Laverda Jota is a Laverda 1000cc Italian motorcycle suggested by the importers Slater Bros. of Collington, near Bromyard, England. Based on the existing 1973-1981 Laverda 3C model that made 85 hp @ 7,250rpm and reaching speeds of more than 130 mph, the new Jota made a big impression in 1976. Producing 90 hp and reaching speeds of 146 mph, thanks to the factory racing parts fitted into the road engine directly at the factory, it was the fastest production motorcycle to date; the Laverda Jota model ran from 1976 through to 1982. Fitted with a crankshaft with 180° crankpin phasing and ignition timing on the right hand side of the engine till 1980. In 1981 the ignition timing, by electronic, was moved to the left side and in 1982 the Jota 120° was released which had the crankpin phasing to 120°. Early Jotas had a 123 140 Watt Bosch alternator, enough to keep pace with discharge with the lights on; the series 2 180° and 120° Jota onwards had 260 watt Nippon Denso alternator. In Australasia, the UK and South Africa the Jota had high lift camshafts, high compression pistons and less restrictive exhausts.
In some European countries Jotas had milder tuning. It is named after jota a Spanish dance in triple time. A review at Classic Motorcycle Mechanics Magazine Laverdamania website administrated by well known French Laverda enthusiast Jean Louis Olive, author of Legendary Laverda 1949-1989
The Lamborghini Miura is a sports car produced by Italian automaker Lamborghini between 1966 and 1973. The car was the first supercar with a rear mid-engined two-seat layout, although the concept was first pioneered by René Bonnet with the Matra Djet in 1964; this layout has since become the standard for high-performance supercars. When released, it was the fastest production road car; the Miura was conceived by Lamborghini's engineering team, which designed the car in its spare time against the wishes of company founder Ferruccio Lamborghini, who preferred powerful yet sedate grand touring cars over the race car-derived machines produced by local rival Ferrari. The Miura's rolling chassis was presented at the 1965 Turin Auto Show, the prototype P400 debuted at the 1966 Geneva Motor Show, it received stellar receptions from showgoers and the motoring press alike, each impressed by Marcello Gandini's sleek styling and the car's revolutionary mid-engine design. Lamborghini's flagship, the Miura received periodic updates and remained in production until 1973.
A year the extreme Countach entered the company's lineup, amid tumultuous financial times for the company. During 1965, Lamborghini's three top engineers, Gian Paolo Dallara, Paolo Stanzani and Bob Wallace put their own time into developing a prototype car known as the P400; the engineers envisioned a road car with racing pedigree, one which could win on the track and be driven on the road by enthusiasts. The three men worked on its design at night, hoping to convince company founder Ferruccio Lamborghini such a vehicle would neither be too expensive nor distract from the company's focus; when brought aboard, Lamborghini gave his engineers a free hand in the belief the P400 was a valuable marketing tool, if nothing more. The car featured a transversely-mounted mid-engine layout, a departure from previous Lamborghini cars; the V12 was unusual in that it was merged with the transmission and differential, reflecting a lack of space in the tightly-wrapped design. The rolling chassis was displayed at the Turin Salon in 1965.
Impressed showgoers placed orders for the car despite the lack of a body to go over the chassis. Bertone was placed in charge of styling the prototype, finished just days before its debut at the 1966 Geneva Motor Show. None of the engineers had found time to check. Committed to showing the car, they decided to fill the engine bay with ballast and keep the hood locked throughout the show, as they had three years earlier for the début of the 350GTV. Sales head Sgarzi was forced to turn away members of the motoring press who wanted to see the P400's power plant. Despite this setback, the car was the highlight of the show boosting stylist Marcello Gandini's reputation; the favourable reaction at Geneva meant. The name "Miura", after the famous Spanish fighting bull breeder, was chosen and featured in the company's newly created badge; the car gained the worldwide attention of automotive enthusiasts when it was chosen for the opening sequence of the original 1969 version of The Italian Job. In press interviews of the time Ferruccio Lamborghini was reticent about his precise birth date, but stressed that he was born under the star sign Taurus the bull.
