text:
The Sunspider crawls along my arm, its gem-body focusing the sun, leaving a tingling pain and barely burned line in my skin. It backs along, licking up the cooked flesh. It doesn't bother me, but I know it once made the others squeamish. I've grown used to it, and I love that I am contributing to the next generation of partners in my world. At the end of the hot months, I will spy them among the early ice crystals and know I am part of them. I move my arm down to the sand to allow this little mother to move on, and walk through past the small rock outcrop.

Away from the rocks, the sun seems harsher, and I squint from the pain it brings my eyes. The summer months are still to come; the spring is short. I must find a quiet place to sleep again.

As I move across the dried salt plains, I shield my eyes with my robe and look out to the horizon. The next set of rocky hills are distant. When I sleep so long, all changes. Mountains rise, though the oceans are long gone. For so long here it has been just the Sunspiders and I...I sleep my seasons, awake to greet them, and walk ahead to find the next tomb, hoping I am not the only and the last doing so.

The thousands-of-days winter has led to my travelling springtime. I sleep during the blackness and cold, then again during the fiery long summers as it bakes the world. The short spring and autumn are wonderful to me as I rise again to walk.

The days are brilliant, and each step forward is a memory so many before. The tap of my feet in the dust echoes the past. The nights are my calm rest, as I stare at the stars. I remember clouds. When they existed, I ignored them except as they prevented me from seeing into the distances. I know all things move, even those stars, but I'm not able to visualize the changes that have happened since my youth, though it's been so long that they must have.

I'm not sure what to expect. I spend all these times thinking that this will be the moment when I see something left behind from when I was not alone. Yet I know that with each sleep and each cycle around the sun the chance of spotting a connection to history lessens. Apparently I am the only thing made to last forever, as even the decaying foundations of our previous civilization fade away into oddly-coloured dust, and then disappear entirely in the winds.

I don't count the days walking toward my goal. I note that it gets hotter as I move along. The spring seems shorter each time, and I wonder if next time I will remember to keep track.

And then I am at the bottom of the outcropping. I stare up, the sun behind me, looking for glints and squared shadows that might be some sign. I am not disappointed when I don't find what I did not expect to see. The next morning I climb, and move sideways around the rocks, stopping frequently to stare again. Nothing.

I climb, and seek the caves, cracks and shadows...seeking a safe place to retire. Each small shadow is a relief from the sun, but not accommodating to my form. With practised effort, I pull myself up on a ledge and stop, as everything inside me screams. From deep within me, I yell and shriek, while standing utterly motionless.

A line! A depth! The remains of an old fire! A scrap of metal! My eyes are on fire, pupils opened as wide as they can, taking this simple but incredible view deep inside me!

I clutch at my sides and shake. I cannot move forward. I cannot risk this being a mirage.

I turn away, overwhelmed with everything...and fall. With shock I don't scramble to find hold in the empty air. I watched what I have sought for so long disappearing away from me in the distance, like it were falling away from me, and the whole world shifting in my view.

I think I remember bouncing. I don't remember coming to a stop between two jagged boulders. I am broken, flesh torn and whatever has been keeping me going all this time falling apart and falling out. It's early morning and I am looking up toward the sun. Its heat shines at my eyes and I watch where I hope shadows begin to appear.

A fire glints above me. A Sunspider, an identical diamond to the ones I have known. Not quite alive, and not dead. Much like me.

Another, and another...and soon hundreds. A thousand Sunspiders above me, their scattered light twinkling on everything around me. I cannot move, but I watched. I could not begin to count them above me, as they crawl over each other, refracting each others light, sending it in all directions. The are joining, separating, and spreading across the gap above me, creating a glowing shield. It's like nothing I have seen before, and I nearly forget my state. As they lock together and slow their frenzied actions, I seem them adjust, like a ripple on a pond, and I am struck that I still remember water.

