Jump, South Yorkshire
Jump is a village in the metropolitan borough of Barnsley in South Yorkshire, England. It is north-east of Hoyland, separated from it by the Jump Valley. According to local legend, Jump village was named by the local coal miners having to'jump' over the stream to go to work. Flints from the late Mesolithic have been found in the Roebuck Hill area, along with Neolithic and Bronze Age material. No evidence of permanent settlement has been found from these periods. Pre-Roman Iron Age settlement of the area is known of because of post-holes, indicating the presence of a late-Iron Age roundhouse. A locally made beehive quern is one of many artefacts found at the site. Post-Medieval use of the site shows the construction of a kiln used to produce iron; the parish church is St George's, in the Diocese of Sheffield. Jump has a small selection of pubs and a Working Mens Club: The Flying Dutchman The Coach And Horses The Wellington InnAlso, the village hosts a traditional Fish and Chip shop, a butcher, a hairdresser, a convenience store and a Post Office.
Opening in the village is a Sure Start nursery school, in the centre of the village. The village has a local school for young children, Jump Primary School. Two football teams from the village have competed in the FA Cup: Jump Home Guard F. C. and Jump Working Mens Club F. C; the village is accessible by public transport via two bus routes, the 66, which runs every ten minutes and the Jump Circular 67, which runs in both directions every hour. The nearest train station is just a short walk up the hill in Elsecar. Jump Primary School Media related to Jump, South Yorkshire at Wikimedia Commons
Jump (Madonna song)
"Jump" is a song by American singer Madonna from her tenth studio album Confessions on a Dance Floor. Written by Madonna, Stuart Price and Joe Henry, the song was supposed to be released as the third single of the album. However, since "Get Together" was decided as the third single, "Jump" was released as the fourth and final single from the album, on October 31, 2006 by Warner Bros. Records; the song incorporates techno music with tributes to Pet Shop Boys. Madonna sings in her lower register in the song, its lyrics talk about self-empowerment and sufficiency while looking for the prospects of a new relationship. Contemporary critics complimented its empowerment theme, they praised the club-anthem like quality of the song. The song peaked inside the top ten of the charts of some European countries, topping the charts in Italy and Hungary. In the United States, "Jump" placed in several Billboard dance charts and became one of the most popular dance hits of the decade; the accompanying music video was shot in Tokyo during Madonna's 2006 Confessions Tour stopover.
It portrayed Madonna in a blond bob wig and a leather ensemble singing the song in front of a number of neon signs. The video featured dancers who performed the physical discipline parkour, it was incorporated in her Confessions Tour, where Madonna and her dancers jumped around the stage while singing the song. The song was used in the Ugly Betty season 2 finale; the idea for "Jump" came from Joe Henry who developed it into a song. During an interview with the singer for the British gay lifestyle magazine Attitude, journalist Matthew Todd described that "Jump" as an inspiration for "a whole generation of gay kids to pack their bags and head to the big city", to which Madonna agreed, it was to be released as the third single from the album. However, the song "Get Together" was chosen as the third single from the album to coincide with the start of Madonna's 2006 Confessions Tour; the decision was spurred by the fact that "Get Together" was the third best selling digital single from the Confessions on a Dance Floor album.
Its digital sales at the United States was 20,000 copies at that time, whereas digital sales for "Jump" was at just 9,000 copies. Hence, "Get Together" was chosen as the third single. On July 12, 2006, Billboard confirmed "Jump" to be the fourth single from the Confessions on a Dance Floor album. Musically the song is inspired by the 1980s. A club anthem, the song finds Madonna singing in her lower register, it incorporates the techno music played in the clubs of Ibiza. The song is set in common time with moderately fast dance groove tempo and a metronome of 126 beats per minute, it is set in the key of E major. Madonna's voice spans from D3 to A4, it follows in the chord progression of E–D–C–D in the verses, C–D–E in the chorus, with an E synth drone playing continually. Lyrically "Jump" talked about the urge to move on from one situation to another, it reflected Madonna's change of style from her previous singles and shifting her focus on self-sufficiency. The line "I can make it alone" in the song demonstrated the shift.
