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Verb

A verb, from the Latin verbum meaning word, is a word that in syntax conveys an action, an occurrence, or a state of being. In the usual description of English, the basic form, with or without the particle to, is the infinitive. In many languages, verbs are inflected to encode tense, aspect and voice. A verb may agree with the person, gender or number of some of its arguments, such as its subject, or object. Verbs have tenses: present. In languages where the verb is inflected, it agrees with its primary argument in person, number or gender. With the exception of the verb to be, English shows distinctive agreements only in the third person singular, present tense form of verbs, which are marked by adding "-s" or "-es"; the rest of the persons are not distinguished in the verb. Latin and the Romance languages inflect verbs for tense–aspect–mood, they agree in person and number with the subject. Japanese, like many languages with SOV word order, inflects verbs for tense-aspect-mood, as well as other categories such as negation, but shows no agreement with the subject - it is a dependent-marking language.

On the other hand, Basque and some other languages, have polypersonal agreement: the verb agrees with the subject, the direct object, the secondary object if present, a greater degree of head-marking than is found in most European languages. Verbs vary by type, each type is determined by the kinds of words that accompany it and the relationship those words have with the verb itself. Classified by the number of their valency arguments three basic types are distinguished: intransitives, transitives and double transitive verbs; some verbs hence complements, such as copular verbs. In addition, verbs can be nonfinite, not inflected for tense, have various special forms such as infinitives, participles or gerunds. An intransitive verb is one. Intransitive verbs may end a sentence. For example: "The woman spoke softly." "The athlete ran faster than the official." "The boy wept." A transitive verb is followed by a noun phrase. These noun phrases are not called predicate nouns, but are instead called direct objects because they refer to the object, being acted upon.

For example: "My friend read the newspaper." "The teenager earned a speeding ticket." A way to identify a transitive verb is to invert the sentence. For example: "The newspaper was read by my friend." "A speeding ticket was earned by the teenager." Ditransitive verbs precede either two noun phrases or a noun phrase and a prepositional phrase led by to or for. For example: "The players gave their teammates high fives." "The players gave high fives to their teammates." When two noun phrases follow a transitive verb, the first is an indirect object, that, receiving something, the second is a direct object, that being acted upon. Indirect objects can be prepositional phrases. Double transitive verbs are followed by a noun phrase that serves as a direct object and a second noun phrase, adjective, or infinitive phrase; the second element is called a complement, which completes a clause that would not otherwise have the same meaning. For example: "The young couple considers the neighbors wealthy people."

"Some students perceive adults quite inaccurately." "Sarah deemed her project to be the hardest she has completed." Copular verbs can't be followed by an adverb or end a sentence, but instead must be followed by a noun or adjective, whether in a single word or phrase. Common copulae include be, become, appear and remain. For example: "His mother looked worried." "Josh remained a reliable friend." Copulae are thought to ` link' the noun to the subject. The copular verb be is manifested in eight forms: be, is, am, was, were and being in English; these verbs precede nouns or adjectives in a sentence, which become predicate nouns and predicate adjectives similar to those that function with a linking verb. They can be followed by an adverb of place, sometimes referred to as a predicate adverb. For example: "Her daughter was a writing tutor." "The singers were nervous." "My house is down the street." Adjectives that come after copular verbs are predicate adjectives, nouns that come after linking verbs are predicate nouns.

The number of arguments that a verb takes is called its valence. Verbs can be classified according to their valency: Avalent: the verb has neither a subject nor an object. Zero valency does not occur in English. Intransitive: the verb only has a subject. For example: "he runs", "it falls". Transitive: the verb has a subject and a direct object. For example: "she eats fish", "we hunt nothing". Ditransitive: the verb has a subject, a direct object, an indirect object. For ex

Ariakon SIM-5

The Ariakon SIM-5 is a semi-automatic open bolt blow-back marker designed for the sport of paintball. It is manufactured by the pneumatics company Ariakon; the SIM-5 is part of the SIM series, a series of MilSim paintball markers, designed from the ground up by Ariakon. The SIM-5 is designed to imitate the H&K MP5; the SIM-5 uses iron sights, like its real counterparts, though it may be hard to use with paintball goggles on. The SIM-5 achieved to give the MilSim look that low-end markers would have difficulties matching without extensive modifying; this includes the safety design, receiver shape, cocking handle, stock installation. The SIM-5 features the quick barrel removal; as it only requires only one pin to be pulled out before the whole barrel can be removed cleaning the barrel is a lot easier on the field. Though the downside is that this special design is that the barrel cannot have a thread, makes it harder to get an aftermarket barrel upgrades. Unlike most markers though, Ariakon has incorporated a high-quality barrel as a standard, so barrel upgrades will not be necessary.