They are focusing that light, and that sun. Together, like a giant lens, and I know they are part of me from all the times I've taken care of them. A shudder, and I know. They are finishing things. With that much power together, they are taking care of me. A funeral pyre. I think I smile, as they put an end to my journey. I'll become the dust in the winds and still keep travelling this world.

title: "Sunspider Sunset" - please comment and constructively critique. Note that nameless/ageless/genderless is entirely intentional.

question: Summarize the journey the protagonist goes on.

answer: The protagonist appears to be traversing a dry desolate place in search of signs of others people. They are wandering and climbing and when they finally find some evidence of other people (possibly for anthropological reasons), they fall from a high place. While slowly dying they can see a cluster of Sunspiders forming to refract the light from the sun and set the protagonist on fire, which they seem to accept gladly.

question: What is the significance of Sunspiders to the story?

answer: The Sunspiders seem to be the protagonists constant companions in the story, they are transparent and refract the light of the sun - the protagonist treats them kindly, even if they inflict pain. When they fall and are dying the Sunspiders come together in a cluster and seem to mercy kill the protagonist, which they accept as a thanks for their kind treatment of the spiders.

question: Summarize what the story says about where the protagonist comes from?


split: test

text:
New writer, please be cruel. I've been waiting to share this for too long.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Water exits a system, one way or another. It is inevitable.

It can evaporate; it can split its course. It can reach the end and find itself in a new, larger body. It can be removed and reused by the living for the various, the most common of which serve to maintain. It can even drain out the bottom and form an underground reservoir.

We’ve all learned this in class, but no matter what, water exits the system. Return is possible, but water cannot remain forever. Forever is a very long time. Even glacial ice finds its way to the sea. The planet could also explode or implode or crash into a star. There are many ways water can leave its river. Exit is inevitable, and barring an unexpected turn of events, we have reached the mouth of this river.

Every year, the eldest make their way, one at a time, out the front gate, and never come back. None of us really know where they go, although we’re told this and that. Tali left today. She was the last of her class to go. She was getting very lonely. Anyone would.

Now it is our turn. Today, we became the oldest girls in school. None of us have any idea really as to who will be the first to leave or exactly when she’ll go. All we know is that it is down to our group of eight, and that we will all be gone within little more than a year, at the most.

We’ve studied grief and all its stages from a book Miss Hadeel had us read, but also with our observations and experiences. We lose eight every year, and we never hear from them again. We understand it; we’ve adapted. It’s our turn now, and we know this last year won’t be easy. It’s never appeared easy for anyone, not once since we arrived.

It’s our turn; we are now the water waiting at the gate.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

*I am a bar of soap… the more I clean, the sooner I disappear.*

A bar of soap washes away under water and pressure. Soap cracks and crumbles to pieces when exposed to heat or extended periods of dryness.

Soap is important. Modern society would probably fall apart without maintaining a minimum level of cleanliness. Disease prevention keeps us all alive, soap keeps us healthy, and we take it for granted.

Soap is frequently forgotten. It is cheap, and easy to come by. It is a rare few who concern themselves with soap beyond personal and familial hygiene.

Soap is what keeps Marream alive. Without soap, she could not clean the rooms of the hotel. If she cannot keep them clean, then she has no job. If she loses her job, her family will lose half its income. Without money, they will either starve or find themselves homeless in an unfriendly land. In that scenario, Marream would sacrifice herself, for her family. In that scenario, Marream would starve.

Soap is important. Soap keeps Marream alive.

* * * *

*Yara, I am your castle made of sand. I won’t dry out. Not yet. Not as long as you need me.*

Akeem did not have work that day. Instead, he took Yara and Marream to the beach. Mersa Matruh would not be as crowded as it had been, now that the summer tourists had mostly made their way back to Cairo.

After his first dip in the water, Akeem dried off and lay down in the sand to take his first of many naps that day. He watched Marream help Yara build her first sandcastle in the wet sand just out of reach of the hapless waves and their faltering charge. The tide was at its highest point that day. The beauty of the two of them, mother and daughter, glowed perfectly under the mid-morning sun; their dark, young skin was vivid against the teal water of the bay at their backs. He felt blessed. His help in this endeavor would not be needed that day. The waves would stay distant without coercion.

