title: Lowkey

text: The first part of his mixtape series "Key to the Game", was released independently in 2003. Within a year and a half he had released a second and third volume. Though the first volume largely used music from other artists, the second was mostly original work in conjunction with numerous artists and producers while the third, which had no skits or short songs like a traditional mixtape would, was mostly his own work.


title: Lowkey

text: While Lowkey was busying himself with European tours in support of Immortal Technique, Canibus, and Dead Prez, he began to make musical contacts and record his debut album. Though stalled by other artistic endeavours, "Dear Listener" was released in October 2008. In December he released the compilation album "Uncensored", with highlights from the entire "Key to the Game" series and "Dear Listener", digitally through iTunes.


title: Lowkey

text: After touring with Immortal Technique the two made a single, "Voices of the Voiceless" which was released in September 2009.


title: Lowkey

text: The second single, "Long Live Palestine" (also known as "Tears to Laughter") was digitally released on 9 March 2009. In December 2009, Lowkey revealed he would release a second part to "Long Live Palestine" featuring Palestinian rap group DAM, Anglo-Palestinian soloist Shadia Mansour, Narcy from Iraq, Iranian artists Hich Kas and Reveal, Syrian-Lebanese performer Eslam Jawaad and African-American Muslim Hasan Salaam. "Long Live Palestine" was packaged in an EP with Part 1 and the instrumental. The single received statements of support from Tony Benn and Benjamin Zephiniah.


title: Lowkey

text: "Soundtrack to the Struggle" was released on 16 October 2011. The album entered the UK Albums Chart on 23 October at number 57, becoming Lowkey's first entry on the national charts. "Soundtrack to the Struggle" peaked at number 14 on the UK Download Chart. On the UK R&B Chart, the album received its highest "OCC" position, number 6. In the UK Indie Chart, the album peaked at number 9.


title: Lowkey

text: On 17 April 2012, Lowkey put his musical career on hiatus, announcing the news on Facebook. He said that after months of contemplation, he had decided to "step away from music and concentrate on my studies". With this, he announced that he would deactivate his Facebook page, which had over 180,000 followers.


title: Lowkey

text: On 26 July 2016, various sources shared an image on social media relating to Lowkey's return to the music scene with new single "Ahmed". On 29 July 2016, Lowkey released a video for the single, the subject matter of which revolves around the refugee crisis and Europe's response. In addition, a seven-day tour across the UK in September 2016 was announced. On 3 September, his next single "Children of Diaspora" was released. The track addresses issues of racism and xenophobia, and mentions victims of police brutality in the UK and USA.


title: Lowkey

text: In August 2018, Lowkey announced via social media that he would be releasing his single "Ahmed", which features Mai Khalil, on platforms such as Spotify and iTunes on 2 September 2018, stating that this would be his first commercial release since 2011. He also confirmed that he was in the process of making a second album, titled "Soundtrack to the Struggle 2".


title: Lowkey

text: "Soundtrack to the Struggle 2" was released on 5 April 2019, with UK tour dates scheduled to start less than a week later.


title: Lowkey

text: Lowkey joined a hip-hop group called Poisonous Poets with which was formed by rapper Reveal and released one self-titled mixtape in 2005. Poisonous Poets (sometimes known as Double P) the group also consisted of Doc Brown whom Lowkey met at Real Deal records, eveal, Stylah, Tony D and Therapist.


title: Lowkey

text: Lowkey's manager passed on the first two parts of "Key to the Game" to Jon McClure, frontman of Reverend and The Makers who is also an outspoken political activist. Wanting to mix popular music with politics, and mix indie rock with hip-hop, the two formed a supergroup, Mongrel, with Arctic Monkeys drummer Matt Helders and ex-bassist Andy Nicholson, Babyshambles bassist Drew McConnell and a revolving set of other musicians. The album, "Better Than Heavy", was released for free with "The Independent" on 7 March. The band were asked to perform live in Venezuela on the invitation of President Hugo Chavez. Lowkey visited Caracas during the first summit of CELAC, championing Chavez as "a leader who is striving to build an independent alternative to the neo-liberal capitalism which has disenfranchised his people for decades."


title: Lowkey

text: Lowkey is a vocal opponent of Zionism and is a patron of the Palestine Solidarity Campaign. He characterises Zionism as colonialism and ethnic cleansing.


title: Lowkey

text: In February 2009, he travelled to Palestinian refugee camps around the West Bank area to perform fundraising shows to help rebuild the Gaza Strip but was detained by the Israel Police for nine hours at Ben Gurion International Airport and interrogated, while having his passport confiscated. Later in 2009, he travelled with M-1 of Dead Prez to carry out a humanitarian aid mission and bring medical aid to the Palestinian people in the Gaza Strip; this led to a collaboration between the two on "Soundtrack to the Struggle". He was detained for a second time in July 2010, en route to a number of concerts and musical workshops in refugee camps in the West Bank. After detaining him for twelve hours, an online petition was started and he was later released.


title: Lowkey

text: In January 2011, Marcus Dysch writing for "The Jewish Chronicle" about the involvement of Lowkey in the Palestine Solidarity Campaign commented: "One expert studying anti-Israel activity described the increasing influence of performers such as Lowkey as a 'potential nightmare,' and compared the impact of his backing for the campaign to the effect of artists such as Annie Lennox and Elvis Costello "attacking the Jewish state."


title: Lowkey

text: Lowkey has been a prominent member of the Stop the War Coalition and has spoken against the 2003 invasion of Iraq. Furthermore, he has been a sharp critic of United States and British foreign policy, claiming that the two countries are only interested in supporting leaders who are under their influence or are willing to assist them. He also claims American media overlooks those within the country who do not believe in American military supremacy. In 2012, Lowkey turned down an opportunity to appear on Tim Westwood TV in protest, after Westwood chose to broadcast his show from the British military base Camp Bastion in Afghanistan.


title: Lowkey

text: In May 2017, Lowkey endorsed Labour Party leader Jeremy Corbyn in the 2017 UK general election. He said: "We have a choice between policies which foster empathy and policies which foster greed, resentment, estrangement and alienation." In November 2019, along with other public figures, Lowkey signed a letter supporting Corbyn describing him as "a beacon of hope in the struggle against emergent far-right nationalism, xenophobia and racism in much of the democratic world" and endorsed him in the 2019 UK general election. In the same month, along with 34 other musicians, he signed a letter endorsing Corbyn in the 2019 UK general election with a call to end austerity. In December 2019, along with 42 other cultural figures, he signed a letter endorsing the Labour Party under Corbyn's leadership in the 2019 general election. The letter stated that "Labour's election manifesto under Jeremy Corbyn's leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few."


title: Lowkey

text: Lowkey was critical of the response to the Grenfell Tower fire in 2017 stating that "the tragic event was a result of the injustice and criminality at the heart of Britain’s current political system" .


title: Lowkey

text: In July 2008, the Theatre Royal, Bath put on a production of "Max and Beth", a contemporary adaptation of "Macbeth" by William Shakespeare written entirely in rhyme. Lowkey also helped publicise the NSPCC's Don't Hide It campaign, and contributed a free song to it, in which his lyrics are delivered from the perspective of a female victim of sexual abuse. He also formed a non-profit organisation, People's Army with fellow rapper Logic, with whom he has also made an unreleased album with (New World Order), and met up with then-Liberal Democrats leader Menzies Campbell as a representative of his local community. He has written articles for "The Guardian" and left-wing website "Ceasefire Magazine"


title: Full Moon Party

text: The Full Moon Party (Thai: ฟูลมูนปาร์ตี้) is an all-night beach party that originated in Hat Rin on the island of Ko Pha-ngan, Thailand in 1985. The party takes place on the night of, before, or after every full moon.


title: Full Moon Party

text: The first Full Moon Party is said to have been improvised at a Paradise Bungalows on the beach in 1983 as a token of thanks to about 20–30 travelers, though the accuracy of this is disputed, as is the date of the original event. The parties gained fame through word of mouth, and the event now draws a crowd of about 5,000–30,000 every full moon evening. The party carries on until the sun rises the next day. The bars on Sunrise Beach of Hat Rin stay open and play music such as psychedelic trance, R&B, drum and bass, house, dance, and reggae. The modern event has become a part of the itinerary of many travelers to Southeast Asia.


title: Full Moon Party

text: The success of the Full Moon Party prompted the creation of "Half Moon", "Black (New) Moon", Oxa Beach, and other parties. The ruling military government in late 2014 banned all but the Full Moon Party, but the edict may not have been observed by local authorities given that, as of 5 April 2015, all parties except the Full Moon Party were again banned on Ko Pha-ngan. This was done to stop the noise pollution which has become a constant source of irritation for the islanders. The ban was ordered by Pha-ngan district chief officer Krirkkrai Songthani after a meeting with local leaders on 3 April to discuss complaints from many residents about the various parties which are held up to 25 times a month at one coconut plantation or another on the island. However, these bans are only ever short-lived, and lapse once they have served their unstated purpose, allowing the re-proliferation of parties. Given the junta's stated goal of attracting higher-class (wealthier) tourists, it is unclear how much longer the Full Moon Party will be permitted to continue. Already, the Tourist Authority of Thailand (TAT) webpage for Ko Pha-ngan barely makes mention of the Full Moon Party. A police colonel summed up the attitude of the new government when he said, "The sort of tourist that comes here to drink too much and take drugs are not the type that Thailand wants."


title: Full Moon Party

text: In 2020, the event was cancelled due to the COVID-19 pandemic. Parties resumed on 16 April 2022 with the easing of restrictions by the government.


title: Full Moon Party

text: The Full Moon Party takes place every month throughout the year. Its attractions include fire skipping ropes, alcohol "buckets", and drugs. There is a very wide spectrum of music ranging from trance, to drum and bass, to reggae. The party takes place in many clubs along the Hat Rin beach. The Full Moon Party in October 2017, and all other parties and music activities on Koh Pha-ngan, was canceled in respect for the cremation ceremony for the late king Bhumibol Adulyadej, October 25 to 29.


title: Full Moon Party

text: Although drugs are consumed by many partygoers, drug laws are strict and police enforcement is stepped up during the parties. There are undercover police on patrol and even the drug dealers themselves may report drug users to police. In recent years, there has been an increasing number of assaults and robberies at the party and in bars in the surrounding area, leading the British government to officially warn tourists to exercise caution at Full Moon Parties. Break-ins at hotel bungalows while partygoers are away from their rooms sometimes occur as well.


