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Super Locomotive

Super Locomotive is a side-scrolling train arcade video game developed by Sega and released in 1982. The objective of the game is to guide a train from one station to next. Along the route, the player must avoid obstacles such as other trains, red signals, trucks crossing intersections, guide the train along multiple routes by changing tracks en route; the player is armed with a steam fire bullet for destroying airborne targets, a temporary force field which protects the train for a limited period of time. The use of the bullets and shields deplete an energy bar which must be maintained between levels by picking up oil items en route. Upon completion of a level, a bonus stage is played which involves the train attempting to shoot as many airborne enemies within a finite time period; the bonus awarded is dependent upon the number of enemies destroyed. The game resumes on more challenging levels; the game's soundtrack features a chiptune rendition of Yellow Magic Orchestra's synthpop hit "Rydeen" playing throughout the main gameplay.

The same tune appeared in several personal computer games, including Rabbit Software's Trooper Truck and Superior Software's Stryker's Run, as the Ocean Software loader theme for Daley Thompson's Decathlon. Computer and Video Games magazine reviewed the game in its September 1983 issue, they said it is an "enjoyable romp" with "a good setting" and "a marvelous rousing tune that adds to the action." The game was reported to have a limited production run with only 35 PCB boards printed. Of those, most remained in Japan, with the remainder exported to Sega Europe and all sold to UK customers; this means that the game was not natively present in either mainland Europe or the US. While no official conversions of the game exist, the 1984 computer game Loco is inspired by Super Locomotive. Rabbit Software's 1983 computer game Trooper Truck is inspired by the game. Super Locomotive at the Killer List of Videogames

Game of Thrones Tapestry

The Game of Thrones Tapestry is a hand-woven tapestry which stands at 66 m long, opened to the public on 21 July 2017 at the Ulster Museum in Belfast, Northern Ireland. Once finished, it will be longer than the Bayeux Tapestry, at 77 m; the tapestry tells the entire story of Game of Thrones. It consists of six 11 metre long panels of hand-woven fabric, one 10.5 metre panel. The seven panels depict scenes from each episode of the aired seasons. After season 8 is aired in 2019, the tapestry is planned to grow to reflect that season's six episodes; the Game of Thrones Tapestry is a campaign which celebrates Northern Ireland and its historic contribution to the legacy linen mills which once was the largest linen and textile industry of its time. At the end of the 19th century, it had been estimated that over 100,000 people in the north of Ireland were employed in the manufacture and decoration of linen. Today, the Irish linen and textile industry is much smaller, whereas a growing number of the Northern Irish have found direct or indirect employment in the Game of Thrones tourism industry.

The tapestry was commissioned by Tourism Ireland and HBO. Publicis London, the advertising agency, generated this campaign to help a global audience understand this shift in employment; the tapestry was made from material which represents that of the late 18th century and a technique passed on from generations. The tapestry was hand-embroidered by some of the last few people remaining in the industry in Northern Ireland. Traditional tapestries tell the stories of times gone by and have represented history and heritage from as far back as 3rd Century BC; the typical medieval style of Game of Thrones, along with many iconic scenes, have been used to influence and craft the illustrative style of tapestry. As some garments worn in the show have been supplied by the Irish textile trade, the tapestry contains these same woven yarns; the yarns used in the tapestry have been supplied by Thomas Co.. Ltd of Banbridge in associations with the Irish Linen Guild; the style of characters has been designed to reflect those from the show.

Publicis London worked with HBO ensuring all characters were true to show and their role during that particular scene. The tapestry has drawn some controversy around famous cameos and whether they have been included. In July 2017 the online website was launched. The site allows those who are not able to visit the tapestry, to see the entire tapestry in incredible detail. Users can scroll the entire length of the tapestry and zoom in to see each individual stitch; the website was updated. The site plots the filming locations famous to Northern Ireland and presents further key facts within the show and each location; the site encourages users to share their favourite key scenes. The tapestry began production with a set of avid Game of Thrones fans in Publicis London who employed a group of illustrators from an established animation/illustration studio in London called Jelly London; the illustrators huge fans, would start by creating an outline sketch using both pen and digital touch screen.