He woke up to a tiny, sandy hand shaking his hairy chest, getting ready to pluck individual strands, but his opening eyes were all the child wanted. Marream was standing up next to the completed castle and walked over, ready for her turn to lie in the sand and dream about the lights and colors that twirled themselves through closed eyelids.

Akeem brought his daughter to the water to play in the waves. This day would be a test, a test to see if the perpetual energy of the ocean’s waves could keep pace with her perpetual exuberance.

The day went on, the heat grew strong, and the waves receded. The family did not return to play with the castle, but every time Akeem slept under the shade of their borrowed umbrella, he watched its sandy walls. He watched them dry out and bake under the sun.

By the end of the day, all the moisture within the castle’s walls had left and flown away with the breeze. It was just a fragile skeleton that could barely support its own weight. Its corners had already crumbled and broken off, fallen back down to the beach beneath.

Marream packed their things to leave; it had been a long day, and they both could tell Yara was finally getting tired. Akeem, walking back along the shore with Yara’s little hand clasped firmly in his for the final time that day, stopped at the crumbling sandcastle.

*What will happen to my castle?*

*It can’t stand forever. The waves will wash it away tonight. Let’s enjoy it one last time.*

Akeem took both her hands, and they danced together on its top, laughing, saying good bye, and thanking the castle for playing with them.

* * * *

Marream had been working as a maid at a hotel in Dubai called the Burj Al Arab for about a year. Akeem worked in construction, twelve hours a day. They both worked six days a week. This was not uncommon for foreign workers here. Most of their co-workers were from India, Pakistan, or Bangladesh, but they all shared a life of poverty, living together in what could only be accurately described as labor camps.

Egypt wasn’t safe for them anymore, being a young family of Coptic Christians raising a toddler. Dubai was their way out, and the only way that promised they wouldn’t starve.

Survival was about all that really mattered, and while they found food, shelter, and regular work, fear still hovered over their daily lives.

The Kafala sponsorship program, a fairly standard practice concerning the regulation of migrant workers used by many nations on the Arabian Peninsula, made Akeem and Marream powerless in their new home. They spent their life savings and more to exit Egypt and find work, but their combined salaries on arrival could hardly pay off the interest they owed on their debts to their employers.

While they were mostly safe here, their employers would control their passports until their debts were paid, and therefore had the power to have them thrown in jail or deported, simply on a whim.

It was a tenuous living situation at best, but survival was possible. Their most pressing fears were for Yara and her future.

She was not yet old enough to attend school, but they had no idea how she would when the time came. The children of immigrants and migrant workers could not attend the government’s public schools, and had to pay for a private education. Tuition at the least expensive primary schools was at its cheapest a half a year’s wages, and it would only increase as she got older. Application was just as competitive for the less expensive schools as it was for the most highly rated schools. Acceptance to an affordable institution was far from the likeliest of possibilities.

Akeem and Marream worried that they would be forced to educate their daughter themselves, a task for which they were not well equipped. They feared that Yara, if she spent too much time in the slums in which they currently resided, would turn to evil and sin.

* * * *

The Burj Al Arab, if it stood almost anywhere else, would be quite out of place. Here though, where every building was shaped or carved from clear and elegant stones and metals, the seventy story sailboat was nothing more than a dune in the endless deserts that cradled the glass city.

The building was no more aware of the beauty it held than the glass vase Marream carefully wiped free of fingerprints. She stared lovingly at the petals of the flower, ignoring the wilted reflection in the mirror.

For Marream, in the evening at least, the heat was a briefly refreshing escape from the air-conditioning that flooded her body all day. It picked her up and carried her home. She was grateful for this.