title: Full Moon Party

text: The Full Moon Party has been featured in films such as "The Beach", "Last Stop for Paul", and the Thai film "Hormones". It was also featured in the first episode of the Comedy Central TV show "Gerhard Reinke's Wanderlust". In 2011, the island's parties featured on "Tourism and the Truth: Stacey Dooley Investigates", a documentary investigating the negative impacts of tourism on local people and the economy. It was featured in episode 4 of E4's comedy-drama series "Gap Year".


title: Mulligan (games)

text: A mulligan is a second chance to perform an action, usually after the first chance went wrong through bad luck or a blunder. Its best-known use is in golf, whereby it refers to a player being allowed, only informally, to replay a stroke, although that is against the formal rules of golf. The term has also been applied to other sports, games, and fields generally. The origin of the term is unclear.


title: Mulligan (games)

text: The earliest known use of the term is in a 1931 issue of the "Detroit Free Press", somewhat predating the earliest citation in the "Oxford English Dictionary" from 1936. The most common explanation of the term's origin is that it was named after a golfer with the surname "Mulligan", the main candidates being either David Mulligan or John A. "Buddy" Mulligan; however, no connection with these figures is recorded until several decades after the term entered common use. In 2017, Peter Reitan suggested that the term first arose in baseball sports writing and was associated with a fictional baseball player "Swat Mulligan".


title: Mulligan (games)

text: The United States Golf Association (USGA) cites three stories espousing that the term derived from the name of a Canadian golfer, David B. Mulligan (1869–1954). At one time, he was the manager of the Waldorf Astoria Hotel in New York City. He played at the Country Club of Montreal golf course, in Saint-Lambert near Montreal during the 1920s. There are three variations in reports indicating his being the Mulligan associated with the term. One version has it that one day after hitting a poor tee shot, Mulligan immediately re-teed and shot again. He called it a "correction shot", but his companions thought it more fitting to name the unorthodox practice after him, and that David Mulligan then brought the concept from Canada to Winged Foot, a golf club in the U.S. A second version has the extra shot allowed for Mulligan due to his being jumpy and shaky after a difficult drive over the Victoria Bridge to the course. The final version of the David Mulligan story gives him an extra shot after having overslept and having rushed to get ready to make the tee time.


title: Mulligan (games)

text: An alternative, later story credits a different man named Mulligan – John A. "Buddy" Mulligan, a locker room attendant at Essex Fells Country Club in New Jersey. In the 1930s, he would finish cleaning the locker room and, if no other members appeared, play a round with the assistant pro, Dave O'Connell, and a club member, Des Sullivan, who was a reporter and later, golf editor for the "Newark Evening News". One day his first shot was bad and he beseeched O'Connell and Sullivan to allow another shot since they "had been practicing all morning" and he had not. Once they agreed and the round finished, Mulligan began to exclaim proudly for months to the members in his locker room, how he had gotten an extra shot from the duo. The members loved the device and soon began giving themselves "Mulligans" in his honor. Sullivan began using the term in his golf articles in the "Newark Evening News". A television program, the "Today Show", ran this story around 2005 and have it in their archives. Mulligan was located in the 1970s at the Lyons, New Jersey veterans administration hospital, helping with their golf facility. In his July 22, 1970, column in the "Myrtle Beach Sun News", the semi-retired Des Sullivan wrote of finding Mulligan and the history behind the term.


title: Mulligan (games)

text: In a 2017 blog post, Peter Reitan cast doubt on the eponymous "mulligan" etymology theories, pointing out that they conflicted with the (then-recent) 1931 antedating in the dictionary. He suggested that the term originated instead with "Swat Mulligan", a fictional baseball player with extraordinary batting skills who appeared in the "New York Evening World" during the 1910s. Reitan presents quotations from the 1920s in which Mulligan's name is used as a byword for powerful hits, including use of the phrase "take a "mulligan"" to mean taking a powerful swing at the ball. Reitan suggests that the term then arrived at its current meaning by semantic drift. The 1931 "Detroit Free Press" citation has been suggested to represent a transitional form, in that the usage involves both a do-over and a powerful shot:


title: Mulligan (games)

text: All were waiting to see what Byrd would do on the 290-yard 18th, with a creek in front of the well-elevated green. His first drive barely missed carrying the creek and he was given a “mulligan” just for fun. The second not only was over the creek on the fly, but was within a few inches of the elevated green. That’s some poke!


title: Mulligan (games)

text: In golf, a mulligan is a stroke that is replayed from the spot of the previous stroke without penalty, due to an errant shot made on the previous stroke. The result is that the hole is played and scored as if the first errant shot had never been made. This practice is disallowed entirely by strict rules in formal play and players who attempt it or agree to let it happen may be disqualified from sanctioned competitions. However, in casual play, "mulligans" speed play by reducing the time spent searching for a lost ball, reduce frustration, and increase enjoyment of the game because a player can "shake off" a bad shot more easily with their second chance.


title: Mulligan (games)

text: A "gilligan", the opposite of a "mulligan", is to redo a successful stroke when so requested by an opponent.


title: Mulligan (games)

text: As mulligans are not covered by strict rules – except to prohibit them – there are many variations of the practice among groups of players who do allow them in friendly games. If a mulligan is allowed to be used to replay any shot, typically each player is limited to 18 per round, sometimes 9 in the first 9 holes and 9 in the second nine. Traditionally, mulligans can only be played on tee shots (which are notoriously difficult to make accurately), and sometimes they may only be played on the first tee shot of the round (known as a "breakfast ball"). In the case of a mulligan used to replay the first tee shot, multiple "mulligans" may be allowed under different names (Finnegan, Branagan, Flanagan, or Craig) until the player has hit a playable tee shot.


title: Mulligan (games)

text: Although certain players may wish to bank their shots, this is deemed unsportsmanlike and is generally frowned upon. Golf tournaments held for charity may charge for mulligans to collect more money for the charity.


title: Mulligan (games)

text: In "Titan", the rules of the 1982 version allow a "First move mulligan" for an unfortunate dice roll.


title: Mulligan (games)

text: In collectible card games, a mulligan refers to the process of adjusting which cards are in a player's initial hand of cards. Card games have various official rules for how mulligans are performed.


title: Mulligan (games)

text: In "", a player may declare a mulligan after drawing their initial hand at the beginning of each game. If a player chooses to do so, that player shuffles their current hand back into their deck, draws a new hand of seven cards, then puts one card on the bottom of their library for each time they've mulliganed this game. The player may repeat this until satisfied, or until the number of cards in their hand reaches zero. The mulligan process has changed drastically over the history of the game. The current style is known as the "London mulligan", as it was first used at a Mythic Championship tournament held in London.


title: Mulligan (games)

text: "Hearthstone" allows players to mulligan at the start of the game by placing any number of cards in their opening hand back into their deck, each to be replaced with a random different card. Mulliganing one's entire hand in hopes of getting a specific card is referred to as a "hard mulligan".


title: Mulligan (games)

text: In the "Pokémon Trading Card Game" each player needs at least one "Basic" card in their opening hand to start the game. If there is no Basic card in hand, the player must show their hand to their opponent, then reshuffle their deck and draw a new hand. If both opponents must mulligan, they each draw to seven cards. If only one player must mulligan, their opponent may draw up to two additional cards. Mulligans are repeated until each player has at least one Basic card in hand.


title: Mulligan (games)

text: In "Dragon Ball Super Card Game", the player is given one opportunity to mulligan. They may return any number of cards into their deck and shuffle it, then draw the same number of cards.


title: Mulligan (games)

text: "" bypasses mulligan rules common to other card games, and instead has a "First Five" rule, allowing players to pick the specific five cards which will comprise their opening hand.


title: Mulligan (games)

text: In "KeyForge", a player who is dissatisfied with their starting hand may discard it and draw a new hand with one fewer card.


title: Mulligan (games)

text: In "Legends of Runeterra", a player who is dissatisfied with their hand may shuffle any number of cards back into their deck, and draw the same number of cards.


title: Mulligan (games)

text: In "", players can mulligan up to two cards at the start of each round, replacing it with a random card from their deck. The player who goes first in Round 1 gets an additional mulligan. Also, as players draw three cards at the beginning of a round, but cannot have more than ten cards in hand, each drawn card that would increase their hand size over ten becomes a bonus mulligan instead.


title: Mulligan (games)

text: In "knock-out whist" an eliminated player may ask for a "dog's chance" in the next round. That player is then dealt a single card (regardless of how may cards would normally be in that hand). If the player succeeds in winning a trick with that card, they stay in for the next round, otherwise they are eliminated again.


title: Mulligan (games)

text: In politics, the term "mulligan race" or "mulligan candidate" is used to describe a losing or disqualified candidate in a party primary or nomination, who, nevertheless, runs in the general election on another ballot line, either as an independent or as the nominee for a third party. In the 2006 Connecticut U.S. Senate race, many Ned Lamont supporters accused Senator Joseph Lieberman of running a mulligan race as an independent, since he had lost the Democratic Party primary. Several U.S. states have so-called "sore-loser laws" specifically designed to prevent such failed candidates from appearing on the ballot in the general election in such a manner.


title: Mulligan (games)

text: As a general rule, in liberal democracies outside the United States there are few (if any) laws that would prevent failed or disqualified nomination candidates from contesting the general election, although mounting such a challenge often results in expulsion or permanent ostracization from the candidate's former party. In jurisdictions using the Westminster system or single-member districts, mulligan candidates are a fairly common occurrence, especially in cases where the mulligan candidate alleges a nomination contest was lost due to unfair electoral practices or was disqualified by a former party without reasonable cause.


title: Mulligan (games)

text: Related terms include "mulligan leader" and "mulligan party", the latter of which is used to describe a party founded or taken over by a failed leadership candidate (or deposed former leader) from another party. A recent example of such a party is the People's Party of Canada, founded by failed Conservative Party of Canada leadership candidate, Maxime Bernier, while a notable historical party from the same country was the provincial Newfoundland Reform Liberal Party, founded and led by former Newfoundland and Labrador Premier Joey Smallwood. Although such parties rarely become serious contenders to form a government in general elections, if popular enough, they can cause vote splitting that especially in first past the post voting systems, may severely damage the electoral prospects of the mulligan leader's former party.