Sketches would be in black and white with the aim of identifying the correct style, tone of voice and detail, for approval by HBO and Tourism Ireland. Once approved, the line drawings would pass through the colourisation phase; the colourisation phase is a lengthy process of converting the monochrome designs into a coloured piece of illustrated artwork. This process considers line widths and resolution and identifies the correct colour palette to use per section; the illustrated artwork is passed to a hand-weaving specialist. The artists at Dash & Miller started the weaving process by setting up their loom to the required specification. Several tests were carried during the early stages of the campaign to determine the design density and range of colours possible. A specialist software is used to help translate the artwork into a format readable by the loom. Once programmed, the team at Dash & Miller begin weaving, using the colour palettes instructed by the loom; the average speed of weaving is 4 hours per metre.

To capture the weekly episodes, a camera was installed above the loom: it was set to take regular shots during the weaving process, which were stitched together to create a weekly time-lapse. Once woven, the 11-metre section of tapestry would be shipped to Belfast to be embroidered; the Ulster Folk and Transport Museum, near Holywood, County Down, was used as the secret location for this work. Key areas on the tapestry was selected to be embroidered by a team of 30 stitchers working in groups of 6 and 9 at a time; the team included six staff from the museum. The work relied on the help of volunteers drawn from textiles guilds that have a thirty-year relationship with the museum. Members of the Northern Ireland Lace Guild, Patchwork Guild, Embroidery Guild responded to the call for help with embroidery and joined staff at the museum to stitch on a daily basis for over three weeks; the volunteers ranged from a recent textiles graduate in her mid-twenties to an 82-year-old with a background in the garment stitching industry.

The jacquard loom used for weaving the tapestry is a hand-operated TC2 weaving loom from Digital Weaving Norway. This loom is the latest technology in hand-woven jacquard design and allows the hand-weaver to create intricate and complex patterns by hand; the black and white cotton warp threads first need to be wound onto the loom. This is done in 64m lengths, the thr

Kenneth Hopper

Kenneth Hopper, a Scots engineer and now a US citizen, has made a lifelong study of different national manufacturing cultures. His studies of the origins of America's factory management culture and its influence on Japanese factory management and elsewhere after World War II have received international recognition, he is the author of numerous academic and professional articles on management. He is married to Claire White Hopper, a former bank executive, lives in Hackettstown, New Jersey, his brother, William Hopper, is an investment banker, based in London. Kenneth Hopper was born Scotland. Kenneth Hopper is the son of an eminent Scottish professor of chemistry, raised on a small farm in Northern Ireland and educated in a one-room schoolhouse through secondary school; the father's talent, earned him a scholarship to the Royal Academy of Science in Dublin. Professor Hopper, being Irish, was not allowed to serve in the Army during World War I, so he found employment as a graduate foreman with British Dyestuffs.

The nitroglycerine section, where he worked, was known as "the land of the one-legged stools," as plant operators could not be allowed to doze off allowing a vat of new explosive liquid to overheat and explode. His father, in addition to his duties at the Royal Technical College, was co-author of a respected text on organic chemistry, still being used. Professor Hopper headed the Scottish section for the Society of Chemical Industry. Kenneth recalls many discussions about the chemical industry around the family table the issues raised about his father's opinion that the Haber labs in Germany were much superior to any British installation; this question of the superior efficacy of various nations' manufactures was thus an early perception of Kenneth Hopper's. After a short illness, Kenneth Hopper died on 20 May 2019 in his home in Hackettstown NJ. Most of his priceless archives, recording the US influence on Japan's recovery, were donated to the Drucker Institute in California. Hopper attended "public" schools in Glasgow, graduating in 1942.