The lyrics of "Jump" have been compared to the lyrics of Madonna's 1990 song "Keep It Together" from the Like a Prayer album. The difference between them is that "Jump" focuses more on the potentials of finding new love rather than family values. Keith Caulfield from Billboard complimented the song's "empowerment" theme, adding that "the song is a pulsing pop tune that has a positive universal message about believing in yourself". According to the BBC, "'Jump' whisks the listener back to the heady eighties." While reviewing the album, Alan Braidwood from BBC called the song as "lethally catchy" and one of the album's highlights. Jennifer Vineyard from MTV noticed that "Jump" sounded like a sequel to Madonna's 1990 single "Keep It Together". Jon Pareles of The New York Times in review of Confessions on a Dance Floor, wrote that Madonna's "somber side sounds best in'Jump', about the urge to move on". Sal Cinquemani of Slant Magazine commented that the song is a "gritty club anthem that wouldn't have sounded out of place on Erotica, showcases her lower register".
David Browne from Entertainment Weekly called the song, along with previous single "Get Together" as fluid in nature. Thomas Inskeep of Stylus magazine noted, "...nearly the whole of'Jump' sounds to these ears like a Pet Shop Boys homage." Matt Zakosek of The Chicago Maroon wrote: "The stand-out tracks here are'Jump' and'Push', which sound as close to the 80s Madonna as we're ever going to get again. The lyrics of Jump' are joyous, recalling the fun, community-minded Madonna of True Blue and Like a Prayer." Diego Costa of UWM Post wrote that "Jump" is a "bossy sadistic spoken intro by Madonna, just like in'Erotica', so who can resist? A knock-yourself-out, club-tailored take on the wasteful nature of inertia." Margaret Moser of The Austin Chronicle called the song "slinky and sexy". In the United States, the song was aimed and promoted at the Adult Contemporary and Hot AC format of radio. Warner Bros wanted to establish the song as a hit at those formats before they attempted to bring it to Top 40 CHR radio stations.
However, the song reached a peak of 21 on this chart on the issue dated January 27, 2007. It was used in the soundtrack of the 2006 film The Devil Wears Prada and received minimal airplay on the CHR stations. After its release to the iTunes Store, the song climbed up the Bubbling Under Hot 100 Singles chart and peaked at five, failing to progress further and chart on the Hot 100, it became Madonna's 37th number-one single on the Hot Dance Club Play chart reaching the top on the issue dated No
The long jump is a track and field event in which athletes combine speed and agility in an attempt to leap as far as possible from a take off point. Along with the triple jump, the two events that measure jumping for distance as a group are referred to as the "horizontal jumps"; this event has a history in the Ancient Olympic Games and has been a modern Olympic event for men since the first Olympics in 1896 and for women since 1948. At the elite level, competitors run down a runway and jump as far as they can from a wooden board 20 cm or 8 inches wide, built flush with the runway into a pit filled with finely ground gravel or sand. If the competitor starts the leap with any part of the foot past the foul line, the jump is declared a foul and no distance is recorded. A layer of plasticine is placed after the board to detect this occurrence. An official will watch the jump and make the determination; the competitor can initiate the jump from any point behind the foul line. Therefore, it is in the best interest of the competitor to get as close to the foul line as possible.
Competitors are allowed to place two marks along the side of the runway in order to assist them to jump accurately. At a lesser meet and facilities, the plasticine will not exist, the runway might be a different surface or jumpers may initiate their jump from a painted or taped mark on the runway. At a smaller meet, the number of attempts might be limited to four or three; each competitor has a set number of attempts. That would be three trials, with three additional jumps being awarded to the best 8 or 9 competitors. All legal marks will be recorded but only the longest legal jump counts towards the results; the competitor with the longest legal jump at the end of competition is declared the winner. In the event of an exact tie comparing the next best jumps of the tied competitors will be used to determine place. In a large, multi-day elite competition, a set number of competitors will advance to the final round, determined in advance by the meet management. A set of 3 trial round jumps will be held in order to select those finalists.
