shubankar, which caused a rift between him and Chopra. "Anupam Kher" was later signed for the role. "Mithun Chakraborty" had also been briefly considered for the role of Shubankar, when Shroff developed date issues. The distributors, however, somehow made Chopra retain Shroff in the film. Since the production started in the early 90s, it was speculated that "Sanjay Kapoor" was to replace his brother Anil as the latter's film "Lamhe" (1991) had not been successful. Nevertheless, it did not materialize.


title: 1942: A Love Story

text: Principal photography for the film, being handled by "Binod Pradhan", took place mainly at various locations in "Himachal Pradesh", including the district "Chamba", "Dalhousie, "Khajjiar" and the "Kalatop Sanctuary" to depict pre-independence India."An artificial set resembling Dalhousie was created in the Mumbai Filmcity, since it was an expensive proposition to take the entire cast and crew there. It was erected by art director Nitin Desai with a cost of . According to Desai, many people told Chopra not to give chance to him, as he was a newcomer; yet Chopra had full faith on him"."


title: 1942: A Love Story

text: The film score was composed by Manohari Singh and Babloo Chakravorty while the film's original songs were composed by R. D. Burman, who died before the release of the film, with lyrics by Javed Akhtar. R. D. Burman won his last Filmfare Award for Best Music Director and Javed Akthar bagged the Filmfare Award for Best Lyricist for "Ek Ladki Ko Dekha To". Kumar Sanu won his 5th consecutive Filmfare Award for Best Male Playback Singer for "Ek Ladki Ko Dekha To" and Kavita Krishnamurthy won the Filmfare Award for Best Female Playback Singer for "Pyar Hua Chupke Se", the first of her hat-trick feat. The music in the introduction of the film is from Gustav Holst's "The Planets - Mars the bringer of war".


title: 1942: A Love Story

text: "1942: A Love Story" was released on 15 April 1994. It opened to positive reviews from critics, with praise drawn towards the cast performances, cinematography, and the soundtrack by R. D. Burman. Amitabh Bachchan had attended the preview screening of the film and congratulated Chopra for his endeavour.


title: Dolomite (rock)

text: Dolomite (also known as dolomite rock, dolostone or dolomitic rock) is a sedimentary carbonate rock that contains a high percentage of the mineral dolomite, CaMg(CO). It occurs widely, often in association with limestone and evaporites, though it is less abundant than limestone and rare in Cenozoic rock beds (beds less than about 66 million years in age). The first geologist to distinguish dolomite rock from limestone was Belsazar Hacquet in 1778.


title: Dolomite (rock)

text: Most dolomite was formed as a magnesium replacement of limestone or of lime mud before lithification. The geological process of conversion of calcite to dolomite is known as dolomitization and any intermediate product is known as dolomitic limestone. The "dolomite problem" refers to the vast worldwide depositions of dolomite in the past geologic record in contrast to the limited amounts of dolomite formed in modern times. Recent research has revealed sulfate-reducing bacteria living in anoxic conditions precipitate dolomite which indicates that some past dolomite deposits may be due to microbial activity.


title: Dolomite (rock)

text: Dolomite is resistant to erosion and can either contain bedded layers or be unbedded. It is less soluble than limestone in weakly acidic groundwater, but it can still develop solution features (karst) over time. Dolomite rock can act as an oil and natural gas reservoir.


title: Dolomite (rock)

text: Dolomite, and in turn the Dolomite Alps where it was first discovered, takes its name from the 18th-century French mineralogist Déodat Gratet de Dolomieu (1750–1801), who was one of the first to describe the mineral.


title: Dolomite (rock)

text: The term "dolomite" refers to both the calcium-magnesium carbonate mineral and to sedimentary rock formed predominantly of this mineral. The term "dolostone" was introduced in 1948 to avoid confusion between the two. However, the usage of the term "dolostone" is controversial, because the name "dolomite" was first applied to the rock during the late 18th century and thus has technical precedence. The use of the term "dolostone" was not recommended by the "Glossary of Geology" published by the American Geological Institute.


title: Dolomite (rock)

text: In old USGS publications, dolomite was referred to as "magnesian limestone", a term now reserved for magnesium-deficient dolomites or magnesium-rich limestones.