During college, he worked one summer as a "production chaser" in the Cathcart Pump works and another in G & J Weir—a young man with a wheelbarrow fetching parts from remote departments, as he describes it. This gave him the opportunity to visit many areas of the works and observe first-hand the practical problems of major manufacturers, he matriculated at the premiere British training ground for technology. Upon graduation in 1946, he earned First Class Honours in Mechanical Engineering, Glasgow University. Pending graduation, he had enlisted in the British Army's Signal Corps Officer Training Corps, but when he reported for duty in 1946, he was "demobbed" along with other World War II servicemen. However, this brief contact with the world of radio electronics stimulated an interest in that field that flowed into his studies of the Civil Communications Section seminars; these post-war seminars were designed by the American occupation for Japanese electronics manufacturers, as there was a considerable need to keep the Japanese population informed of America's postwar reconstruction efforts there.

Mr Hopper observed that innovations such as radar and the jet engine came from English inventors, but each of these was turned to another nation America, for manufacturing. This was blatantly obvious during the war when fleets of merchant vessels had to be employed to bring parts back to Great Britain that could have been made on the island kingdom, a tragic story of submarine warfare that Hopper heard from P&G's principle fitter. Radar's refinement from a non-directional to a directional scanning device, for instance, came from the Bell Laboratories of Summit, New Jersey, USA. So, Mr. Hopper entered the manufacturing phase of his career with a keen awareness of the need for understanding how industries evolved innovative practices. Mr. Hopper served a graduate apprenticeship at Metropolitan-Vickers from 1946 to 1948, in Manchester, England worked for Procter & Gamble from 1948 to 1957. There he was engineer in charge on the start-up of P&G's Manchester high pressure hydrolysis unit for making soap and on the start-up of P&G's first Standard Tower Unit for making synthetic detergents outside the US.

More to the point, as a P&G engineer he was responsible for applying P&G's long-established Just-in-Time Production Control Method. In 1957, as Head of Mechanical Methods and Planning, he led the first introduction of P&G's advanced participative industrial management methods outside the US. On a 1957 visit to the US Hopper met Prof. Peter Drucker, who stimulated his interest in the work of the Civil Communications Section during the American Occupation of Japan. Mr. Hopper expanded on those accomplishments at P&G, from 1957 to 1962, was a consultant with Associated Industrial Consultants, he helped Irish manufacturers and the Irish Government reorganise to meet Common Market competition in the early years of the Celtic Miracle. • From 1961 to 1962 he represented the Irish Hosiery Manufacturers on the Committee on Industrial Organization and was joint author of the CIO 1962 Report on the Irish Hosiery industry. From 1962 to 1963, he was a member of AIC's Division of Industrial and Human Relations, working with manufacturers in the UK.

Mr Hopper returned to general consulting with Belgian and French industry in 1964–65. He worked with both the funeral and wine businesses on the continent. A grant from the Foundation for Management Education allowed Hopper to carry out research on college graduate foremen at the Harvard Business School from 1965 to 1966, some of which

Greece at the 1912 Summer Olympics

Greece competed at the 1912 Summer Olympics in Stockholm, Sweden. 22 competitors, all men, took part in 25 events in five sports. Greek athletes have competed in all Summer Olympic Games. A single swimmer competed for Greece at the 1912 Games, it was the second time the nation appeared in swimming, the first since the 1896 Summer Olympics. Asimakopoulos placed third in the initial heats of his only event, the 100 metre freestyle, did not advance to the quarterfinals. Ranks given for each swimmer are within the heat. Men 5 athletes represented Greece, including three. All three had represented Greece at the 1906 Intercalated Games, it was the fifth appearance of the nation in athletics, in which Greece had competed at each Olympics. Tsiklitiras, who had taken silver medals in both the standing jumps in 1908, again medalled in both with a gold and a bronze this time; those two medals were the only ones. Dorizas, the defending silver medalist in the freestyle javelin, suffered from the elimination of that event and did not medal in either of his throwing events.