In contrast, many people, laborers of every type, made the journey home carrying the heat on their bent backs. Akeem, who was so strong, was one of those men who never stood up straight. He carried thousands of people every day; people who carried no knowledge of him. He carried the heat so it would have the strength to carry her, which, in turn, gave her the strength to carry him and young Yara.

Yara, like her mother, did not mind the heat. She was five and filled with a boundless joy, energy, and curiosity that worried Marream and Akeem to wits end. She would surely be at home, impatiently waiting for dinner after a long day playing with the other children. The women of the camp took turns watching them on their days off.

* * * *

Marream’s silhouette clouded out the light coming through the open door. A slight breeze walked through the maze of cardboard buildings behind her, stopping for a moment to twirl her black curls while she let her eyes adjust to the softer light of her home.

Yara was sitting at the table, happily playing a game using red and white blocks with a smiling man Marream did not recognize. His teeth were perfectly straight and showed no signs of discoloration. His sandals revealed frequently manicured toes. He was wearing traditional Emeriti dress, a freshly pressed, all-white Kandura and red-and-white checkered ghutra. A man of this wealth and importance was an uncommon sight in this area. In fact, Marream had never once seen or heard of a man of this stature making an appearance in the camp.

*Good evening Miss Dawoud. I am glad you arrived on time. I hope your husband will be joining us shortly. We have much to discuss regarding young Yara’s education and future. She is a bright young child… and quite beautiful too.*

* * * *

Young girls, anywhere between the ages of six and sixteen, ran around the courtyard, or stood chatting in circles, all of them in bright, flowery dresses. The playful props, decorations, flittered around the spring stage, dancing and waving like dolls in a dollhouse.

*We believe exercise and sunlight are more than just happy delights. Play is key to the development of a young woman’s mind, heart, and body. We let them play twice daily, and in mixed age groups, for various developmental reasons. The younger girls gain role models, and the older girls learn to develop their motherly instincts.*

*Very pretty.*

*Yes. Very.*

The conversation continued on as they wound their way around the school, painting steel drum whispers on the windows lining the interior of the compound with the soft percussive march of three steps in time. They mustn’t disturb the girls at study or at play.

The conversation passed into silence with the turning click of the office door. Marream and Akeem sat down in matching leather chairs that lacked even the slightest imperfection. Opposite them, across the near empty mahogany desk peppered eloquently by a cigar box, pen, empty pad of paper, and neatly stacked legal documents, sat Rashid: lead recruiter, tour guide, and Headmaster of the Ladies’ Finishing School of Dubai.

*As you can see, we take very good care of our girls here. We educate them. We train them to be wives. We teach them how to lead happy, pleasant lives, and then we give them those lives. We are strict, and we are kind. Discipline and kindness are the foundations on which proper ladies are built. We take exceptional measures to preserve their innocence. We have built a paradise here, an island of sorts, where the evils and dangers of the surrounding world are kept at a studied distance. We are extraordinarily good at what we do.*

*Now, you may visit your daughter twice in the first year, once the second, and once the third, and only on the specific dates that we will communicate to you two months in advance. Afterwards, you will no longer be allowed to visit the compound. If either of you are to pass from this earth, Yara will be taken to the funeral, and you may spend the day together in mourning. If both of you are to leave us permanently, all remaining payments will be deposited in Yara’s name in a low-interest savings account.*

*You may continue to communicate by mail, but expect those correspondences to… cease for an extended period of time, due to what is best put as… a… lack of interest. All incoming mail will be screened for contraband and illicit information. Sometimes correspondences resume, but sometimes, they do not.*

*You will receive € 200 a month, totaling € 2400 a year, until your daughter turns eighteen. Payments will be made regularly and on time. Do not come here seeking more, or cash advances. Remember, if you choose to sell your daughter to us, you are not doing so for the money. If that is all you’re after, they sell your daughter into prostitution. I can’t stop you. A young girl can be worth a large sum on the black market. I can, though, guarantee that she would live a dismal life that would end only in hellfire and eternal damnation. By sending your daughter here, you are paid in the form of a better and safer life for her, an education. A life free of want. A youth free of sin. A better life than you could ever provide for her.*

*Do you have any questions?*

*Ok. Sign here, here, and here, and initial here, here, and here. Now you, ma’am.*

Their footsteps, two alone, silently pressing the grass beneath their feet, crossing the now empty courtyard, exited the premises. They entered the taxi, using their left hands only, so as to protect the pricks on their pointer fingers that stung red.