title: Dolomite (rock)

text: Dolomite rock is defined as sedimentary carbonate rock composed of more than 50% mineral dolomite. Dolomite is characterized by its nearly ideal 1:1 stoichiometric ratio of magnesium to calcium. It is distinct from high-magnesium limestone in that the magnesium and calcium form ordered layers within the individual dolomite mineral grains, rather than being arranged at random, as they are in high-magnesium calcite grains. In natural dolomite, magnesium is typically between 44 and 50 percent of total magnesium plus calcium, indicating some substitution of calcium into the magnesium layers. A small amount of ferrous iron typically substitutes for magnesium, particularly in more ancient dolomites. Carbonate rock tends to be either almost all calcite or almost all dolomite, with intermediate compositions being quite uncommon.


title: Dolomite (rock)

text: Dolomite outcrops are recognized in the field by their softness (mineral dolomite has a Mohs hardness of 4 or less, well below common silicate minerals) and because dolomite bubbles feebly when a drop of dilute hydrochloric acid is dropped on it. This distinguishes dolomite from limestone, which is also soft but reacts vigorously with dilute hydrochloric acid. Dolomite usually weathers to a characteristic dull yellow-brown color due to the presence of ferrous iron. This is released and oxidized as the dolomite weathers. Dolomite is usually granular in appearance, with a texture resembling grains of sugar.


title: Dolomite (rock)

text: Under the microscope, thin sections of dolomite usually show individual grains that are well-shaped rhombs, with considerable pore space. As a result, subsurface dolomite is generally more porous than subsurface limestone and makes up 80% of carbonate rock petroleum reservoirs. This texture contrasts with limestone, which is usually a mixture of grains, micrite (very fine-grained carbonate mud) and sparry cement. The optical properties of calcite and mineral dolomite are difficult to distinguish, but calcite almost never crystallizes as regular rhombs, and calcite is stained by Alizarin Red S while dolomite grains are not. Dolomite rock consisting of well-formed grains with planar surfaces is described as "planar" or "idiotopic" dolomite, while dolomite consisting of poorly-formed grains with irregular surfaces is described as "nonplanar" or "xenotopic" dolomite. The latter likely forms by recrystallization of existing dolomite at elevated temperature (over ).


title: Dolomite (rock)

text: The texture of dolomite often shows that it is secondary, formed by replacement of calcium by magnesium in limestone. The preservation of the original limestone texture can range from almost perfectly preserved to completely destroyed. Under a microscope, dolomite rhombs are sometimes seen to replace oolites or skeletal particles of the original limestone. There is sometimes selective replacement of fossils, with the fossil remaining mostly calcite and the surrounding matrix composed of dolomite grains. Sometimes dolomite rhombs are seen cut across the fossil outline. However, some dolomite shows no textural indications that it was formed by replacement of limestone.


title: Dolomite (rock)

text: Dolomite is widespread in its occurrences, though not as common as limestone. It is typically found in association with limestone or evaporite beds and is often interbedded with limestone. There is no consistent trend in its abundance with age, but most dolomite appears to have formed at high stands of sea level. Little dolomite is found in Cenozoic beds (beds less that 65 million years old), which has been a time of generally low sea levels. Times of high sea level also tend to be times of a greenhouse Earth, and it is possible that greenhouse conditions are the trigger for dolomite formation.


title: Dolomite (rock)

text: Many dolomites show clear textural indications that they are secondary dolomites, formed by replacement of limestone. However, although much research has gone into understanding this process of "dolomitization", the process remains poorly understood. There are also fine-grained dolomites showing no textural indications that they formed by replacement, and it is uncertain whether they formed by replacement of limestone that left no textural traces or are true primary dolomites. This "dolomite problem" was first recognized over two centuries ago but is still not fully resolved.


title: Dolomite (rock)

text: is thermodynamically favorable, with a Gibbs free energy of about -2.2 kcal/mol. In theory, ordinary seawater contains sufficient dissolved magnesium to cause dolomitization. However, because of the very slow rate of diffusion of ions in solid mineral grains at ordinary temperatures, the process can occur only by simultaneous dissolution of calcite and crystallization of dolomite. This in turn requires that large volumes of magnesium-bearing fluids are flushed through the pore space in the dolomitizing limestone. Several processes have been proposed for dolomitization.


title: Dolomite (rock)

text: The hypersaline model (also known as the evaporative reflux model) is based on the observation that dolomite is very commonly found in association with limestone and evaporites, with the limestone often interbedded with the dolomite. According to this model, dolomitization takes place in a closed basin where seawater is subject to high rates of evaporation. This results in precipitation of gypsum and aragonite, raising the magnesium to calcium ratio of the remaining brine. The brine is also dense, so it sinks into the pore space of any underlying limestone ("seepage refluxion"), flushing out the existing pore fluid and causing dolomitization. The Permian Basin of North America has been put forward as an example of an environment in which this process took place. A variant of this model has been proposed for sabkha environments in which brine is sucked up into the dolomitizing limestone by evaporation of capillary fluids, a process called "evaporative pumping".