title: Mulligan (games)

text: In the 2008 American Democratic primary elections, the term mulligan was used to describe a proposed redo of elections in Michigan and Florida, after their results were declared invalid due to the early scheduling of the contests, against Democratic party rules.


title: Mulligan (games)

text: The term also is coming into use to describe situations (that are becoming increasingly common in the age of social media) where a political party's candidate or delegate is suddenly replaced by the party leadership on the eve of an election or convention, usually either because the person's loyalty to the party or its leaders have come into question or because unsavory details regarding his past or character surface that warrant drastic measures to mitigate damage to the reputation or electoral prospects of the party or its leadership. Electoral rules and laws mostly drafted prior to the advent of social media, often severely restrict or prohibit the replacement of candidates after the nomination period has closed, which might be weeks or even months prior to the final vote. Proposals to relax such rules to allow parties to deal with to the increased likelihood of a candidate's dodgy past coming to light at an inopportune moment have been mocked as "mulligan rules" by critics.


title: Mulligan (games)

text: In finance, the term is used to refer to provisions in syndicated loan documentation where lenders only get the right to accelerate their loans after two financial covenants are breached. This practice is rare today, but was popular with sponsors at the height of the credit boom in 2006-07, allowing them to postpone the date at which they needed to start negotiating a restructuring with lenders. The loan "mulligan" is to be contrasted with a "deemed cure" clause that would allow a covenant breach to be disregarded in the event the next covenant tests were met. In addition, it typically remains possible with loans carrying financial covenants for a borrower to "cure" covenant breaches after the event by injecting new cash equity.


title: Southern Man (song)

text: "Southern Man" is a song by Neil Young from his album "After the Gold Rush". The album was released in 1970. An extended live version can be heard on the Crosby Stills Nash & Young album "4 Way Street".


title: Southern Man (song)

text: The lyrics of "Southern Man" are vivid, describing the racism towards blacks in the American South. In the song, Young tells the story of a white man (symbolically the entire white South) and how he mistreated his slaves. Young pleadingly asks when the South will make amends for the fortunes built through slavery when he sings:


title: Southern Man (song)

text: Young was very sensitive about the song's message of anti-racism and anti-violence. During his 1973 tour, he canceled a show in Oakland, California because a fan was beaten and removed from the stage by a guard while the song was played.


title: Southern Man (song)

text: Southern rock band Lynyrd Skynyrd wrote their song "Sweet Home Alabama" in response to "Southern Man" and "Alabama" from Young's 1972 album "Harvest". Young has said that he is a fan of both "Sweet Home Alabama" and Ronnie Van Zant, the lead vocalist for Lynyrd Skynyrd. "They play like they mean it," Young said in 1976. "I'm proud to have my name in a song like theirs." Young has also been known to play "Sweet Home Alabama" in concert occasionally. To demonstrate this camaraderie, Van Zant frequently wore a Neil Young "Tonight's the Night" T-shirt while performing "Sweet Home Alabama". Crazy Horse bassist Billy Talbot can often be seen reciprocating by wearing a Jack Daniel's-styled Lynyrd Skynyrd T-shirt (including at the "Live Rust" concert).


title: Southern Man (song)

text: In his book "", Young stated that Lynyrd Skynyrd wrote "Sweet Home Alabama" not in response to "Southern Man", but rather to Young's song "Alabama". Young noted that Lynyrd Skynyrd's implied criticism was deserved because Young's lyrics on "Alabama" were condescending and accusatory.


title: Texas sharpshooter fallacy

text: The Texas sharpshooter fallacy is an informal fallacy which is committed when differences in data are ignored, but similarities are overemphasized. From this reasoning, a false conclusion is inferred. This fallacy is the philosophical or rhetorical application of the multiple comparisons problem (in statistics) and apophenia (in cognitive psychology). It is related to the clustering illusion, which is the tendency in human cognition to interpret patterns where none actually exist.


title: Texas sharpshooter fallacy

text: The name comes from a joke about a Texan who fires some gunshots at the side of a barn, then paints a shooting target centered on the tightest cluster of hits and claims to be a sharpshooter.


title: Texas sharpshooter fallacy

text: The Texas sharpshooter fallacy often arises when a person has a large amount of data at their disposal but only focuses on a small subset of that data. Some factor other than the one attributed may give all the elements in that subset some kind of common property (or pair of common properties, when arguing for correlation). If the person attempts to account for the likelihood of finding "some" subset in the large data with "some" common property by a factor other than its actual cause, then that person is likely committing a Texas sharpshooter fallacy.


title: Texas sharpshooter fallacy

text: The fallacy is characterized by a lack of a specific hypothesis prior to the gathering of data, or the formulation of a hypothesis only after data have already been gathered and examined. Thus, it typically does not apply if one had an "ex ante", or prior, expectation of the particular relationship in question before examining the data. For example, one might, prior to examining the information, have in mind a specific physical mechanism implying the particular relationship. One could then use the information to give support or cast doubt on the presence of that mechanism. Alternatively, if additional information can be generated using the same process as the original information, one can use the original information to construct a hypothesis, and then test the hypothesis on the new data. (See hypothesis testing.) What one "cannot" do is use "the same" information to construct "and" test the same hypothesis (see hypotheses suggested by the data)—to do so would be to commit the Texas sharpshooter fallacy.


title: Texas sharpshooter fallacy

text: A Swedish study in 1992 tried to determine whether power lines caused some kind of poor health effects. The researchers surveyed people living within 300 meters of high-voltage power lines 25-years and looked for statistically significant increases in rates of over 800 ailments. The study found that the incidence of childhood leukemia was four times higher among those who lived closest to the power lines, and it spurred calls to action by the Swedish government. The problem with the conclusion, however, was that the number of potential ailments, i.e., over 800, was so large that it created a high probability that at least one ailment would exhibit the appearance of a statistically significant difference by chance alone, a situation known as the multiple comparisons problem. Subsequent studies failed to show any association between power lines and childhood leukemia.


title: Texas sharpshooter fallacy

text: The fallacy is often found in modern-day interpretations of the quatrains of Nostradamus. Nostradamus's quatrains are often liberally translated from the original (archaic) French, stripped of their historical context, and then applied to support the conclusion that Nostradamus predicted a given modern-day event after the event actually occurred.


title: Rockwell-MBB X-31

text: The Rockwell-Messerschmitt-Bölkow-Blohm X-31 was an experimental jet fighter designed to test fighter thrust vectoring technology.


title: Rockwell-MBB X-31

text: It was designed and built by Rockwell and Messerschmitt-Bölkow-Blohm (MBB), as part of a joint US and German "Enhanced Fighter Maneuverability" program to provide additional control authority in pitch and yaw, for significantly more maneuverability than most conventional fighters. An advanced flight control system provided controlled flight at high angles of attack where conventional aircraft would stall or lose control. Two aircraft were built, of which only one has survived.


title: Rockwell-MBB X-31

text: The X-31 design was essentially an all-new airframe design, although it borrowed heavily on design elements and sometimes actual parts of previous production, prototype, and conceptual aircraft designs, including the British Aerospace Experimental Airplane Programme (choice of wing type with canards, plus underfuselage intake), the German TKF-90 (wing planform concepts and underfuselage intake), F/A-18 Hornet (forebody, including cockpit, ejection seat, and canopy; electrical generators), F-16 Fighting Falcon (landing gear, fuel pump, rudder pedals, nosewheel tires, and emergency power unit), F-16XL (leading-edge flap drives), V-22 Osprey (control surface actuators), Cessna Citation (main landing gear's wheels and brakes), F-20 Tigershark (hydrazine emergency air-start system, later replaced) and B-1 Lancer (spindles from its control vanes used for the canards). This was done on purpose, so that development time and risk would be reduced by using flight-qualified components. To reduce the cost of tooling for a production run of only two aircraft, Rockwell developed the "fly-away tooling" concept (perhaps the most successful spinoff of the program), whereby 15 fuselage frames were manufactured via CNC, tied together with a holding fixture, and attached to the factory floor with survey equipment. That assembly then became the tooling for the plane, which was built around it, thus "flying away" with its own tooling.


title: Rockwell-MBB X-31

text: Two X-31s were built, with the first flying on October 11, 1990. Over 500 test flights were carried out between 1990 and 1995. The X-31 is a canard delta, a delta wing aircraft which uses canard foreplanes for primary pitch control, with secondary thrust-vectoring control. The canard delta had earlier been used on the Saab Viggen strike fighter, and has since become common on fighters such as the Eurofighter Typhoon, Dassault Rafale and Gripen which were all designed and flew several years before the X-31. The X-31 featured a cranked-delta wing (similar to the Saab 35 Draken and the F-16XL prototype), and fixed strakes along the aft fuselage, as well as a pair of movable computer-controlled canards to increase stability and maneuverability. There are no moveable horizontal tail surfaces, only the vertical fin with rudder. Pitch and roll are controlled by the canard with the aid of the three paddles directing the exhaust (thrust vectoring). Eventually, simulations and flight tests on one of the X-31s showed that flight would be stable without the vertical fin, because the thrust-vectoring nozzle provided sufficient yaw and pitch control.


title: Rockwell-MBB X-31

text: During flight testing, the X-31 aircraft established several milestones. On November 6, 1992, the X-31 achieved controlled flight at a 70° angle of attack. On April 29, 1993, the second X-31 successfully executed a rapid minimum-radius, 180° turn using a post-stall maneuver, flying well outside the range of angle of attack normal for conventional aircraft. This maneuver has been called the "Herbst maneuver" after Dr. Wolfgang Herbst, an MBB employee and proponent of using post-stall flight in air-to-air combat. Herbst was the designer of the Rockwell SNAKE, which formed the basis for the X-31.


title: Rockwell-MBB X-31

text: In the mid-1990s, the program began to revitalize and so the US and Germany signed a Memorandum of Understanding in April 1999 to start collaboration on the $53 million VECTOR program to capitalize on this previous investment. VECTOR is a joint venture that includes the US Navy, Germany's defense procurement agency BWB, Boeing's Phantom Works, and DASA; it was initially expected to involve Sweden, which pulled out due to fiscal constraints. As the site for the flight testing, Naval Air Station Patuxent River in Maryland was chosen. From 2002 to 2003, the X-31 flew extremely short takeoff and landing approaches first on a virtual runway at in the sky, to ensure that the Inertial Navigation System/Global Positioning System accurately guides the aircraft with the centimeter accuracy required for on the ground landings. The program then culminated in the first ever autonomous landing of a manned aircraft with high angle of attack (24 degree) and short landing. The technologies involved a differential GPS System based on pseudolite technology from Integrinautics and a miniaturized flush air data system from Nordmicro.