Ariakon has designed the SIM-5 to be lightweight, most parts are made of aluminum and plastic. It has been complained about the foregrip, upper receiver, stock being plastic, are broken under harsh conditions, but Ariakon seems to have fixed the fragile stock; the SIM-5 Pro Elites are upgraded with a red/green dot sight and a sight rail, a mock silencer, a retractable stock, a tactical flash light. Semi-Automatic Adjustable Sights for Windage & Elevation Air-Through MP5 Style Magazine MP5 Style Cocking Lever Quick Field Stripping Pins MP5 Style Safety Double Stack Blow-back operation Barrel Length: 9 in Overall Length: 29 in Caliber: 0.68 inches Weight: 4.14 lb Power: CO2, Compressed Air, or Nitrogen Scenario paintball Ariakon Overlord Ariakon SIM-5 Basic Official Site Ariakon SIM-5 Pro Elite Official Site Ariakon Forum

Honkytonkville

Honkytonkville is the twenty-second studio album by American country singer George Strait, released in 2003 by MCA Nashville. One of only a few albums of his career not to produce a Number One single, the album was certified platinum by the RIAA, it produced the singles "Tell Me Something Bad About Tulsa", "Cowboys Like Us" and "Desperately", at #11, #2 and #6 on the country charts. "Honk If You Honky Tonk" charted at #45 based on unsolicited airplay. "She Used to Say That to Me" was recorded by Jim Lauderdale on his 1997 album, Whisper. "Tell Me Something Bad About Tulsa" was recorded by Merle Haggard on his 1986 album Out Among The Stars. "Desperately" was recorded by Bruce Robison on his 1998 album Wrapped. "She Used to Say That to Me" - 2:57 "Honkytonkville" - 2:48 "Look Who's Back from Town" - 4:04 "Cowboys Like Us" - 3:39 "Tell Me Something Bad About Tulsa" - 3:16 "As Far as It Goes" - 3:39 "I Found Jesus on the Jailhouse Floor" - 3:36 "Desperately" - 4:07 "Honk If You Honky Tonk" - 2:14 "Heaven Is Missing an Angel" - 4:24 "Four Down and Twelve Across" - 2:51 "My Infinite Love" - 3:45 As listed in liner notes.

Eddie Bayers - drums Stuart Duncan - fiddle, mandolin Paul Franklin - steel guitar Steve Gibson - acoustic guitar Wes Hightower - background vocals Chris Leuzinger - electric guitar Brent Mason - electric guitar, nylon string guitar Steve Nathan - keyboards Matt Rollings - keyboards Marty Slayton - background vocals George Strait - lead vocals Biff Watson - acoustic guitar Glenn Worf - bass guitar, upright bassStrings performed by the Nashville String Machine contracted by Carl Gorodetzky and arranged by Bergen White

Dromedary (band)

Dromedary known as the Dromedary Quartet, is an American world music band based out of Athens, Georgia but now with members on both coasts. The group formed as a duo consisting of Andrew Reissiger and Rob McMaken playing a variety of instruments from cultures across the globe; the group's most recent album Sticks and Stones features New Orleans-to-Athens transplant Louis Romanos and Chris Enghauser. Instruments utilized include the Bolivian charango, the Turkish cumbus, the Appalachian dulcimer and guitar; the duo have been frequent collaborators with North Carolina-based singer-songwriter Jonathan Byrd. Together they recorded The Sea and The Sky, an album of songs Byrd wrote inspired by a band. Artifact Live from the Make Believe Dromedary Quartet Sticks and Stones The Sea and The Sky This Is The New That Budd Kopman, "Quartet", All About Jazz, August 15, 2006 "Dromedary Expands to a Quartet and Presents New Album", World Music Central, August 12, 2006 Mike Joyce, "Jonathan Byrd & Dromedary - The Sea & the Sky, Andrew McKnight - Beyond Borders", The Washington Post, February 25, 2005, p.

WE08 Liz Carlisle, "The Best New Folk of Summer 2004: Part II: The intellectuals", The Harvard Independent, October 7, 2004 Matt Watroba, "Jonathan Byrd & Dromedary: forces of nature", Sing Out!, 48:3, Fall 2004 Francois Couture, "Review: Live from the Make Believe, Allmusic, 2003 Francois Couture, "Review: Artifact, Allmusic Matt Hutchinson, "We are not the world: Athens duo Dromedary breathes American life into international flavors", CreativeLoafing.com, October 30, 2003 Daniel Arizona, "Splendid reviews: Dromedary - Artifact", January 21, 2002 Carool Kersten, "Review: Dromedary - Artifact", January 25, 2003 Dromedary, official web site Dromedary at MySpace Dromedary at Allmusic