title: Dolomite (rock)

text: Another model is the mixing-zone or Dorag model, in which meteoric water mixes with seawater already present in the pore space, increasing the chemical activity of magnesium relative to calcium and causing dolomitization. The formation of Pleistocene dolomite reefs in Jamaica has been attributed to this process. However, this model has been heavily criticized, with one 2004 review paper describing it bluntly as "a myth". A 2021 paper argued that the mixing zone serves as domain of intense microbial activity which promotes dolomitization.


title: Dolomite (rock)

text: A third model postulates that normal seawater is the dolomitizing fluid, and the necessary large volumes are flushed through the dolomitizing limestone through tidal pumping. Dolomite formation at Sugarloaf Key may be an example of this process. A similar process might occur during rises in sea level, as large volumes of water move through limestone platform rock.


title: Dolomite (rock)

text: Regardless of the mechanism of dolomitization, the tendency of carbonate rock to be either almost all calcite or almost all dolomite suggests that, once the process is started, it completes rapidly. The process likely occurs at shallow depths of burial, under , where there is an inexhaustible supply of magnesium-rich seawater and the original limestone is more likely to be porous. On the other hand, dolomitization can proceed rapidly at the greater temperatures characterizing deeper burial, if a mechanism exists to flush magnesium-bearing fluids through the beds.


title: Dolomite (rock)

text: Mineral dolomite has a 12% to 13% smaller volume than calcite per alkali cation. Thus dolomitization likely increases porosity and contributes to the sugary texture of dolomite.


title: Dolomite (rock)

text: Dolomite is supersaturated in normal seawater by a factor of greater than ten, but dolomite is not seen to precipitate in the oceans. Likewise, geologists have not been successful at precipitating dolomite from seawater at normal temperatures and pressures in laboratory experiments. This is likely due to a very high activation energy for nucleating crystals of dolomite.


title: Dolomite (rock)

text: The magnesium ion is a relatively small ion, and it acquires a tightly bound hydration shell when dissolved in water. In other words, the magnesium ion is surrounded by a clump of water molecules that are strongly attracted to its positive charge. Calcium is a larger ion and this reduces the strength of binding of its hydration shell, so it is much easier for a calcium ion than a magnesium ion to shed its hydration shell and bind to a growing crystal. It is also more difficult to nucleate a seed crystal of ordered dolomite than disordered high-magnesium calcite. As a result, attempts to precipitate dolomite from seawater precipitate high-magnesium calcite instead. This substance, which has an excess of calcium over magnesium and lacks calcium-magnesium ordering, is sometimes called " protodolomite". Raising the temperature makes it easier for magnesium to shed its hydration shell, and dolomite can be precipitated from seawater at temperatures in excess of . Protodolomite also rapidly converts to dolomite at temperatures of or higher.


title: Dolomite (rock)

text: It is possible that microorganisms are capable of precipitating primary dolomite. This was first demonstrated in samples collected at Lagoa Vermelha, Brazil in association with sulfate-reducing bacteria ("Desulfovibrio"), leading to the hypothesis that sulfate ion inhibits dolomite nucleation. Later laboratory experiments suggest bacteria can precipitate dolomite independently of the sulfate concentration. With time other pathways of interaction between microbial activity and dolomite formation have been added to the discored regarding their role in modulation and generation of polysaccharides, manganese and zinc within the porewater. Meanwhile, a contrary view held by other researchers is that microorganisms precipitate only high-magnesium calcite but leave open the question of whether this can lead to precipitation of dolomite.


title: Dolomite (rock)

text: Dolomitization can sometimes be reversed, and a dolomite bed converted back to limestone. This is indicated by a texture of pseudomorphs of mineral dolomite that have been replaced with calcite. Dedolomitized limestone is typically associated with gypsum or oxidized pyrite, and dedolomitization is thought to occur at very shallow depths through infiltration of surface water with a very high ratio of calcium to magnesium.


title: Dolomite (rock)

text: Dolomite is used for many of the same purposes as limestone, including as construction aggregate; in agriculture to neutralize soil acidity and supply calcium and magnesium; as a source of carbon dioxide; as dimension stone; as a filler in fertilizers and other products; as a flux in metallurgy; and in glass manufacturing. It cannot substitute for limestone in chemical processes that require a high-calcium limestone, such as manufacture of sodium carbonate. Dolomite is used for production of magnesium chemicals, such as Epsom salt, and is used as a magnesium supplement. It is also used in the manufacture of refractory materials.