title: Archaic Greek alphabets

text: Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi () was used only in a sub-group of Greek alphabets, and with the common addition of Upsilon () for the vowel . The local, so-called "epichoric", alphabets differed in many ways: in the use of the consonant symbols , and ; in the use of the innovative long vowel letters ( and ), in the absence or presence of Η in its original consonant function (); in the use or non-use of certain archaic letters ( = , = , = ); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.


title: Archaic Greek alphabets

text: A basic division into four major types of epichoric alphabets is commonly made according to their different treatment of additional consonant letters for the aspirated consonants () and consonant clusters () of Greek. These four types are often conventionally labelled as "green", "red", "light blue" and "dark blue" types, based on a colour-coded map in a seminal 19th-century work on the topic, "" by Adolf Kirchhoff (1867). The "green" (or southern) type is the most archaic and closest to the Phoenician. The "red" (or western) type is the one that was later transmitted to the West and became the ancestor of the Latin alphabet, and bears some crucial features characteristic of that later development. The "blue" (or eastern) type is the one from which the later standard Greek alphabet emerged.


title: Archaic Greek alphabets

text: The "green" (southern) type uses no additional letters beyond the Phoenician set, and typically also goes without (). Thus, the aspirated plosives , are spelled either simply as and respectively, without a distinction from unaspirated , , or as digraphs , . (However, for the analogous there is already a dedicated letter, , taken from Phoenician.) Likewise, the clusters , are simply spelled , . This is the system found in Crete and in some other islands in the southern Aegean, notably Thera (Santorini), Melos and Anaphe.


title: Archaic Greek alphabets

text: The "red" (western) type also lacks Phoenician-derived for , but instead introduces a supplementary sign for that sound combination at the end of the alphabet, . In addition, the red alphabet also introduced letters for the aspirates, = and = . Note that the use of in the "red" set corresponds to the letter "X" in Latin, while it differs from the later standard Greek alphabet, where stands for , and stands for . Only for is common to all non-green alphabets. The red type is found in most parts of central mainland Greece (Thessaly, Boeotia and most of the Peloponnese), as well as the island of Euboea, and in colonies associated with these places, including most colonies in Italy.


title: Archaic Greek alphabets

text: The "light blue" type still lacks (), and adds only letters for () and (). Both of these correspond to the modern standard alphabet. The light blue system thus still has no separate letters for the clusters , . In this system, these are typically spelled and , respectively. This is the system found in Athens (before 403 BC) and several Aegean islands.


title: Archaic Greek alphabets

text: The "dark blue" type, finally, is the one that has all the consonant symbols of the modern standard alphabet: in addition to and (shared with the light blue type), it also adds (at the end of the alphabet), and (in the alphabetic position of Phoenician Samekh). This system is found in the cities of the Ionian dodecapolis, Knidos in Asia Minor, and in Corinth and Argos on the northeastern Peloponnese.


title: Archaic Greek alphabets

text: The letter eta (, , originally called "hēta") had two different functions, both derived from the name of its Phoenician model, "hēth": the majority of Greek dialects continued to use it for the consonant , similar to its Phoenician value (). However, the consonant was progressively lost from the spoken language (a process known as psilosis), and in those dialects where this had already happened early on in the archaic period, was instead used to denote the long vowel , which occurred next in its name and was thus, in the -less dialects, its natural acrophonic value. Early psilotic dialects include eastern Ionic Greek, the Aeolic Greek of Lesbos, as well as the Doric Greek of Crete and Elis.


title: Archaic Greek alphabets

text: The distribution of vocalic and differs further between dialects, because the Greek language had a system of three distinct "e"-like phonemes: the long open-mid (classical spelling ), the long close-mid (later merged with the diphthong , classical spelling ), and the short vowel (classical spelling ). In the psilotic dialects of Anatolia and adjacent eastern Aegean islands, as well as Crete, vocalic was used only for . In a number of Aegean islands, notably Rhodes, Milos, Santorini and Paros, it was used both for and for without distinction. In Knidos, a variant letter was invented to distinguish the two functions: was used for , and for . In south Italian colonies, especially Taranto, after c. 400 BC, a similar distinction was made between for , and for . This latter symbol was later turned into the diacritic sign for rough breathing by the Alexandrine grammarians.


title: Archaic Greek alphabets

text: In Naxos the system was slightly different: here, too, the same letter was used for and for a long vowel, but only in those cases where a long e-like sound had arisen through raising from older , not – as other users of vocalic eta did – also for the older inherited from proto-Greek. This probably means that while in the dialects of other eta users the old and new long "e" had already merged in a single phoneme, the raising sound in Naxos was still distinct both from and , hence probably an -like sound.


title: Archaic Greek alphabets

text: Yet another distinction was found in a group of cities in the north-east of the Peloponnese, most notably Corinth: here, it was not the open-mid that was distinguished among the three "e"-sounds, but the closed-mid . The normal letter epsilon () was used exclusively for the latter, while a new special symbol (or, in Sicyon, ) stood both for short and for . Yet another variation of the system is found in neighbouring Tiryns: it uses the letter forms of the Corinthian system, versus E, but with the functional values of the classic eta versus epsilon system.


title: Archaic Greek alphabets

text: The letter Digamma () for the sound /w/ was generally used only in those local scripts where the sound was still in use in the spoken dialect. During the archaic period, this includes most of mainland Greece (except Attica), as well as Euboea and Crete. In Athens and in Naxos it was apparently used only in the register of poetry. Elsewhere, i.e. in most of the Aegean islands and the East, the sound /w/ was already absent from the language.


title: Archaic Greek alphabets

text: The shape of the letter varies locally and over time. The most common early form is . Over time it developed in analogy with Epsilon (which changed from to "E"), becoming either the classical "F" or . Early Crete had an archaic form (which resembled its original model, the Y-shaped Phoenician waw ), or a variant with the stem bent sideways ().


title: Archaic Greek alphabets

text: Some local scripts used the M-shaped letter San instead of standard Sigma to denote the sound /s/. It is unclear whether the distinction between the two letters originally corresponded to different phonetic realizations of the /s/ phoneme in different dialects. Epigrapher Lilian Hamilton Jeffery (1915–1986) conjectured that San originally stood for a voiced [z] sound, and that those Doric dialects that kept San instead of Sigma may have had such a pronunciation of /s/. Roger Woodard, professor of classics at the University at Buffalo, hypothesizes that San may originally have stood for [ts]. In any case, each dialect tended to use either San or Sigma to the exclusion of the other, and while the earliest abecedaria listed both letter shapes separately in their separate alphabetic positions, later specimens from the sixth century onwards tend to list only one of them. San was used in Argos until the end of the 6th century, in Sicyon until c. 500, in Corinth until the first half of the 5th century, and in Crete for some time longer. Sicyon kept the sign as a local emblem on its coins.


title: Archaic Greek alphabets

text: The archaic letter Koppa or Qoppa (), used for the back allophone of /k/ before back vowels [o, u], was originally common to most epichoric alphabets. It began to drop out of use from the middle of the 6th century BC. Some of the Doric regions, notably Corinth, Argos, Crete and Rhodes, kept it until the 5th century BC.


title: Archaic Greek alphabets

text: The new letter Omega () to denote the long half-open sound was invented first in the East, in the Ionian cities of Asia Minor, at some time before 600 BC. It was created by breaking up the closed circle of the Omicron (), initially near the side. The letter was subsequently turned upright and the edges curled outwards (, , , ).


title: Archaic Greek alphabets

text: The Dorian city of Knidos as well as a few Aegean islands, namely Paros, Thasos and Melos, chose the exact opposite innovation, using a broken-up circle for the short and a closed circle for the long .


title: Archaic Greek alphabets

text: Some Ionian cities used a special letter , alphabetically ordered behind , for a sibilant sound in positions where other dialects had either or (e.g. 'four', cf. normal spelling Ionic vs. Attic ). This symbol later dropped out of alphabetic use, but survived in the form of the numeral symbol sampi (modern ). As an alphabetic character, it has been attested in the cities of Miletus, Ephesos, Halikarnassos, Erythrae, Teos (all situated in the region of Ionia in Asia Minor), in the island of Samos, in the Ionian colony of Massilia, and in Kyzikos (situated farther north in Asia Minor, in the region of Mysia). In Pontic Mesembria, on the Black Sea coast of Thrace, it was used on coins, which were marked with the abbreviation of the city's name, spelled . The sound denoted by this letter was a reflex of the proto-Greek consonant clusters , , , or , and was probably an intermediate sound during the phonetic change from the earlier plosive clusters towards the later sound, possibly an affricate similar to .


title: Archaic Greek alphabets

text: In one attested document, the Arcadocypriot Greek of Mantineia used an innovative letter similar to И (), probably derived from a variant of san, to denote what was probably a -like sound in environments reflecting etymological Proto-Greek .


title: Archaic Greek alphabets

text: In the highly-divergent Pamphylian Greek, the letter digamma () existed side by side with another distinctive form . It has been surmised that in this dialect the sound may have changed to labiodental in some environments. The F-shaped letter may have stood for the new sound, while the special И-shaped form signified those positions where the old sound was preserved.


title: Archaic Greek alphabets

text: A special letter for a variant realization of the short sound, , was briefly used in the Boeotian city of Thespiae in the late 5th century BC. It occurred in the place of normal epsilon () whenever the sound stood before another vowel. Since its shape suggests a compromise form between an and an , it is thought that it denoted a raised allophone, approaching . It is attested in only one document, a set of grave stelae from 424 BC.


title: Archaic Greek alphabets

text: Many of the letters familiar from the classical Greek alphabet displayed additional variation in shapes, with some of the variant forms being characteristic of specific local alphabets.


title: Archaic Greek alphabets

text: The form of generally had a straight stem () in all local alphabets in the archaic period. was mostly crossed ( or ). typically had a vertical stem (), and was most often . and had frequent variants where the strokes branched out from the bottom of the character, resulting in and respectively. was originally a closed rectangular shape and developed several variants with different numbers of arrangements of connecting bars between the two outer stems.