* * * *

*Why did you purchase me?*

* * * *

title: Yara [RF]

question: What does the story say about water and systems?

answer: The narrator says that water inevitably exits a system in one way or another. Water can evaporate, split its course, and reach the end and find itself in a new, larger body. It can also be removed and reused by the living for various reasons. It can drain out of the bottom and form an underground reservoir. The narrator uses this description to describe the inevitable exit from their school.

question: What does the story say about the eldest in school?

answer: The story says that the eldest in the school end up leaving and never coming back. No one ever really knows where they go despite being told various things. The narrator explains that Tali was the last of her class to go. Now it's the narrator's turn to be with the oldest girls in school. The girls don't know which will be the first to leave or exactly where they'll go. All she knows is that her group of eight will be gone within little more than a year.

question: What does the text say about Yara at five years old?

answer: At five years old, Yara was like her mother in that she does not mind the heat. She was filled with boundless joy, energy, and curiosity that worried her parents. She usually would be at home at the end of the day, impatiently awaiting dinner after a long day of playing with other children. One day, her parents find her sitting at the table playing a game with a man they didn't recognize. The man eventually recruits her parents to sell her to a school compound in the hopes that she could have a better life.

question: Summarize everything relating to Akeem and Marream's finances.

answer: Akeem and Marream are immigrants from Dubai who live a life of poverty with other immigrants in what could be described as labor camps. Marream worked as a maid and Akeem worked in construction, both working twelve hour days. They had spent their life savings trying to exit Egypt and have interest on debts they owe to their employers. Their situation made them fear for Yara and her education, since they couldn't afford private education and they weren't allowed in the government's public schools. Their finances are why they decide to sell Yara to a school that would pay them 200 euros monthly, in hopes that it would give her a better life.

question: What does the text say about the rules of the school Yara will be sent to?

answer: The recruiter for the school says that they will teach the girls to lead happy, pleasant lives, which they will later give to them. Discipline and kindness is how they build their students into proper ladies. They also take exceptional measures to preserve their innocence. The recruiter tells Yara's parents that once they sell her to them, they will only be able to visit her twice in the first year, once in the second, once in the third, and then they will no longer be able to visit the compound. The dates they can visit will be specific and communicated two months in advance. If one of the parents pass, Yara will be taken to the funeral and the remaining parent can spend one day with her in mourning. If both parents pass, all the payments that would be made to the parents (€2400 a year) will be deposited in a low interest savings account in Yara's name. Additionally, Yara's parents will be allowed to send mail, but it will be screened and correspondence can stop at any time.

question: What does the text say about Marream's death?


text:
The 2019–20 DUQUESNE DUKES MEN'S BASKETBALL TEAM represented Duquesne University during the 2019–20 NCAA Division I men's basketball season. The Dukes, led by third-year head coach Keith Dambrot, were members of the Atlantic 10 Conference. The Dukes finished the season 21–9, 11–7 in A-10 play to finish in a tie for fifth place. Their season ended when the A-10 Tournament and all other postseason tournament were canceled due to the ongoing coronavirus pandemic.

Due to the closure of the Dukes' normal home of UPMC Cooper Fieldhouse (formerly Palumbo Center) for major renovations, the team used three venues for its home games—Kerr Fitness Center at La Roche University in the northern suburb of McCandless, UPMC Events Center at Robert Morris University in the northwest suburb of Moon Township, and PPG Paints Arena in downtown Pittsburgh.