Banikas was the third returner. Ranks given are within that athlete's heat for running events. Seven fencers represented Greece, it was the second appearance of the nation in fencing and the first since 1896. The Greek fencers did not advance to the finals in any event, falling only one place short of qualifying three times. Nine shooters competed for Greece, it was the nation's third appearance in shooting. Greek shooters did not win any medals in 1912. Levidis came closest to winning a medal, shooting into a three-way tie for second place in the 300 metre military rifle. In the shoot-off, he finished last of the three to take an overall rank of fourth place. Greece was represented by a single wrestler in its second Olympic wrestling appearance, its first since the 1896 Games in Athens. Antonopoulos was eliminated at 26th place. Official Olympic Reports International Olympic Committee results database

Underbelly (soundtrack)

The soundtrack from the controversial Australian TV series, Underbelly was released on 29 March 2008. It features some of the songs from various artists that played in episodes, includes elements of the score by Burkhard Dallwitz; as listed at various sources "It's A Jungle Out There" Burkhard Dallwitz "Coca-Cola" Little Red "We Don't Walk" The Paper Scissors "Sticky Fingers" Jamaica Jam "My Pal" GOD "Don't Fight It" The Panics "They Call It Love?.... Wow" Evelyn Morris "Sorry" The Easybeats "The Giraffe" Vulgargrad "La Musique" Riot in Belgium "These Are Our Children" I Monster "12 Gates To The City" Suzie Higgie "Molasses In The Moonlight" Jack & Misty "One Night Alone" Winterpark "The Carnival Is Over" Nick Cave & The Bad Seeds "Cyclone On Ceylon" Oleg Kostrow "Mon Cheri" Klaus Wusthoff "Underbelly Suite" Burkhard Dallwitz The iTunes Store has a different listing. "It's A Jungle Out There" Burkhard Dallwitz "Coca-Cola" Little Red "We Don't Walk" The Paper Scissors "Sticky Fingers" Jamaica Jam "My Pal" GOD "Don't Fight It" The Panics "The Call It Love?....

Wow" Evelyn Morris "Sorry" The Easybeats "Wishing Well" Symbiosis "The Giraffe" Vulgargrad "La Musique" Riot in Belgium "These Are Our Children" I Monster "12 Gates To The City" Suzie Higgie "Molasses In The Moonlight" Jack & Misty "One Night Alone" Winterpark "The Carnival is Over" Nick Cave & The Bad Seeds "Cyclone On Ceylon" Oleg Kostrow "Underbelly Suite" Burkhard Dallwitz These tracks that were not included in this album release but were played in the series: "Come On Come On" Little Birdy "Shazam!" Spiderbait "La Donna E Mobile" Verdi "Black Betty" Spiderbait "Fucken Awesome" Spiderbait "Stop the Sun" The Vacant Lanes "I Still Pray" Kasey Chambers & Paul Kelly "Tarantula" Pendulum featuring Fresh $Pyda & Tenor Fly "The Girl Of My Dreams" Machine Gun Fellatio "Bring it on" Fdel "four on the floor" Spiderbait "Up In Here" DMX "Apple Pie" Coco Electrik "Burn It Up" The Cheats Underbelly

Mama and papa

In linguistics and papa are considered a special case of false cognates. In many languages of the world, sequences of sounds similar to /mama/ and /papa/ mean "mother" and "father" but not always in that order; this is thought to be a coincidence resulting from the process of early language acquisition. These terms use speech sounds that are among the easiest to produce: bilabials like /m/, /p/, /b/, the open vowel /a/, they are, therefore among the first word-like sounds made by babbling babies, parents tend to associate the first sound babies make with themselves and to employ them subsequently as part of their baby-talk lexicon. Thus, there is no need to ascribe to common ancestry the similarities of! Kung ba, Aramaic abba, Mandarin Chinese bàba, Persian baba. For the same reason, some scientists believe that'mama' and'papa' were among the first words that humans spoke. Variants using other sounds do occur: for example, in Fijian, the word for "mother" is nana, the Turkish word is ana, in Old Japanese, the word for "mother" was papa.