The earliest model of the Miura was known as the P400. It was powered by a version of the 3.9 L Lamborghini V12 engine used in the 400GT at the time. The engine was mounted transversely and produced 350 PS. 275 P400 were produced between 1966 and 1969 – a success for Lamborghini despite its then-steep price of US$20,000. Taking a cue from the Morris Mini, Lamborghini formed the gearbox in one casting, its shared lubrication continued until the last 96 SVs, when the case was split to allow the correct oils to be used for each element. An unconfirmed claim holds the first 125 Miuras were built of 0.9 mm steel and are therefore lighter than cars. All cars had steel doors, with aluminum front and rear skinned body sections; when leaving the factory they were fitted with Pirelli Cinturato 205VR15 tyres. The Miura won the prestigious Gran Turismo Trophy at the 2008 Pebble Beach Concours d'Elegance, has been re-created for use in the Gran Turismo 5 video game; the P400S Miura known as the Miura S, made its introduction at the Turin Motor Show in November 1968, where the original chassis had been introduced three years earlier.
It was revised from the P400, with the addition of power windows, bright chrome trim around external windows and headlights, new overhead inline console with new rocker switches, engine intake manifolds made 2 mm larger, different camshaft profiles, notched trunk end panels. Engine changes were good for an additional 20 PS. Other revisions were limited to creature comforts, such as a locking glovebox lid, a reversed position of the cigarette lighter and windshield wiper switch, single release handles for front and rear body sections. Other interior improvements included the addition of power windows and optional air conditioning, available for US$800. About 338 P400S Miura were produced between December 1968 and March 1971. One S #4407 was owned by Frank Sinatra. Miles Davis owned one, which he crashed in October 1972 under the influence of cocaine, breaking both ankles. Eddie Van Halen can be heard revving it up during the bridge in the song Panama; the last and most famous Miura, the P400SV or Miura SV was presented in 1971.
It featured different cam timing and altered 4X3-barrel Weber carburetors. These gave t
The jota is a genre of music and the associated dance known throughout Spain, most originating in Aragon. It varies by region, having a characteristic form in Aragon, Castile, Cantabria, Galicia, La Rioja and Eastern Andalusia. Being a visual representation, the jota is danced and sung accompanied by castanets, the interpreters tend to wear regional costumes. In Valencia, the jota was once danced during interment ceremonies; the jota tends to have a 34 rhythm, although some authors maintain that the 68 is better adapted to the poetic and choreographic structure. For their interpretation, bandurrias, lutes and drums are used in the Castilian style, while the Galicians use bagpipes and bombos. Theatrical versions are sung and danced with regional costumes and castanets, though such things are not used when dancing the jota in less formal settings; the content of the songs is quite diverse, from patriotism to religion to sexual exploits. In addition to this, the songs have the effect of helping to generate a sense of local identity and cohesion.
The steps have an appearance not unlike that of the waltz, though in the case of the jota, there is much more variation. Furthermore, the lyrics tend to be written in eight-syllable quartets, with assonance in the first and third verses; the medieval word "xiota", derives from Mozarabic šáwta "jump" from Latin saltāre "to jump". Due to phonetic changes, it has become hotia or ixota in Aragonese; the Aragonese Jota is the best-known expression of Aragonese folklore. It dates as far back as the 18th century, reached the pinnacle of its splendor in the 19th century. Due to the complexities of the dance steps and manner of singing, the jota has evolved. Since the end of the 19th century choreographed versions have been made for zarzuelas, contests and other entertainments; the most pure forms of the jota can still be found in Calanda, Alcañiz, Andorra and Zaragoza. Nowadays there exist many modern varieties of the jota which are performed by various folkloric groups. Among the most popular can be found: Jota de San Lorenzo, Jota Vieja, Aragón Tierra Bravía, Gigantes y Cabezudos, La Dolores, the danza de la Olivera.
As noted earlier, the jota of Castile tends to be accompanied by guitars, lutes and drums. As the music plays, the dancers dance with hands atop their heads, accompanied at times by castanets; the jota of Castile has a more sober, less airy feel to it, while the steps are quicker and sharper than what is seen in the Aragonese version. The songs accompanying the jota, which are known for their wry humor deal with life, weddings, or religion; the Philippine Jota was among the most popular dances during the Spanish colonial period in the Philippines and up to the early 20th century. It was performed in social gatherings during the Spanish period in the Philippines; the Filipinos adapted this delightful dance with different versions. These versions are combinations of music. Notable differences between the Philippine and Spanish jotas are the use of unstrung bamboo castanets; the jota is accompanied by the Philippine rondalla consisting of a bandurria, guitar and other mandolin-type instruments. Variations of jotas differ from region to region.