title: Archaic Greek alphabets

text: The early shape of was typically , with the arms diagonal and the stem descending below the lowest arm; it developed to the modern orthogonal form during the archaic era. An analogous change was observed with , which changed from to either or . Early forms of typically had the left stem descending lower than the right stem (); this remained a distinguishing feature in those varieties that also had san () for .


title: Archaic Greek alphabets

text: The crooked shape of could be written with different numbers of angles and strokes. Besides the classical form with four strokes (), a three-stroke form resembling an angular Latin S () was commonly found, and was particularly characteristic of some mainland Greek varieties including Attic and several "red" alphabets. The C-like "lunate" form of that was later to become the standard form in late antiquity and Byzantine writing did not yet occur in the archaic alphabets.


title: Archaic Greek alphabets

text: The letter had two principal variants: the classical straight vertical line, and a crooked form with three, four or more angular strokes ( ). The crooked type was the older form, and remained common in those varieties where it could not be confused with sigma because sigma was absent in favour of san.


title: Archaic Greek alphabets

text: The letters and had multiple different forms that could often be confused with each other, as both are just an angle shape that could occur in various positions. C-like forms of (either pointed or rounded) were common in many mainland varieties and in the West, where they inspired the Italic C; L-like shapes of were particularly common in Euboea, Attica and Boeotia. Achaean colonies had a in the form of single -like vertical stroke.


title: Archaic Greek alphabets

text: The letter had different minor variants depending on the position of the middle bar, with some of them being characteristic of local varieties.


title: Archaic Greek alphabets

text: The letter had the largest number of highly divergent local forms. Besides the standard form (either rounded or pointed, ), there were forms as varied as (Gortyn), and (Thera), (Argos), (Melos), (Corinth), (Megara, Byzantium), (Cyclades).


title: Archaic Greek alphabets

text: All letters could additionally occur in a mirrored form, when text was written from right to left, as was frequently done in the earliest period.


title: Archaic Greek alphabets

text: Athens, until the late 5th century BC, used a variant of the "light blue" alphabet, with for and for . was used for all three sounds (correspondinɡ to classical respectively), and was used for all of (corresponding to classical respectively). was used for the consonant . Among the characteristics of Athens writing were also some variant local letter forms, some of which were shared with the neighbouring (but otherwise "red") alphabet of Euboea: a form of that resembled a Latin "L" () and a form of that resembled a Latin "S" ().


title: Archaic Greek alphabets

text: By the late 5th century, use of elements of the Ionic alphabet side by side with this traditional local alphabet had become commonplace in private writing, and in 403 BC, a formal decree was passed that public writing would switch to the new Ionic orthography consistently, as part of the reform after the Thirty Tyrants. This new system was subsequently also called the "Eucleidian" alphabet, after the name of the archon Eucleides who oversaw the decision.


title: Archaic Greek alphabets

text: The Euboean alphabet was used in the cities of Eretria and Chalcis and in related colonies in southern Italy, notably in Cumae and in Pithecusae. It was through this variant that the Greek alphabet was transmitted to Italy, where it gave rise to the Old Italic alphabets, including Etruscan and ultimately the Latin alphabet. Some of the distinctive features of the Latin as compared to the standard Greek script are already present in the Euboean model.


title: Archaic Greek alphabets

text: The Euboean alphabet belonged to the "western" ("red") type. It had representing and for . Like most early variants it also lacked , and used for the consonant rather than for the vowel . It also kept the archaic letters digamma () for and qoppa () for . San () for was not normally used in writing, but apparently still transmitted as part of the alphabet, because it occurs in abecedaria found in Italy and was later adopted by Etruscan.


title: Archaic Greek alphabets

text: Like Athens, Euboea had a form of "lambda" that resembled a Latin L and a form of "sigma" that resembled a Latin S. Other elements foreshadowing the Latin forms include "gamma" shaped like a pointed C (), "delta" shaped like a pointed D (), and "rho" shaped like R ().


title: Archaic Greek alphabets

text: The classicist Barry B. Powell has proposed that Euboea may have been where the Greek alphabet was first employed in the late 9th century BC, and that it may have been invented specifically for the purpose of recording epic poetry.


title: Archaic Greek alphabets

text: The Doric dialect of Corinth was written in a distinctive alphabet that belonged to the "eastern" ("dark blue") type as far as its treatment of was concerned, but differed from the Ionic and classical alphabet in several other ways. Corinth used san () instead of for , and retained qoppa () for what was presumably a retracted allophone of before back vowels. As described above, it also had an uncommon system for marking its -sounds, with a -shaped letter used for and (classical and respectively), and used only for long close (classical ). For the consonant , in turn, Corinth used the special form . The letter was written like a (, ).


title: Archaic Greek alphabets

text: The following summary of the principal characteristic forms of representative local Greek scripts is based on the chapters on each dialect in Jeffery (1961). Letters representing long vowels are highlighted in yellow; digraphs are shown in parentheses.


title: Paul Peschisolido

text: Paolo Pasquale Peschisolido (born 25 May 1971), commonly known as Paul Peschisolido, is a Canadian soccer manager and former player. Peschisolido was manager of English League Two club Burton Albion from May 2009 until March 2012.


title: Paul Peschisolido

text: A forward, Peschisolido began his career in the Canadian Soccer League with the Toronto Blizzard and played in the Major Indoor Soccer League with the Kansas City Comets before moving to England.


title: Paul Peschisolido

text: Over 16 seasons he scored 118 goals from 447 appearances in the Football League, playing for nine different clubs: Birmingham City, Stoke City, West Bromwich Albion, Fulham, Queens Park Rangers, Sheffield United, Norwich City, Derby County and Luton Town.


title: Paul Peschisolido

text: Peschisolido represented his country from U-16 level upwards to the senior level spanning from 1986 to 2004, making his senior debut for the Canadian national team in 1992. He went on to play 53 times for Canada, scoring 10 goals, in a 12-year senior international career. On 1 June 2013, he was inducted into the Canadian Soccer Hall of Fame.


title: Paul Peschisolido

text: Born in Scarborough, Ontario, Canada, Peschisolido began his professional playing career when still a high-schooler with Archbishop Denis O'Connor Catholic High School in Ajax. He led the team to OFSAA finals in his last year then moved on as a trainee with the Toronto Blizzard of the Canadian Soccer League, where he was named the "Rookie of the Year" in 1989. He also played the 1990–91 Major Indoor Soccer League season with the Kansas City Comets, being named the league's 'Newcomer of the Year'.


title: Paul Peschisolido

text: After spending a year with the Juventus academy, returning homesick saw him offered the opportunity from his former national youth team coach Tony Taylor to join Birmingham City for £25,000 in November 1992. He was joint top scorer in each of his two seasons with the club.


title: Paul Peschisolido

text: In August 1994, he moved on to Stoke City in a £400,000 plus player exchange deal involving Dave Regis. He was top scorer with 15 goals for the 1994–95 season, and remained at Stoke until March 1996, when he returned to Birmingham until the end of the 1995–96 season, scoring once in nine appearances.


title: Paul Peschisolido

text: Peschisolido signed for West Bromwich Albion in a £600,000 deal in July 1996. He made his first appearance for the club in the 3–1 home League Cup defeat to Colchester United on 3 September 1996. Four days later, Peschisolido scored just nine minutes into his Albion league debut, as the Midlands side ran out 2–0 winners at Queens Park Rangers. He was joint top League scorer that season for the club.


title: Paul Peschisolido

text: After 51 appearances and 21 goals for West Brom, he dropped down a division to join Fulham in October 1997, for a £1.1 million transfer fee. He appeared 37 times for 'the Cottagers' in the 1997–98 season, scoring 13 goals and helping the team win promotion as Division Two champions. In the next two seasons, he produced 10 goals from 40 appearances and 7 from 36 appearances in all competitions.


title: Paul Peschisolido

text: After appearing in two League Cup matches for Fulham in the 2000–01 season, Peschisolido was loaned to Queens Park Rangers in November 2000. He scored on his QPR debut, playing alongside the much taller Peter Crouch in a 1–1 draw against Portsmouth. In January 2001, he went on loan again, this time to Sheffield United, also scoring on his debut for "the Blades", before spending a further loan period at Norwich City.


title: Paul Peschisolido

text: He later re-joined Sheffield United in a permanent deal for £250,000, after agreeing to a wage cut. He was a key player in the 2002–03 season, helping the club reach the semi-finals of the 2003 FA Cup and League Cup and the Division One play-off final. In the play-off semi-final against Nottingham Forest, Sheffield United came back from a two-goal deficit to take the game into extra time. Peschisolido came off the substitutes' bench at the midpoint of added time to score the goal that took the lead, which is remembered not just for its impact on the game but also for the player's frantic celebrations afterwards. In the 2003 FA Cup semi-final against Arsenal, he was denied an equalising goal by goalkeeper David Seaman, who made a one-handed "claw-back" save from Peschisolido's header which three-time Best European Goalkeeper Peter Schmeichel later described as "the best stop I’ve ever seen in the flesh".


title: Paul Peschisolido

text: In March 2004, Peschisolido joined Derby County in a swap deal, with Izale McLeod moving to United on loan for the rest of the season. Once again he scored on debut, contributing four goals in his first three appearances, including two against local rivals Nottingham Forest, one of which was gifted to him by goalkeeper Barry Roche, who sliced an attempted clearance after the ball deflected off a plastic coffee cup on the pitch. After Derby avoided relegation in 2004, Peschisolido's "knack for scoring vital goals from the substitutes' bench" helped them reach the playoffs in 2005 and 2007, though he started in the playoff final against West Bromwich Albion at Wembley Stadium, which Derby won 1–0 to earn promotion to the Premier League. Peschisolido was released by the club at the end of that season.


title: Paul Peschisolido

text: On 16 July 2007 Peschisolido signed for Luton Town on a one-year deal. He played just four league matches and one cup match for Luton, scoring once in the Football League Trophy against Northampton Town, before an ankle problem kept him out of action from September onwards. After the injury failed to respond to injections it was confirmed in December that he would require an operation, ruling him out for the rest of the season. Luton released Peschisolido at the end of the 2007–08 season, following their relegation to League Two. Failing to fully recover from injury, he would subsequently retire and not seek a new club.