It is standard practice to allow at a minimum, one more competitor than the number of scoring positions to return to the final round, though 12 plus ties and automatic qualifying distances are potential factors.. For record purposes, the maximum accepted; the long jump is the only known jumping event of Ancient Greece's original Olympics' pentathlon events. All events that occurred at the Olympic Games were supposed to act as a form of training for warfare; the long jump emerged because it mirrored the crossing of obstacles such as streams and ravines. After investigating the surviving depictions of the ancient event it is believed that unlike the modern event, athletes were only allowed a short running start; the athletes carried a weight in each hand. These weights were swung forward, it was believed that the jumper would throw the weights behind him in midair to increase his forward momentum. Swinging them down and back at the end of the jump would change the athlete's center of gravity and allow the athlete to stretch his legs outward, increasing his distance.
The jump itself was made from the bater. It was most a simple board placed on the stadium track, removed after the event; the jumpers would land in. The idea that this was a pit full of sand is wrong. Sand in the jumping pit is a modern invention; the skamma was a temporary area dug up for that occasion and not something that remained over time. The long jump was considered one of the most difficult of the events held at the Games since a great deal of skill was required. Music was played during the jump and Philostratus says that pipes at times would accompany the jump so as to provide a rhythm for the complex movements of the halteres by the athlete. Philostratus is quoted as saying, "The rules regard jumping as the most difficult of the competitions, they allow the jumper to be given advantages in rhythm by the use of the flute, in weight by the use of the halter." Most notable in the ancient sport was a man called Chionis, who in the 656 BC Olympics staged a jump of 7.05 metres. There has been some argument by modern scholars over the long jump.
Some have attempted to recreate it as a triple jump. The images provide the only evidence for the action so it is more well received that it was much like today's long jump; the main reason some want to call it a triple jump is the presence of a source that claims there once was a fifty-five ancient foot jump done by a man named Phayllos. The long jump has been part of modern Olympic competition since the inception of the Games in 1896. In 1914, Dr. Harry Eaton Stewart recommended the "running broad jump" as a standardized track and field event for women. However, it was not until 1948 that the women's long jump was
Impossible Princess is the sixth studio album by Australian singer Kylie Minogue. It was first released in Japan by BMG on 22 October 1997, distributed worldwide by Mushroom and Deconstruction months later; the singer asserted partial creative control over the project—taking part as a co-producer and composer to the material—and was assisted by various musicians and producers, namely Brothers in Rhythm, Manic Street Preachers, David Ball and Rob Dougan. Sonically, Impossible Princess is a departure from Minogue's previous music, having taken influence from the techno and Britpop revolution in the mid-to-late 1990s. Conceived as an experimental record, the material encompasses a variety of darker styles from the dance genre, including trip hop, rock and bass and house. Additionally, selected recordings experiment with cultural elements like Middle Eastern and Celtic music. Lyrically, the album's central focus is Minogue's self-discovery after a series of trips around Asia and Australasia, further delves into the freedom of expression and emotions.
Upon its release and public reception of Impossible Princess was divided by regions between the UK, throughout Australasia and the Americas. In retrospect, the record has achieved critical acclaim for its status as an underrated release, was highlighted for Minogue's creative input and mixture of genres. Commercially, the album reached the top 10 in Australia and the United Kingdom, was certified Platinum by the Australian Recording Industry Association for physical shipments of 70,000 units. Four singles were released from the album: "Some Kind of Bliss", "Did It Again", "Breathe", "Cowboy Style", all of which experienced moderate success. After a small promotional tour in 1997, Minogue embarked on the Intimate and Live tour in Australia and the UK the following year, a commercial and critical success. Since the album's release, Impossible Princess has been cited as Minogue's best work by various commentators, achieved numerous nominations and recognition by best-ever lists. Despite this, Minogue has stated that she would never create another studio album like Impossible Princess.
Minogue signed a three-album deal with British dance label Deconstruction in 1993, released its first offering, her self-titled fifth studio album on 19 September 1994. The following year, the singer worked with Australian musician Nick Cave and his band the Bad Seeds as a featuring artist to their single "Where the Wild Roses Grow". Additionally, Minogue began a relationship with French photographer Stéphane Sednaoui, embarked on a series of trips throughout North America and Australasia to gain inspiration for her upcoming record, she was encouraged by Sednaoui and Cave to take creative control over her next musical project, so she started writing lyrics. Explaining to British magazine NME that she wanted to "experiment" with her image and sound, Minogue decided to team up with British trio Brothers in Rhythm, who worked on her self-titled album."If works, it'll be my graduation. I've learned a lot. I've grown up. It's the best I can do at this moment, the most I can ask of myself."Each morning, she would present a set of lyrics to Brothers in Rhythm member Dave Seaman from the night before, by October 1995, they started recording rough demos in Chippenham.