The modern Japanese word for "father," chichi, is from older titi. Few languages lack labial consonants, only Arapaho is known to lack an open vowel /a/; the Tagalog -na- / -ta- parallel the more common ma / pa in nasality / orality of the consonants and identity of place of articulation. The linguist Roman Jakobson hypothesized that the nasal sound in "mama" comes from the nasal murmur that babies produce when breastfeeding: Often the sucking activities of a child are accompanied by a slight nasal murmur, the only phonation which can be produced when the lips are pressed to mother’s breast or to the feeding bottle and the mouth full; this phonatory reaction to nursing is reproduced as an anticipatory signal at the mere sight of food and as a manifestation of a desire to eat, or more as an expression of discontent and impatient longing for missing food or absent nurser, any ungranted wish. When the mouth is free from nutrition, the nasal murmur may be supplied with an oral labial release. "Mama" and "papa" in different languages: Aramaic: Imma for mother and Abba for father Hebrew: Em for mother and av for father Dialectal Arabic/Maltese أم for mother and أب for father Khmer has different words that indicate different levels of respect.

They include the intimate ម៉ាក់ and ប៉ា, the general ម៉ែ and ពុក, the formal ម្ដាយ and ឪពុក. Vietnamese, mẹ is bố is father. Má and ba or cha in Southern Vietnamese. Tagalog, mothers can be called ina, fathers ama. Two other words for the same in common use and tatay, came from Nahuatl by way of Spanish. Owing to contact with Spanish and English, mamá, papá, ma, dad or dádi are used. In Indonesian, mother is called Emak or Ibu, father is called Ayah; the modern Indonesian word for "Father", was & "Mother", was.the word "Mami & Papi" has been used since the days of the Dutch Indies Colonial, causing the mixing of the words "Papa & Mama", Europe to "Papi & Mami", Indonesia. Though amma and nana are used in Tulu, they are not Tulu words but used due to the influence of neighboring states' languages; the actual words for mother in Tulu is nane pronounced IPA: and the word for father in Tulu is amme pronounced IPA:. Note that the usage of these words is at odds with the usage pattern in other languages.

In Telugu, "Thalli" and "Thandri" are used for father in formal Telugu. Amma and nana or bapu are used for father for the informal way. Notice how nana refers to maternal grandfather in Hindi, how that differs from its Telugu meaning. "Nayana" is used for father in informal Telugu in the Rayalaseema region of Andhra Pradesh and Telangana of India. Note that the usage of these words is at odds with the usage pattern in other languages. In Malayalam, the word for mother is "Amma" and for father is "Achan". In scholastic usage and Pithav are used respectively. "Achan" is a transformed Malayalam equivalent of the Sanskrit "Arya" for "Sir/Master". Other words like "Appan", "'Bappa'" etc. are used for father, words such as "Umma", "Ammachi" for mother. In Tamil, "Thaai" and "Thanthai" are the formal Tamil words for father. In the Kannada language, "Thaayi" for mother and "Thande" for father are used formally, but to address them informally Kannadigas use amma for mother and appa for father. Estonian ema Hungarian apa means "father" and anya means mother, which tends to use open vowels such as and.

For formal usage, these words are applied, but both mama and papa are used as well, in informal speech. For family internal addressing and anyu are used. Finnish emä In the Proto-Indo-European language, *mā́tēr meant "mother" and *pǝtḗr meant "father", átta meant "papa", a nursery word for "father". Catalan mamà / mama French maman Galician nai / "mai" Italian mamma and papà Lombard mader Portuguese mãe / pai.