title: Paul Peschisolido

text: By this time, he had accumulated 447 Football League appearances and 118 goals over 16 years, predominantly in the second tier of English professional football. He also made 76 cup appearances, scoring 22 goals.


title: Paul Peschisolido

text: Peschisolido played in all of Canada's three games at the 1987 FIFA U-16 World Championship which were held in Canada. He earned 7 caps at the U-17 level, 6 caps at the U-20 level scoring 2 goals, and 12 caps at the U-23 level scoring 5 goals.


title: Paul Peschisolido

text: He made his senior national team debut for Canada on 13 June 1992 in a match against Hong Kong at Varsity Stadium where he scored his first international goal. Peschisolido formed effective striker partnerships for Canada with Alex Bunbury and Carlo Corazzin over their years with the national team. Peschisolido scored the majority of his international goals between 1995 and 1996 at Commonwealth Stadium that included a number of World Cup qualification matches which led to the venue becoming lovingly nicknamed St. Paul's Cathedral amongst the Canadian fans and press.


title: Paul Peschisolido

text: He scored his last international goal on his 50th cap on 13 June 2004 in a World Cup qualification match against Belize, exactly 12 years to the day from his first international goal and first cap. He earned a total of 53 caps from 1992 to 2004, and scored 10 goals making him tied 9th with Tomasz Radzinski in all-time scoring for Canada. He represented Canada in four FIFA World Cup qualification campaigns (1994, 1998, 2002, and 2006) in 26 FIFA World Cup qualification matches He played in the Canadian squad that won the 2000 CONCACAF Gold Cup and played in all of Canada's three games at the 2001 FIFA Confederations Cup. His final international cap was on 4 September 2004 at Commonwealth Stadium in a World Cup qualification match against Honduras.


title: Paul Peschisolido

text: On 15 January 2009, he was appointed as Jeff Kenna's assistant manager at League of Ireland club St Patrick's Athletic. Both Kenna and Peschisolido registered as players for the 2009 season in case of emergency. On 15 May 2009, he resigned from this post for "personal reasons" with immediate effect.


title: Paul Peschisolido

text: Three days later, on 18 May 2009, he was appointed manager of Burton Albion taking over from caretaker manager Roy McFarland, who had taken the club to promotion to League Two after the departure of Nigel Clough. Peschisolido was in charge of Burton for almost 3 years but was relieved of his duties on 17 March 2012, following a winless run of 14 games.


title: Paul Peschisolido

text: In 1995, Peschisolido married Karren Brady, who was at the time managing director of Birmingham City F.C. The couple have two children, daughter Sophia and son Paolo. Peschisolido is a cousin of former National Hockey League (NHL) player Mike Ricci.


title: Lloyd Cole

text: Lloyd Cole (born 31 January 1961) is an English singer and songwriter. He was lead singer of Lloyd Cole and the Commotions from 1984 to 1989 and subsequently worked solo.


title: Lloyd Cole

text: Cole was born in Buxton, Derbyshire, England. He grew up in nearby Chapel-en-le-Frith and went to New Mills Grammar School and later attended Runshaw College in Leyland. He studied a year of law at University College London but switched to the University of Glasgow, where he studied philosophy and English, and also met the future members of The Commotions.


title: Lloyd Cole

text: The Commotions' 1984 debut, "Rattlesnakes", contained literary and pop culture references to such figures as Arthur Lee, Norman Mailer, Grace Kelly, Eva Marie Saint, Simone de Beauvoir, Truman Capote and Joan Didion. The group produced two more albums, "Easy Pieces" and "Mainstream", before disbanding in 1989.


title: Lloyd Cole

text: Songs by the band include "Perfect Skin", "Rattlesnakes", "Forest Fire", "Are You Ready to Be Heartbroken?", "Lost Weekend" and "Jennifer She Said". Cole subsequently relocated to New York City and recorded with various artists, including Fred Maher, Robert Quine and Matthew Sweet.


title: Lloyd Cole

text: This solo setting produced two albums, "Lloyd Cole" in 1990 – preceded by the single 'No Blue Skies' – and "Don't Get Weird on Me Babe" in 1991. The latter was recorded in two parts: one side continued the New York rock of his first solo album, while the other side featured a session orchestra, much in the style of Burt Bacharach or Scott Walker. While he remained with Polydor as his record label, the US distribution contract with Capitol Records ended. (US rights were picked up by Rykodisc.) 'She's A Girl And I'm A Man' was released as a single.


title: Lloyd Cole

text: "Downtown" (from "Lloyd Cole", 1990) was featured in the movie "Bad Influence" (1990) – starring Rob Lowe and James Spader – while "Pay For It" (from "Don't Get Weird On Me Babe", 1991) was on the soundtrack of "When The Party's Over", starring Sandra Bullock.


title: Lloyd Cole

text: Cole recorded "Bad Vibes" in 1993, a collaboration with producer/remixer Adam Peters, using a harder sound. 'So You'd Like to Save the World' and 'Morning Is Broken' were released as singles.


title: Lloyd Cole

text: "Love Story" (1995) was recorded with the help of Stephen Street (who has worked with Blur and The Smiths) and former Commotion Neil Clark. It produced a minor hit with the song "Like Lovers Do", affording Cole a mid-1990s appearance on "Top of the Pops". However, following Universal Music's takeover of PolyGram, his contract was terminated, despite at least two full-length recordings being locked in its vaults (later released in 2002 by One Little Indian). "Love Story" was a Top 30 hit in the UK.


title: Lloyd Cole

text: In 1998 Cole's song "Margo's Waltz" (from 1991's "Don't Get Weird On Me Babe" album) was featured in the film "There's Something About Mary".


title: Lloyd Cole

text: In the same year "The Collection" was released, featuring 8 songs with The Commotions and 12 solo singles. The album climbed to #24 on the UK album charts.


title: Lloyd Cole

text: In 1997 and 1998 Cole played with some New York musicians under the name The Negatives. The group consisted of Jill Sobule, Dave Derby of the Dambuilders, Mike Kotch and Rafa Maciejak, who recorded an eponymous CD, released mainly in Western Europe and North America. Songs from the album like 'Past Imperfect', 'Vin Ordinaire' and 'No More Love Songs' returned to Lloyd's live sets regularly throughout his career.


title: Lloyd Cole

text: He has since released solo albums on smaller independent labels. Sanctuary Records released "Music in a Foreign Language" (2003) in the UK. Recorded largely by Cole himself (including tracks recorded directly onto a Mac), the songs had a stark, folk-inspired singer-songwriter style. The album was released in the U.S. by the One Little Indian label, which also collected a number of outtakes (recorded from 1996 to 2000) on 2002's "Etc." and released an instrumental ambient electronica album, "Plastic Wood", the same year. Lloyd has mentioned "Music in a Foreign Language" as his favourite album. It featured new versions of Nick Cave's 'People Ain't No Good' and his own 'No More Love Songs'. Both the title track and 'Late Night, Early Town' became staples in his live sets.


title: Lloyd Cole

text: In 2004, to mark the 20th anniversary of the release of "Rattlesnakes", Lloyd Cole and the Commotions reformed to perform a one-off tour of the UK and Ireland. The reformation was never intended to be permanent, and Cole released another solo album in 2006, "Antidepressant", using his usual home recording outfit by playing all the instruments himself with friends like Sobule, Derby and the guitar work of former Commotion Neil Clark on some tracks. The album included 'Woman in a Bar' and 'The Young Idealists' a.o. Lloyd has mentioned 'Rolodex Incident' as a personal favourite.


title: Lloyd Cole

text: "Broken Record", released in September 2010 preceded by the single "Writer's Retreat", marked a departure from his solo recordings, as it was performed by a band of longstanding friends and working partners, including Fred Maher, Joan Wasser, Rainy Orteca, Dave Derby and Blair Cowan – as well as two musicians, Matt Cullen (guitar; banjo) and Mark Schwaber (guitar; mandolin), with whom Cole tours, billed as 'Lloyd Cole Small Ensemble'. The recording of the album was entirely financed by advance purchases by his fans and contributions from Tapete Records, which later distributed the album and also oversaw and negotiated the rights to release a boxed set with his complete collection of b-sides, alternative takes and previously unreleased material, under the title "Cleaning Out the Ashtrays".


title: Lloyd Cole

text: A further album co-funded by fans, "Standards", was released in June 2013, and includes contributions from Fred Maher and Matthew Sweet, Blair Cowan (The Commotions) and Joan Wasser (a.k.a. Joan As Police Woman). It was preceded by the single and video 'Period Piece'. Other notable songs on the album were Lloyd's re-make of John Hartford's 'California Earthquake', 'Women's Studies' and favourite 'Myrtle And Rose'. For the first time since 1999's 'The Collection', Lloyd Cole entered the UK album chart with the album.


title: Lloyd Cole

text: In February 2013 a new album of electronic music by Cole and Hans-Joachim Roedelius was released, called "Selective Studies Vol. 1".


title: Lloyd Cole

text: In 2016 Cole went on tour with The Leopards to celebrate the release of the "Lloyd Cole and the Commotions Collected Recordings 1983–1988" box set. Live album "Lloyd Cole and the Leopards – Live at Brooklyn Bowl" was released through his website along with several live recordings of shows he performed with his son William on guitar.


title: Lloyd Cole

text: In early 2017 the single "Man on the Verge" was released as a taster for the "Lloyd Cole in New York – Collected Recordings 1988–1996" box set.


title: Lloyd Cole

text: The studio album "Guesswork" was released on 26 July 2019 by earMUSIC. Recorded (mostly) in his attic studio in Massachusetts, ‘Guesswork’ was produced by Cole and mixed by German producer Olaf Opal, with executive production from Chris Hughes. The record was mastered by Kai Blankenberg at Skyline Tonfabrik in Dusseldorf. The electronic sounding album also featured contributions from a.o. Fred Maher and former Commotions Blair Cowan and Neil Clark. It was preceded by the singles 'Violins' and ' Night Sweats'.


title: Lloyd Cole

text: In 2021 "Cleaning Out the Ashtrays" – the 2009 collection of outtakes, alternative versions of his solo work, and cover versions – was released digitally.


title: Lloyd Cole

text: In 2010 Cole formed a small ensemble consisting of American musicians Mark Schwaber and Matt Cullen and, in October and November of that year, completed a tour of Europe. Further tours of New Zealand and Australia and Europe followed in 2011. In autumn 2016, Cole undertook a short tour of the UK and Europe, titled 'The Retrospective', playing acoustic versions of songs written between 1983 and 1996.