From those sessions, they completed their first track "You're the One". Four more songs were developed at Real World studios in Wiltshire. Moreover, "Limbo" and "Did It Again" were published in their original demo form because Minogue felt the "raw" of the tracks worked better than being polished. Seaman noted that Minogue's input was more significant this time round, stating that majority of the album's subject matter was taken from "her own ideas", that she wanted to grow as a person from this experience. Sonically, Minogue was inspired by artists-producers including Björk, Towa Tei, U2, all introduced to her by Sednaoui. Furthermore, she cited British "pioneers" like The Verve, The Prodigy, The Chemical Brothers and The Eels as influences to the album. Crafted to be an electronic dance record, the singer began working with Welsh band Manic Street Preachers, the initial sound started to blend with rock elements, it was Minogue's first record to incorporate live instrumentation, a technique, never introduced in her first five studio records.
Deconstruction's A&R department were absent during the album's process, due to the illness of the label's director Pete Hadfield. Because of this, Minogue stood in to take partial creative control over the project. In order to help produce the album, she attended each music session with Steve Anderson and Seaman to learn about composing, arranging instruments, "distorting" sections of the album's tracks; as a result of this, she was credited as a co-composer and co-producer on the songs "Too Far", "Breathe", "Say Hey" with Brothers in Rhythm. In total, Impossible Princess took nearly two years to record, the longest period of time Minogue had worked on a project since her time acting on the Australian soap opera Neighbours. Anderson explained that its lengthy time was "due to the pure perfectionism of all creatively involved". Musically, Impossible Princess is a departure from Mi
The Cat Empire
The Cat Empire is an Australian rock band formed in 1999. Their core members are Felix Riebl, Harry James Angus, Will Hull-Brown, Jamshid "Jumps" Khadiwhala, Ollie McGill, Ryan Monro, they are supplemented by The Empire Horns, a brass duo composed of Ross Irwin and Kieran Conrau, among others. Their sound is a fusion of jazz, ska and rock with heavy Latin influences; the Cat Empire's origins are traced back to Jazz Cat, a Melbourne-based band, led by Steve Sedergreen in 1999. Jazz Cat was a nine-piece group from different schools and backgrounds which debuted at the Manly Jazz Festival in Sydney, they gigged around Melbourne's jazz club scene including at Dizzy's. Late that year, Jazz Cat spawned The Cat Empire as a four-piece, with Ollie McGill on keyboards, Felix Riebl on percussion and vocals, Ryan Monro on double bass, James Hennessy; the band's name was taken from the title of a drawing by Riebl's younger brother and its distinctive cat's eye icon, known as "Pablo", was created by Ian McGill, Ollie McGill's father.
For a few months both groups performed alternate Thursdays at Dizzy's. The Cat Empire's sound is a fusion of jazz, funk and rock with heavy Latin influences, they started playing a variety of gigs at other clubs including Bennett's Lane. The band expanded in July 2001 by adding Harry James Angus on trumpet, Will Hull-Brown on drums and Jamshid "Jumps" Khadiwala as a DJ on turntables. In late 2001, the band appeared in the Spiegeltent at the Melbourne Festival. By year's end, they had released an independent single "Feline" that October, a live six-track extended play, Live @ Adelphia was released in December. In early 2002, the group played gigs at the Adelaide Festival of Arts, in March, they headlined the Melbourne International Comedy Festival and St Kilda Film Festival; the ensemble commenced its first overseas tour on the West Coast of the United States playing at The Matrix in San Francisco and at the Napa Valley Wine Auction in June. The band received a Music for the Future grant to fund the recording of a live album, The Sun, at Melbourne's Adelphia studio.