Monique Conti

Monique Conti is an Australian rules footballer and basketballer. Conti plays for the Richmond Football Club in the AFL Women's, having played for the Western Bulldogs from 2018 to 2019, she played for the Melbourne Boomers in the Women's National Basketball League from 2016 to 2020. As an Australian rules footballer, Conti won an AFL Women's premiership with the Bulldogs in 2018, was adjudged best afield in the grand final, she was selected in the 2019 AFL Women's All-Australian team and won the Western Bulldogs best and fairest award in 2019 before moving to Richmond. Conti received a nomination for the 2018 AFL Women's Rising Star award in round 4 of the 2018 season; as a basketballer, Conti was a member of the Australian team that won the gold medal at the 2016 FIBA Under-17 World Championship for Women and was named in that year's All-Tournament Team. She won the WNBL Rookie of the Year Award in her first WNBL season in 2017. Conti was born in Victoria, she studied at Maribyrnong College in her secondary school years, looked up to other Australian dual-sport athletes such as Ellyse Perry and fellow footballer/basketballer and AFL Women's player Erin Phillips.

Conti started playing football from the age of ten, playing with boys at the Essendon Doutta Stars Football Club until the age of 14 and in the Melbourne University under-18 youth girls team until the age of 17, making the Vic Metro and All-Australian teams in all three years playing at that level. In September 2016, Conti was one of 15 players from around Australia selected in level 2 of the inaugural AFL Women's academy. Conti played for the Calder Cannons in the TAC Cup Girls in 2017 alongside current AFL Women's players such as AFL Women's Rising Star winners Chloe Molloy and Madison Prespakis, was coached by current player Alicia Eva. Earlier in the year, at a testing day prior to the five-round season, she ranked first among TAC Cup Girls players in both the 20-metre sprint and agility test. Conti played for Melbourne University in the VFL Women's in 2017 before being drafted. Conti started playing basketball from the age of five, playing with the Melbourne Tigers for the entirety of her junior basketball years and in the South East Australian Basketball League in 2017 and 2018.

Prior to the creation of the AFL Women's, Conti had aspirations to play college basketball in the United States from a young age, received offers from over thirty schools to play there at the age of 16, but instead committed to studying at Deakin University, aligned with the Melbourne Boomers, allowing her to continue her studies and to continue playing basketball at national level, along with football. She began studying a business degree there in 2018 while part of its Elite Athlete program. Conti was drafted by the Western Bulldogs with the club's second selection and fourth overall in the 2017 AFL Women's draft, she made her debut in the twenty-six point win against Fremantle in round 1, 2018 at VU Whitten Oval. In round 4, Conti received a nomination for the 2018 AFL Women's Rising Star award after recording 16 disposals in her side's win over Carlton, went on to finish second in the voting for the award with 39 votes, 11 behind winner Chloe Molloy, she was selected in afl.com.au's Team of the Week in rounds 3 and 5.

Conti was a member of the Western Bulldogs team that won the AFL Women's premiership in 2018, defeating Brisbane by six points at Ikon Park, won the medal for best-on-ground in the grand final. She was named in the initial 2018 AFL Women's All-Australian 40-woman squad; the Western Bulldogs signed Conti for the 2019 season during the trade and signing period in May 2018. Conti improved on her debut season in 2019, achieving selection in womens.afl's Team of the Week in round 7 after recording a then-career-high 25 disposals in the Bulldogs' loss to Carlton at VU Whitten Oval and finishing equal-fourth in the 2019 AFL Women's best and fairest count with seven votes. She was named in the 2019 AFL Women's All-Australian team and won the Western Bulldogs best and fairest award. In April 2019, Conti was traded to Richmond for the first selection in the 2019 AFL Women's draft and began playing for the club's VFL Women's team the following month. Conti went on to win the club's VFLW best and fairest award and finish second in voting for the Lambert–Pearce Medal, despite only playing seven games.

By December, it became known that Conti could miss up to the first five games of Richmond's inaugural season in the AFLW due to the 2020 WNBL Finals clashing with the opening rounds of the 2020 AFL Women's season. Leading into the 2020 season, womens.afl journalist Sarah Black named Conti at no. 13 on her list of the top 30 players in the AFLW. She made her Richmond debut in the club's inaugural game against Carlton at Ikon Park, was named among Richmond's best players. Conti was selected in womens.afl's Team of the Week in round 4. Statistics are correct to the end of round 4, 2020. Team AFL Women's premiership player: 2018 AFL Women's minor premiership: 2018Individual AFL Women's Grand Final best-on-ground: 2018 AFL Women's All-Australian team: 2019 Western Bulldogs best and fairest: 2019 AFL Women's Rising Star nominee: 2018 Conti will begin her professional career, in her home state of Victoria, with the Melbourne Boomers for the 2016–17 season. Conti played in the youth all-stars AFL football, being awarded best on ground for her match on 4 September 2016.