One such example is the Jota Paragua. The Jota Paragua came from Palawan’s old capital-Cuyo Islands displays a heavy Castilian influence; the zapateados and Sevillana style of dress are evidently Spanish in origin. The ladies wave their mantón, or decorative shawl, while the gentlemen keep brisk pace with bamboo castanets; the music is an alternating fast and slow tempo similar to Spanish airs which accompany dances like the flamenco, bolero and fandango. Other examples of Philippine jotas are Jota Manileña from Manila, Jota Caviteña from Cavite and Jota Moncadeña from Tarlac; the jota first came to Alta California during the Spanish period and was an important part of dance repertoires among Californios. The renowned guitarist Manuel Y. Ferrer, born in Baja California to Spanish parents and learned guitar from a Franciscan friar in Santa Barbara but made his career in the San Francisco Bay Area, arranged jotas for the guitar. During the early 20th century, the jota became part of the repertoire of Italian American musicians in San Francisco playing in the ballo liscio style.
Two jotas collected by Sidney Robertson Cowell for the WPA California Folk Music Project in 1939 were played by bands of different national origins: one was Mexican American, the other Portuguese American. Some composers, both Spanish and non-Spanish, have made use of the jota in various works: Georges Bizet, French composer, composed the opera Carmen, set in Spain; the entr'acte to the fourth act is a jota. Mikhail Glinka, Russian composer, after traveling through Spain, used a style derived from the jota in his work The Aragonese Jota. Louis Gottschalk, American composer and pianist, composed the piano work La Jota Aragonesa, Op.14. Franz Liszt, Hungarian pianist and composer, wrote a jota for piano, his Spanish Rhapsody for pia
Spanish orthography is the orthography used in the Spanish language. The alphabet uses the Latin script; the spelling is phonemic in comparison to more opaque orthographies like English and Irish, having a consistent mapping of graphemes to phonemes. Notable features of Spanish punctuation include the lack of the serial comma and the inverted question and exclamation marks: ⟨¿⟩ ⟨¡⟩. Spanish uses capital letters much less than English. Spanish uses only the acute accent, over any vowel: ⟨á é í ó ú⟩; this accent is used to mark the tonic syllable, though it may be used to distinguish homophones such as si and sí. The only other diacritics used are the tilde on the letter ⟨ñ⟩, considered a separate letter from ⟨n⟩, the diaeresis used in the sequences ⟨güe⟩ and ⟨güi⟩—as in bilingüe —to indicate that the ⟨u⟩ is pronounced, rather than having the usual silent role that it plays in unmarked ⟨gue⟩ and ⟨gui⟩. In contrast with English, Spanish has an official body that governs linguistic rules, orthography among them: the Royal Spanish Academy, which makes periodic changes to orthography.
It is the policy of the Royal Spanish Academy that, when quoting older texts, one should update spelling to the current rules, except in discussions of the history of the Spanish language. The Spanish language is written using the Spanish alphabet, the Latin script with one additional letter: eñe "ñ", for a total of 27 letters. Although the letters "k" and "w" are part of the alphabet, they appear only in loanwords such as karate, kilo and wolframio; each letter has a single official name according to the Real Academia Española's new 2010 Common Orthography, but in some regions alternative traditional names coexist as explained below. The digraphs "ch" and "ll" were considered letters of the alphabet from 1754 to 2010. ^1 The digraph ⟨ch⟩ represents the affricate /tʃ/. The digraph was treated as a single letter, called che. ^2 The phonemes /θ/ and /s/ are not distinguished in most dialects. ^3 With the exception of some loanwords: hámster, hachís, which have /x/. ^4 The digraph ⟨ll⟩ represents the palatal lateral /ʎ/ in a few dialects.