title: Lloyd Cole

text: Cole married his American wife, Elizabeth Lewis, in December 1989. They live in Easthampton, Massachusetts.


title: Lloyd Cole

text: Some of Cole's songs have been covered by other artists. "Rattlesnakes" has been covered by Tori Amos on her "Strange Little Girls" album, while Sandie Shaw has recorded a version of "(Are You) Ready to Be Heartbroken?".


title: Lloyd Cole

text: In 2006, Scottish band Camera Obscura released the song "Lloyd, I'm Ready to Be Heartbroken" as an answer song to Cole's 1984 hit "Are You Ready to Be Heartbroken".


title: Speed (card game)

text: Speed is a game for two players or more of the family of card games, in which players try to get rid of all of their cards first.


title: Speed (card game)

text: With two players, the round begins when the players flip one of the face-down cards in the centre simultaneously. Players must then discard their hand cards one by one, using only one hand, matching cards so that each card played is either one number above, one number below, or the same number as the two cards on top of the center stacks. This must be done without hesitating to shuffle cards or otherwise delay the game. Only one card can be placed at a time. The ace and king can be placed on top of one another, forming a looping sequence. Whenever the number of cards in a player's hand drops below five, the player has to take more cards from the draw pile to bring it back up to five cards until the draw pile is depleted. When players run out of options for play they simultaneously flip a card from the side piles onto the top of the central piles. If these piles become depleted, the central stacks are shuffled individually and are placed face-down as new side piles from which cards can be flipped.


title: Speed (card game)

text: The first player to run out of cards says "Speed" and is then the winner. The overall winner is decided by the best of three games. If a player has a card to place it must be placed.


title: Speed (card game)

text: Speed can be played with jokers as wild cards. For example, if there is a 2 in the center, a joker can be used as a 3, an ace, or, in Doubles rules, a 2. When a joker is played, it must be treated as the card it was played as. For example, if a joker is played on a 2, the joker can be treated an ace or a three. In any other case, a joker can also be whatever a player wants it to be. It is often prudent to save a joker in one's hand for when one is otherwise out of options or for when it would act as a missing link for a long string of moves. This is cheating if both players flip the outside cards onto the center. Players are only allowed to flip once they cannot play anything else, and because the joker is a wild card, it can be played. A joker cannot be the last card a player puts down, because jokers cannot "top" the deck. Once a joker is placed, the player that is quick enough to put down the next card claims that joker.


title: Speed (card game)

text: Players running out of cards says "Speed!" to officially win. If a player fails to do whatever has been agreed on beforehand, that player must take one of the central stacks as a draw pile and resume playing.


title: Speed (card game)

text: As a variation, sometimes the rules state that once either player runs out of cards, both players are eligible to hit the stack and say "Speed!" and whichever does it first is the winner. This still highly favors whoever runs out of cards first.


title: Speed (card game)

text: Speed can be played with more than just two people. With three players, it is unnecessary to have extra cards; cards are dealt by giving each player five 'side pile' cards, placing three cards face down in the centre, and dealing the extra cards evenly as draw piles. With four players, it is often more interesting to use two decks of cards shuffled together. This is the case for quicker or more experienced players; with new, slow or young players, it is often appropriate to use only one deck, as this slows the game considerably. It is, of course, possible to have more than four players in a single game, but the playing field quickly becomes confusing and muddled simply because of the distance and amount of action.


title: Speed (card game)

text: Also known as Super-spit in Wisconsin, Spit 2 in Texas, Rush in Missouri, and Spit 3 in Kentucky, and Blackie Spit in British Columbia. California Spit is a fast paced shedding card game that has the added bonus of shuffling the deck.


title: Speed (card game)

text: The two players sit at opposite sides of a vertical playing surface. The dealer deals half of the cards to each player. The cards are held face down. Every round, each player plays five cards face up vertically in between both players and slightly closer to themselves. Once both players have done this, they look for two or more cards having the same number. When a player finds one, he places another card on top of the cards with that number until all of the cards with the common number are covered. In other words, if there are three fours out then all three cards can get a new card on top of it. If a four is played on top of a four it is called a double, and the player may place a third card on top of it. This requires that players pay attention to the cards they are laying down on the pile. If a player runs out of cards then that player wins. When there are no more groups of cards remaining, each player scoops up the four piles directly in front of them and places them face down on the bottom of his or her deck. That round ends and the next begins.


title: Speed (card game)

text: Spit is a similar game in which two players simultaneously put down cards in ascending or descending order, until all of one player's cards are gone. In Speed each player holds up to five cards, and has one stock pile, face down. Two cards can be put down at once. You can not put down more than 2 at once. In Spit each player has a row of stock piles, usually five, with the top card face up, so all cards in play are visible to both players.


title: Speed (card game)

text: In both games each player is dealt a set of 10 "Spit Cards", face down, and one card, face down, in their "Spit Pile". (See middle row of the diagrams).


title: Speed (card game)

text: In Spit each player lays out 15 cards in a "tableau" of 5 Stock Piles, with the topmost card of each pile turned up.


title: Speed (card game)

text: Subsequent played cards are placed face up on either of these Spit Piles, in ascending or descending order (with aces fitting next to both kings and twos).


title: Speed (card game)

text: In Spit the visible cards are played, and the card under it is then turned up. If a stock pile position is empty then a card can be moved from any other stock pile, whose next card is turned face up.


title: Speed (card game)

text: If neither player can move, then each turns over a Spit Card onto their Spit Pile and the game restarts. If a player runs out of Spit Cards then the top card in their Spit Pile is left on the table, and the rest are shuffled and used as Spit Cards.


title: Speed (card game)

text: Strategy in Speed is limited by the fact that players must attempt to play everything they have in their hands, but there are many tricks that can help slow an opponent or speed the process of getting rid of cards. For example, it is usually prudent to arrange cards of adjacent rank together, but it is better to have cards in the order in which they can be played. This is often a consideration to be taken at the beginning of the game, since it is often too time-consuming during play. For example, if dealt cards of ranks 4, 5, 5, 6 and 6, it is best to order them 4, 5, 6, 5, 6 rather than in standard ascending numerical order.


title: Speed (card game)

text: If by any means it is revealed which cards are in an opponent's hand, it is often possible to 'block' the opponent from playing by not leading up to a point at which their card could be played. Each card in the game must be played individually, this may be a disadvantage to some, however can prove to be advantageous. For example, if a player knows that their opponent has a King, and the card showing is a Jack, it is better for them to play a ten than a Queen, since the Queen would allow the opponent to play. If both options are available, it is best to "explore" the former, by playing a card, then drawing back up to five to see if more moves can be made. On the other hand, it is sometimes advisable for a player to feed an opponent opportunities, if they will result in the value on the deck moving towards a large run in the player's own hand. This is often the case when a hand contains multiple cards of the same number. A player cannot play a ten if there is a king on a deck.


title: Speed (card game)

text: It is common to attempt to distract an opponent by making conversation or announcing one's moves aloud as they are made.


title: Lane

text: In road transport, a lane is part of a roadway that is designated to be used by a single line of vehicles to control and guide drivers and reduce traffic conflicts. Most public roads (highways) have at least two lanes, one for traffic in each direction, separated by lane markings. On multilane roadways and busier two-lane roads, lanes are designated with road surface markings. Major highways often have two multi-lane roadways separated by a median.


title: Lane

text: Some roads and bridges that carry very low volumes of traffic are less than wide, and are only a single lane wide. Vehicles travelling in opposite directions must slow or stop to pass each other. In rural areas, these are often called country lanes. In urban areas, alleys are often only one lane wide. Urban and suburban one lane roads are often designated for one-way traffic.


title: Lane

text: For much of human history, roads did not need lane markings because most people walked or rode horses at relatively slow speeds. However, when automobiles, trucks, and buses came into widespread use during the first two decades of the 20th century, head-on collisions became more common.


title: Lane

text: The history of lane markings is connected to early mass automobile construction in Detroit. In 1906, the first Road Commission of Wayne County, Michigan was formed in an effort to make roads safer. (Henry Ford served on the board in the first year.) In 1909, the commission ordered the construction of the first concrete road (Woodard Avenue in Detroit), and conceived the centerline for highways in 1911. Hence, then chairman of the Road Commission, Edward N. Hines, is widely credited as the inventor of lane markings.


title: Lane

text: The introduction of lane markings as a common standard is connected to June McCarroll, a physician in Indio, California. She began experimenting with painting lines on roads in 1917 after being run off a highway by a truck driver. After years of lobbying by Dr. McCarroll and her allies, the state of California officially adopted a policy of painting lines on its highways in November 1924. A portion of Interstate 10 near Indio has been named the Dr. June McCarroll Memorial Freeway in her honor.


title: Lane

text: The first lane markings in Europe were painted at an accident hotspot in the small town of Sutton Coldfield near Birmingham, England, in 1921. The success of this experiment made its way to other hotspots and led to standardization of white paint lane markings throughout Great Britain.


title: Lane

text: The first use in Germany was in Berlin in 1925, where white paint marked both lanes and road edges. When the standard for the new autobahn network was conceived in the 1930s, it mandated the usage of black paint for the center line for each carriageway. Black is more visible on the bright surface of concrete.


title: Lane

text: By 1939, lane markings had become so popular that they were officially standardized throughout the United States. The concept of lane markings spread throughout the world and became standard for most roads. Originally, lines were drawn manually with ordinary paint which faded quickly. After World War II, the first machines for line markings were invented. Plastic strips became standard in the 1950s. This gradually led to the placement of plastic lane markings on all major roads.


title: Lane

text: The widths of vehicle lanes typically vary from . Lane widths are commonly narrower on low volume roads and wider on higher volume roads. The lane width depends on the assumed maximum vehicle width, with an additional space to allow for lateral motion of the vehicle.


title: Lane

text: In the United States, the maximum truck width had been in the Code of Federal Regulations of 1956, which exactly matched then standard shipping container width. The maximum truck width was increased in 1976 to to harmonize with the slightly larger metric world standard width. The same applies to standards in Europe, which increased the allowable width of road vehicles to a current maximum of for most trucks, and for refrigerator trucks. These widths do not include side mirrors, but only the vehicle body. The minimum extra space had been and it is currently assumed to be at least on each side. The international standard allows roads with less traffic to add a second or third lower width lane in the same direction for cars – those that have been built exclude trucks from these narrower lanes; however lower width lanes are not a recommended design principle for new roads, as it could be dangerous if traffic becomes heavier in future.