Conti made her international debut at the 2016 U17 World Championship in Spain with the U17 Sapphires. Conti

Sir George Beaumont, 7th Baronet

Sir George Howland Beaumont, 7th Baronet was a British art patron and amateur painter. He played a crucial part in the creation of London's National Gallery by making the first bequest of paintings to that institution. Born in Great Dunmow, Essex, he was the only surviving child of the landowner Sir George Beaumont, 6th Baronet, from whom he inherited the baronetcy in 1762 and Rachel daughter of Michael Howland of Stone Hall, Matching Green. Beaumont was educated at Eton College, where he was taught drawing by the landscape painter Alexander Cozens; the first paintings to enter Beaumont's collection were by artists he knew, but a Grand Tour which he undertook in 1782 with his wife Margaret widened his taste to include the Old Masters. On his return he began to assemble a collection of Old Master paintings despite his modest means, his first important acquisition was A Landscape with Hagar and the Angel by Claude Lorrain, this always remained his favourite painting, accompanying him on coach journeys in a specially-designed case.

In 1785 Lady Beaumont inherited the lease of 34 Grosvenor Square, which provided the Beaumonts with a much-needed escape from the tedium of Dunmow and introduced them to a more diverse social circle. This circle expanded when Beaumont became Tory MP for Beer Alston in Devon from 1790 to 1796, but his enthusiasm for politics was short-lived and he soon returned to his artistic pursuits. A picture gallery was added to the house in 1792 to accommodate their growing art collection. Despite the cool reception by critics of an early work, A View of Keswick, Beaumont became a frequent exhibitor at the Royal Academy from 1794 to 1825 earning a reputation as the leading amateur painter of his day; the Beaumonts went on frequent sketching tours of the Lake District and of North Wales, necessitated by Sir George's having caught a fever during his Grand Tour. For their Welsh excursions they rented Benarth, a house near Conwy, where they were visited by Uvedale Price among others. Price had a great influence on Beaumont's taste, awakening his interest in the Picturesque movement and in Flemish and Dutch painting and landscaping the grounds at Coleorton Hall, Beaumont's country house in Leicestershire.

Coleorton was to become Beaumont's main place of residence, was rebuilt to a design by George Dance the Younger from 1804 to 1808. A friend of the Lake Poets, with whom he considered himself a kindred spirit, Beaumont lent out the farm of the estate to William Wordsworth and his family in the winter of 1806, they were joined there by Samuel Taylor Coleridge, but Beaumont was unable to establish the same rapport with this poet as with Wordsworth, who proved a lifelong friend. The 1800s saw Beaumont being promoted to influential posts in what were committees of artistic taste: he sat on the monuments committee for St Paul's Cathedral from 1802 and was one of the founding directors of the British Institution. Despite his openness for romantic poetry, Beaumont was less receptive of new developments in painting. A staunch defender of the academic ethos of Sir Joshua Reynolds, he was one of J. M. W. Turner's most vehement critics denouncing his handling of colour; this oppressive stance on matters of taste was to earn him the epithet of "supreme Dictator on Works of Art" from his old friend Thomas Hearne.

Nonetheless, Beaumont did welcome some sympathetic artists, including the young John Constable, to study the Old Masters in his collection. The most famous fruit of Beaumont's patronage is the Constable's painting of the cenotaph erected to Reynolds in the grounds at Coleorton, he was a founding member of the British Institution in 1805, which in 1815 upset many British artists by a preface to the catalogue of their exhibition of Old Masters, implying rather too that British artists had a lot to learn from them. The publication in 1815–16 of a series of satirical "Catalogues Raisonnés" by Robert Smirke, ridiculed Beaumont for his conservatism, after which he retired from public life to Coleorton. A visit to Italy in 1821 in which he met Antonio Canova restored his morale, while there he bought the Taddei Tondo by Michelangelo, which he donated to the Royal Academy; this last stay in Italy convinced him of the need to educate British taste by establishing a public gallery of Old Masters. Upon his return Beaumont offered to give of 16 his paintings to Lord Liverpool's government on the condition that they buy the collection of John Julius Angerstein, that a suitable building be found to house these works of art.

Angerstein's collection came up for sale in 1824 and Parliament, spurred on by Beaumont's offer, bought 38 of his pictures. The National Gallery opened to the public in May 1824 in Angerstein's former house on Pall Mall, Beaumont's paintings entered its collection the following year. After suffering a brief illness, Sir George Beaumont died in Coleorton Hall on 7 February 1827, he was buried in Coleorton church. Some paintings by his own hand have entered the New Walk Museum and Art Gallery in Leicester, while the rest remain in the Beaumont family collection, his title was inherited by his cousin George Howland Willoughby Beaumont. D. Blayney Brown, Sir George, Grove Dictionary of Art. Owen, Felicity. "Beaumont, Sir George". Oxford Dictionary of National Biography. Oxford University Press. Doi:10.1093/ref:odnb/1872. Leigh Rayment's list of baronets