For details on Spanish pronunciation, see Spanish phonology and Help:IPA/Spanish. When acute accent and diaeresis marks are used on vowels they are considered variants of the plain vowel letters, but ⟨ñ⟩ is considered a separate letter from ⟨n⟩; this makes a difference when sorting alphabetically: ⟨ñ⟩ appears in dictionaries after ⟨n⟩. For example, in a Spanish dictionary piñata comes after pinza. There are five digraphs: ⟨ch⟩, ⟨ll⟩, ⟨rr⟩, ⟨gu⟩ and ⟨qu⟩. While che and elle were treated each as a single letter, in 1994 the tenth congress of the Association of Spanish Language Academies, by request of UNESCO and other international organizations, agreed to alphabetize ⟨ch⟩ and ⟨ll⟩ as ordinary sequences of letters. Thus, for example, in dictionaries, chico is alphabetized after centro and before ciudad, instead of being alphabetized after all words beginning with cu- as was done. Despite their former status as unitary letters of the alphabet, ⟨ch⟩ and ⟨ll⟩ have always been treated as sequences with regard to the rules of capitalization.
Thus the word chillón in a text written in all caps is CHILLÓN, not *ChILlÓN, if it is the first word of a sentence, it is written Chillón, not *CHillón. Sometimes, one finds lifts with buttons marked LLamar, but this double capitalization has always been incorrect according to RAE rules; this is the list of letters from most to least frequent in Spanish texts: ⟨E A O S R N I D L C T U M P B G V Y Q H F Z J Ñ X W K⟩. B and V The letters ⟨b⟩ and ⟨v⟩ were simply known as be and ve, which in modern Spanish are pronounced identically. In Old Spanish, they represented different sounds but the sounds merged later, their usual names are uve. Some Mexicans and most Peruvians say be grande / chica; some people give examples of words spelt with the letter. In Venezuela, they be alta and ve baja. Regardless of these regional differences, all Spanish-speaking people recognize be as the official name of B. R The digraph ⟨rr⟩ is sometimes called doble erre or erre doble, it is sometimes suggested that the name of the letter ⟨r⟩ be ere when it is single, erre when it is double, but the dictionary of the Real Academia Española defines the name of ⟨r⟩ as erre.
Ere is considered obsolete. The name ere was used when referri
Jamboree on the Air
Jamboree on the Air, known by its acronym JOTA, is an international Scouting and Guiding activity held annually. First held in conjunction with the fiftieth anniversary of Scouting in 1957, it was devised by Leslie R. Mitchell, a radio amateur with the callsign G3BHK, it is now considered the largest event scheduled by the World Organization of the Scout Movement annually. Amateur radio operators from all over the world participate with over 500,000 Scouts and Guides to teach them about radio and to assist them to contact their fellow Scouts and Guides by means of amateur radio and since 2004, by the VOIP-based Echolink; this provides the Scouts and Guides with a means of learning about fellow Scouts and Guides from around the world. Scouts and Guides are encouraged to send paper or electronic confirmations known as "QSL cards", or "eQSLs" when they are sent electronically. In recent years, a parallel Jamboree on the Internet has developed, it is an adjunct to the World Scout Jamboree. The event is recognized as one of international participation by the various Scout and Guide organisations, supports several awards which are a part of Scouting and Guiding programmes.
The Boy Scouts of America recognizes this as an international Scouting event for Citizenship in the World Merit Badge. Guides on the Air Jamboree on the Trail Jamboree on the Internet K2BSA Amateur Radio Association Boy Scouts of America JOTA Information American Radio Relay League Official website
The Istrian stew or jota is a stew, made of beans, sauerkraut or sour turnip, bacon, spare ribs, known in the northern Adriatic region. It is popular in Istria and some other parts of northwestern Croatia. Under the name jota, it is typical of the whole Slovenian Littoral and in the former Austro-Hungarian territories in northeastern Italy in the provinces of Trieste and Gorizia, in some peripheral areas of northeastern Friuli; the dish shows the influence of both Central Mediterranean cuisine. In most of the recipes, olive oil is used, the main seasoning is garlic. In Slovenian Istria, it is eaten together with polenta. Food portal Istria on the Internet, Gastronomy: Jota history and recipes