At the Edinburgh Festival, they played sixteen successive shows in the Late'n' Live slot between 3 am and 5 am. They performed at a series of local gigs; the Cat Empire recorded its debut studio album, The Cat Empire, in seven months during 2003 with producer Andy Baldwin in Melbourne. Between recording sessions they toured Australia, including appearing at the St Kilda Festival with Ceberano, at the East Coast Blues & Roots Music Festival in April; the ensemble was nominated in two categories at the Australian Jazz Bell Awards. They applied for an International Pathways grant from The Australian Arts Council; the band was featured on BBC Four performing at the 2003 WOMAD Festival. The lead single, "Hello", was placed on high rotation on BBC Radio 1 in August; the group's growing live and critical reputation enabled them to approach record companies for a deal to issue the album in August. They signed with EMI and Virgin Records, in the UK, with an independent label; the Cat Empire released their second album, Two Shoes on 19 April 2005.
It was recorded in Havana, Cuba, at Egrem Studios, late in 2004, with production by The Cat Empire and Jerry Boys. It debuted at number 1; the tracks were more Latin in flavour, with a higher proportion written by Angus than on the first album and it contained some songs released on their debut. Allmusic's Jeff Tamarkin wrote "Skipping merrily from alt-rock crunch to hip-hop beats, landing on reggae/ska, Latin jazz, points in between, Two Shoes is clever and brainy and absorbing"; the Australian version contains a hidden track, called "1001", coupled with the track, "The Night That Never End". The lead single, "Sly", was issued ahead of the album on 28 March and reached the top 30; the song appeared on EA Sports' FIFA 08 soundtrack. "The Car Song", written by Angus, was released as the second single in July, peaked in the top 50. In July, the band played two sets at the Cambridge Folk Festival. In the month, they performed a set on Sunday evening of Sheep Music Festival for World music. In October, Two Shoes Deluxe Edition DVD was released, which contained live footage of Lullaby and The Car Song, a documentary on the making of the album in Cuba, the original video clips created for the album, behind-the-scenes footage.
The ensemble featured on a Triple J CD entitled Like a Version, featuring cover versions of songs performed by artists on Mel Bampton's show, Mel In The Morning. Their track was a version of "Hotel California", sung in French by Riebl. By the end of 2005, The Cat Empire achieved double platinum certificate and Two Shoes achieved platinum status. In March 2006, The Cat Empire participated in the opening ceremony of the Melbourne Commonwealth Games, playing their own compositions for an hour as the Games' athletes entered the stadium, introducing the group to an estimated worldwide audience of one billion; the band signed an American record deal with Velour Recordings, which released a modified version of the second Australian album, Two Shoes with different tracks. On 1 April 2006, the group issued their third studio album, Cities (aka Cities: The Cat Em
The high jump is a track and field event in which competitors must jump unaided over a horizontal bar placed at measured heights without dislodging it. In its modern most practised format, a bar is placed between two standards with a crash mat for landing. In the modern era, athletes run towards the bar and use the Fosbury Flop method of jumping, leaping head first with their back to the bar. Since ancient times, competitors have introduced effective techniques to arrive at the current form; the discipline is, alongside the pole vault, one of two vertical clearance events to feature on the Olympic athletics programme. It is contested at the World Championships in Athletics and IAAF World Indoor Championships, is a common occurrence at track and field meetings; the high jump was among the first events deemed acceptable for women, having been held at the 1928 Olympic Games. Javier Sotomayor is the current men's record holder with a jump of 2.45 m set in 1993 – the longest standing record in the history of the men's high jump.
Stefka Kostadinova has held the women's world record at 2.09 m since 1987 the longest-held record in the event. The rules for the high jump are set internationally by the International Association of Athletics Federations. Jumpers must take off on one foot. A jump is considered a failure if the bar is dislodged by the action of the jumper whilst jumping or the jumper touches the ground or breaks the plane of the near edge of the bar before clearance; the technique one uses for the jump must be flawless in order to have a chance of clearing a high bar. Competitors may begin jumping at any height announced by the chief judge, or may pass, at their own discretion. Most competitions state that three consecutive missed jumps, at any height or combination of heights, will eliminate the jumper from competition; the victory goes to the jumper. Tie-breakers are used for any place. If two or more jumpers tie for one of these places, the tie-breakers are: 1) the fewest misses at the height at which the tie occurred.