title: Lane

text: In the United States, the Interstate Highway standards for the Interstate Highway System use a standard lane width, while narrower lanes are used on lower classification roads. In Europe, laws and road widths vary by country; the minimum widths of lanes are generally between . The federal Bundesstraße interurban network in Germany defines a minimum of for each lane for the smallest two lane roads, with an additional on the outer sides and shoulders being at least on each side. A modern Autobahn divided highway with two lanes per direction has lanes wide with an additional clearance of on each side; with three lanes per direction this becomes for the rightmost lane and for the other lanes. Urban access roads and roads in low-density areas may have lanes as narrow as in width per lane, occasionally with shoulders roughly wide.


title: Lane

text: Depending on speed, road curvature and vehicle properties, heavy goods vehicle (HGV) combinations are prone to "high speed outside offtracking". This means that the rearmost axle of the trailer does not follow the lateral path of the truck tractor unit, but may travel significantly—up to 1–3 meters (3–10 ft)—away from the curve center. Hence, narrow lanes on sharp curves have to be designed slightly wider than on straight roads. This effect is much greater on slippery snow-covered roads than on bare asphalt or cement concrete, calling for even larger lane widening.


title: Lane

text: In urban settings both narrow (less than 2.8 m (9.2 ft)) and wide (over 3.1~3.2 m (10.2-10.5 ft)) lanes increase crash risks. Wider lanes (over 3.3~3.4m (10.8-11.2 ft)) are associated with 33% higher impact speeds, as well as higher crash rates. Carrying capacity is also maximal at a width of , both for motor traffic and for bicycles. Pedestrian volume declines as lanes widen, and intersections with narrower lanes provide the highest capacity for bicycles. As lane width decreases, traffic speed diminishes.


title: Lane

text: Narrow lanes cost less to build and maintain. They lessen the time needed to walk across, and reduce stormwater runoff. Pedestrian volume declines as lanes widen, and intersections with narrower lanes provide the highest capacity for bicycles.


title: Lane

text: Painted lane markings, which designate a single line of vehicles for movement within traffic, vary widely from country to country. In the United States, Canada, Mexico, Honduras, Puerto Rico, Virgin Islands and Norway, yellow lines separate traffic going in opposite directions and white separates lanes of traffic traveling in the same direction; but that is not the case in many European countries.


title: Lane

text: Lane markings are mostly lines painted on the road by a road marking machine, which can adjust the marking widths according to the lane type.


title: Lane

text: Traffic reports in California often refer to accidents being "in the number X lane." The California Department of Transportation (Caltrans) assigns the numbers from left to right. The far left passing lane is the number 1 lane. The number of the slow lane (closest to freeway onramps/offramps) depends on the total number of lanes, and could be anywhere from 2 to 8.


title: Lane

text: Lane capacity varies widely due to conditions such as neighboring lanes, lane width, elements next to the road, number of driveways, presence of parking, speed limits, number of heavy vehicles and so on – the range can be as low as 1000 passenger cars / hour to as high as 4800 passenger cars / hour but mostly falls between 1500 and 2400 passenger cars / hour.


title: Can't Stop (Red Hot Chili Peppers song)

text: "Can't Stop" is a song by American rock band Red Hot Chili Peppers from their eighth studio album, "By the Way" (2002). It was released as the third single released from the album on February 3, 2003. The song was the band's eighth number one on the US "Billboard" Modern Rock Tracks chart, where it spent three weeks topping the chart, and peaked at number 57 on the "Billboard" Hot 100. "Can't Stop" performed moderately well on international charts as well as on the "Billboard" Modern Rock Tracks and Mainstream Rock charts.


title: Can't Stop (Red Hot Chili Peppers song)

text: The song is instrumentally composed in 4/4 standard time and in the key of E minor. The verse plays twice before the bridge, as well as the chorus. During the bridge, Frusciante plays sparsely in a reggae style, only strumming on the up-beat. Following the bridge, Frusciante utilizes a fuzz (Big Muff Pi by Electro Harmonix) in his solo. He also makes extensive use of a tone-bend.


title: Can't Stop (Red Hot Chili Peppers song)

text: Lyrically, "Can't Stop" is a prime example of the band's occasional use of writing lyrics to an established rhythm, rather than rhythms to established lyrics. Kiedis writes in his typical circumlocutory style. Nonetheless, the predominant theme of cultivating an inner, personal energy (evidenced in the title and the final line: "This life is more than just a read-through.") can be understood in almost every line. The verses are addressed to the listener (or perhaps to himself), in an instructional tone, with references to Kiedis's own life, as well as citing the inspiration of Defunkt ("Defunkt, the pistol that you pay for") and Julia Butterfly Hill ("J. Butterfly is in the treetops"). The bridge marks a slight departure, as Kiedis suggests he had temporarily forgotten this philosophy, and looks to a new girlfriend to help himself back on his feet.


title: Can't Stop (Red Hot Chili Peppers song)

text: The song itself is distinct, especially when in comparison to the various other tracks on "By the Way". Some consider the song to be among the only true punk/funk sounds on the entire album, along with "Throw Away Your Television". "Can't Stop" was considered to be "energetic" and melodically encompassing, by combining textured, melodic, and funky themes together into one.


title: Can't Stop (Red Hot Chili Peppers song)

text: The song was the Chili Peppers' eighth number one on the Modern Rock Tracks chart, and second from the album "By the Way". It also peaked at number 57 on the "Billboard" Hot 100. Regardless of the moderate recognition it received on the "Billboard" Hot 100, the song is a live performance staple.


title: Can't Stop (Red Hot Chili Peppers song)

text: The Mark Romanek-directed music video for the single, released on January 24, 2003, features all four of the band members doing seemingly random and excessively abstract actions such as holding many water bottles or attempting to balance buckets on their heads. It begins with the camera swooping through a yellow tube to Anthony Kiedis, wearing glasses, and is subsequently followed by the foursome running through a hall with light fixtures attached to their backs. The band engages in various activities, such as wearing a giant purple hippopotamus mask, playing with rubber balls, jumping, abstract scenes with boxes, buckets, water bottles, trash cans, flying through the air, pink foam peanuts, plants, playing guitar in a room full of empty blue chairs/room with lamps turning on and off.


title: Can't Stop (Red Hot Chili Peppers song)

text: At certain segments of the video, one can see guitarist John Frusciante playing an orange Toronado and a silver Fender Stratocaster, which is unlike his style due to the fact that he only plays vintage guitars (both guitars being under five years of age). Frusciante later explained he was instructed to play the guitars by director Mark Romanek since they blended well with the color scheme used in the video; he also noted that he was never actually playing the guitars.


title: Can't Stop (Red Hot Chili Peppers song)

text: Inspiration for the video was attributed to Austrian artist Erwin Wurm, as indicated by the sign at the end of the video. The lighting was positioned in order to provide a clean-cut, contemporary atmosphere which would integrate with the video's concept. Orange was chosen to be the backsplash color by Romanek. His creative hand attempted to mirror Wurm's abstract "One Minute Sculptures", by having the band perform random scenes, which seem to fit no purpose. However, in retrospect, they were not intended to be anything more than an homage.


title: Xanthine

text: Xanthine ( or ; archaically xanthic acid; systematic name 3,7-dihydropurine-2,6-dione) is a purine base found in most human body tissues and fluids, as well as in other organisms. Several stimulants are derived from xanthine, including caffeine, theophylline, and theobromine.


title: Xanthine

text: Xanthine is used as a drug precursor for human and animal medications, and is manufactured as a pesticide ingredient.


title: Xanthine

text: Derivatives of xanthine (known collectively as xanthines) are a group of alkaloids commonly used for their effects as mild stimulants and as bronchodilators, notably in the treatment of asthma or influenza symptoms. In contrast to other, more potent stimulants like sympathomimetic amines, xanthines mainly act to oppose the actions of adenosine, and increase alertness in the central nervous system.


title: Xanthine

text: Methylxanthines (methylated xanthines), which include caffeine, aminophylline, IBMX, paraxanthine, pentoxifylline, theobromine, theophylline, and 7-methylxanthine (heteroxanthine), among others, affect the airways, increase heart rate and force of contraction, and at high concentrations can cause cardiac arrhythmias. In high doses, they can lead to convulsions that are resistant to anticonvulsants. Methylxanthines induce gastric acid and pepsin secretions in the gastrointestinal tract. Methylxanthines are metabolized by cytochrome P450 in the liver.


title: Xanthine

text: If swallowed, inhaled, or exposed to the eyes in high amounts, xanthines can be harmful, and may cause an allergic reaction if applied topically.


title: Xanthine

text: However, different analogues show varying potency at the numerous subtypes, and a wide range of synthetic xanthines (some nonmethylated) have been developed searching for compounds with greater selectivity for phosphodiesterase enzyme or adenosine receptor subtypes.


title: Xanthine

text: People with rare genetic disorders, specifically xanthinuria and Lesch–Nyhan syndrome, lack sufficient xanthine oxidase and cannot convert xanthine to uric acid.


title: Xanthine

text: Studies reported in 2008, based on C/C isotopic ratios of organic compounds found in the Murchison meteorite, suggested that xanthine and related chemicals, including the RNA component uracil, have been formed extraterrestrially. In August 2011, a report, based on NASA studies with meteorites found on Earth, was published suggesting xanthine and related organic molecules, including the DNA and RNA components adenine and guanine, were found in outer space.


title: Green Onions

text: "Green Onions" is an instrumental composition recorded in 1962 by Booker T. & the M.G.'s. Described as "one of the most popular instrumental rock and soul songs ever" and as one of "the most popular R&B instrumentals of its era", the tune is a twelve-bar blues with a rippling Hammond M3 organ line by Booker T. Jones that he wrote when he was 17, although the actual recording was largely improvised in the studio.


title: Green Onions

text: The track was originally issued in May 1962 on the Volt label (a subsidiary of Stax Records) as the B-side of "Behave Yourself" on Volt 102; it was quickly reissued in August 1962 as the A-side of Stax 127, and it also appeared on the album "Green Onions" that same year. The organ sound of the song became a feature of the "Memphis soul sound".