title: Dolomite (rock)

text: As with limestone caves, natural caves and solution tubes typically form in dolomite rock as a result of the dissolution by weak carbonic acid. Caves can also, less commonly, form through dissolution of rock by sulfuric acid. Calcium carbonate speleothems (secondary deposits) in the forms of stalactites, stalagmites, flowstone etc., can also form in caves within dolomite rock. “Dolomite is a common rock type, but a relatively uncommon mineral in speleothems”.


title: Dolomite (rock)

text: Both the 'Union Internationale de Spéléologie' (UIS) and the American 'National Speleological Society' (NSS), extensively use in their publications, the terms "dolomite" or "dolomite rock" when referring to the natural bedrock containing a high percentage of CaMg(CO) in which natural caves or solution tubes have formed.


title: Dolomite (rock)

text: Both calcium and magnesium go into solution when dolomite rock is dissolved. The speleothem precipitation sequence is: calcite, Mg-calcite, aragonite, huntite and hydromagnesite. Hence, the most common speleothem (secondary deposit) in caves within dolomite rock karst, is calcium carbonate in the most stable polymorph form of calcite. Speleothem types known to have a dolomite constituent include: coatings, crusts, moonmilk, flowstone, coralloids, powder, spar and rafts. Although there are reports of dolomite speleothems known to exist in a number of caves around the world, they are usually in relatively small quantities and form in very fine-grained deposits.


title: Tramp

text: A tramp is a long-term homeless person who travels from place to place as a vagrant, traditionally walking all year round.


title: Tramp

text: Tramp is derived from a Middle English verb meaning to "walk with heavy footsteps" ("cf." modern English "trample") and "to go hiking".


title: Tramp

text: In Britain the term was widely used to refer to vagrants in the early Victorian period. The social reporter Henry Mayhew refers to it in his writings of the 1840s and 1850s. By 1850 the word was well established. In that year Mayhew described "the different kinds of vagrants or tramps" to be found in Britain, along with the "different trampers' houses in London or the country". He distinguished several types of tramps, ranging from young people fleeing from abusive families, through to people who made their living as wandering beggars and prostitutes.


title: Tramp

text: In the United States, the word became frequently used during the American Civil War, to describe the widely shared experience of undertaking long marches, often with heavy packs. Use of the word as a noun is thought to have begun shortly after the war. A few veterans had developed a liking for the "call of the road". Others may have been too traumatised by war time experience to return to settled life.


title: Tramp

text: Wanderers have existed since ancient times. The modern concept of the "tramp" emerges with the expansion of industrial towns in the early nineteenth century, with the consequent increase in migrant labor and pressure on housing. The common lodging house or "doss house" developed to accommodate transients. Urbanisation also led to an increase in forms of highly marginalized casual labor. Mayhew identifies the problem of "tramping" as a particular product of the economic crisis of the 1840s known as the Hungry Forties. John Burnett argues that in earlier periods of economic stability "tramping" involved a wandering existence, moving from job to job which was a cheap way of experiencing adventures beyond the "boredom and bondage of village life".


title: Tramp

text: The number of transient homeless people increased markedly in the U.S. after the industrial recession of the early 1870s. Initially, the term "tramp" had a broad meaning, and was often used to refer to migrant workers who were looking for permanent work and lodgings. Later the term acquired a narrower meaning, to refer only to those who prefer the transient way of life. Writing in 1877 Allan Pinkerton said:


title: Tramp

text: "The tramp has always existed in some form or other, and he will continue on his wanderings until the end of time; but there is no question that he has come into public notice, particularly in America, to a greater extent during the present decade than ever before."


title: Tramp

text: From 1896 to the last issue in 1953, the cover page of the British comic "Illustrated Chips" featured a comic strip of the tramps Weary Willie and Tired Tim, with its readers including a young Charlie Chaplin (who would become famous as the Tramp).


title: Tramp

text: Author Bart Kennedy, a self-described tramp of 1900 America, once said "I listen to the tramp, tramp of my feet, and wonder where I was going, and why I was going." John Sutherland (1989) said that Kennedy "is one of the early advocates of 'tramping', as the source of literary inspiration."


title: Tramp

text: The tramp became a character trope in vaudeville performance in the late 19th century in the United States. Lew Bloom claimed he was "the first stage tramp in the business".