If the event remains tied for first place, the jumpers have a jump-off, beginning at the next greater height. Each jumper has one attempt; the bar is alternately lowered and raised until only one jumper succeeds at a given height. The first recorded high jump event took place in Scotland in the 19th century. Early jumpers used either a scissors technique. In latter years, soon after, the bar was approached diagonally, the jumper threw first the inside leg and the other over the bar in a scissoring motion. Around the turn of the 20th century, techniques began to change, beginning with the Irish-American Michael Sweeney's Eastern cut-off. By taking off like the scissors and extending his spine and flattening out over the bar, Sweeney raised the world record to 1.97 m in 1895. Another American, George Horine, developed an more efficient technique, the Western roll. In this style, the bar again is approached on a diagonal, but the inner leg is used for the take-off, while the outer leg is thrust up to lead the body sideways over the bar.
Horine increased the world standard to 2.01 m in 1912. His technique was predominant through the Berlin Olympics of 1936, in which the event was won by Cornelius Johnson at 2.03 m. American and Soviet jumpers were the most successful for the next four decades, they pioneered the evolution of the straddle technique. Straddle jumpers took off as in the Western roll, but rotated their torso around the bar, obtaining the most efficient and highest clearance up to that time. Straddle-jumper, Charles Dumas, was the first to clear 7 feet, in 1956, American John Thomas pushed the world mark to 2.23 m in 1960. Valeriy Brumel took over the event for the next four years; the elegant Soviet jumper radically sped up his approach run, took the record up to 2.28 m, won the Olympic gold medal in 1964, before a motorcycle accident ended his career. American coaches, including two-time NCAA champion Frank Costello of the University of Maryland, flocked to Russia to learn from Brumel and his coaches. However, it would be a solitary innovator at Oregon State University, Dick Fosbury, who would bring the high jump into the next century.
Taking advantage of the raised, softer landing areas by in use, Fosbury added a new twist to the outmoded Eastern Cut-off. He directed himself over the bar head and shoulders first, sliding over on his back and landing in a fashion which would have broken his neck in the old, sawdust landing pits. After he used this Fosbury flop to win the 1968 Olympic gold medal, the technique began to spread around the world, soon floppers were dominating international high jump competitions; the last straddler to set a world record was Vladimir Yashchenko, who cleared 2.33 m in 1977 and 2.35 m indoors in 1978. Among renowned high jumpers following Fosbury's lead were Americans Dwight Stones and his rival, 1.73 metres tall Franklin Jacobs of Paterson, NJ, who cleared 2.32 m, 0.59 metres over his head. The approach run of the high jump may be more important than the take-off. If
Know No Better
Know No Better is an extended play by American electronic music band Major Lazer. It was released on June 2017, by Mad Decent; the EP includes 6 tracks featuring collaborations with numerous artists, including Travis Scott, Camila Cabello, Quavo, J Balvin, Sean Paul, Nasty C, Ice Prince, Jidenna, Busy Signal, Machel Montano and Brazilian singers Anitta and Pabllo Vittar. The lead single, "Know No Better", was announced as the original lead single on May 22, 2017, to be released official single with on May 31, 2017, featuring vocals from American rappers, Travis Scott and Quavo, Cuban-American singer Camila Cabello. Major Lazer clarified, by tweeting out that the song would be released on June 1, at 8 AM ET, 12 PM BST. Camila Cabello teased the original track on May 26, by tweeting out lyrics from the song, she posted snippets of the song on her Snapchat story the same day. The second single, "Sua Cara", was announced on February 2017, to be released official single with on July 30, 2017, featuring vocals from Brazilian singers Anitta and Pabllo Vittar.
On June 20, Major Lazer traveled to Morocco along with Anitta and Pabllo Vittar to record the music video for "Sua Cara". It was directed by Bruno Ilogti; the music video is on ninth place on the list of most viewed online videos in the first 24 hours, second place on the list of most viewed music videos in the first 24 hours, with 25 million views. Particula was released as the third single from the EP alongside a music video, it appeared on Give Me Future. Andy Cush of Spin wrote that the EP "sounds the same", he added, "Maybe at some point soon they'll recognize that the magic of these particular tricks is starting to wear out. Or, like the title of the record implies, maybe they don't know anything better". Pitchfork's Jonah Bromwich gave the EP a positive review, stating that: "And as fun as it is at times, Know No Better doubles as a testament to the result of spreading a handful of good ideas too thin." Digital download^ signifies a co-producer. All songwriting credits are adapted from liner notes