Previous season

The Dukes finished the 2018–19 season 19–13, 7–11 in A-10 play to finish in a tie for sixth place. As the No. 7 seed in the A-10 Tournament, they lost to Saint Joseph's in the second round.

Offseason

Departures

  Name                Number   Pos.   Height   Weight   Year        Hometown                 Reason for departure
  ------------------- -------- ------ -------- -------- ----------- ------------------------ ------------------------------------------------
  Mike Lewis II       1        G      6'1"     185      Junior      St. Louis, MO            Graduate transferred to Saint Louis
  Brandon Wade        2        G      6'2"     185      Freshman    Ann Arbor, MI            Transferred
  Craig Randall II    4        G      6'4"     185      RS Junior   Youngstown, OH           Midseason transferred to UT Martin
  Gavin Bizeau        14       F      6'11"    230      Freshman    Plainfield, IN           Transferred to Toledo
  Kellon Taylor       20       F      6'5"     220      Junior      Landover, MD             Walk-on; left the team due to personal reasons
  Dylan Swingle       25       C      6'11"    300      Freshman    Chillicothe, OH          Transferred to Bowling Green
  Zach Snyder         32       F      6'5"     210      Senior      Cranberry Township, PA   Graduated
  Eric Williams Jr.   50       G      6'6"     205      Sophomore   New Haven, MI            Transferred to Oregon

Incoming transfers

  Name            Number   Pos.   Height   Weight   Year        Hometown      Previous School
  --------------- -------- ------ -------- -------- ----------- ------------- ----------------------------------------------------------------------------------------------------------
  Baylee Steele   44       C      6'11"    245      RS Senior   Norwalk, IA   Graduate transferred from Utah Valley. Will be eligible to play immediately, graduated from Utah Valley.

2019 recruiting class

Roster

Schedule and results

|- !colspan=9 style=| Exhibition |- !colspan=9 style=| Non-conference regular season |- !colspan=9 style=|Atlantic 10 regular season |- !colspan=9 style=|Atlantic 10 Tournament Source[1]

[1]

question: What University did the 2019–20 Duquesne Dukes men's basketball team represent?

answer: Duquesne University.

question: Who was the head coach for the 2019–20 Duquesne Dukes men's basketball team?

answer: Keith Dambrot.

question: How did the 2019–20 Duquesne Dukes men's basketball team finish the season?

answer: 19-13, 7-11 in A-10 to finish in a tie for sixth place.

question: What venues did the team use for its home games>

answer: Kerr Fitness Center, UPMC Events Center, and PPG Paints Arena.

question: Write a ~1 sentence summary.

answer: This article is about the 2019–20 Duquesne Dukes men's basketball team and the season they had playing for the A-10 tournament.


text:
Beginner guitar lesson

[Guitar lesson]

BEGINNER GUITAR TUTORIAL: INTRODUCTION
This guide is devised to lead you through the fundamentals of guitar playing and the introduction of the instrument itself. It’s meant for people who have just picked up the guitar for the first time, and don’t know where to start.
Nowadays with the internet at our service, everything seems so easy. But, on the other hand, all the information one can find might be overwhelming, especially if you are a beginner. That’s why we’ll break everything to smaller pieces, in order to master the basics. You might want to read the commonly asked FAQ guide by our students over the past years.
Like with everything in life, there are no shortcuts with learning how to play an instrument as well. That’s why it’s important to read everything carefully and to go through each step slowly until everything flows.
During this course, we’ll talk about everything, from how to hold the guitar, how to tune it, how to exercise your fingers and hands, all the way to how to play and write songs. No matter what kind of music you wish to pursue with your playing, it’s important to have fun on your way to perfection.
ABOUT THE AUTHOR
Hello, my name is Ryan Wong and like most of you reading this book I was also confused with a lot of things when I grabbed my first guitar. I’ve started learning how to play myself, but until I got a few guidelines I couldn’t do anything. Afterward, when I learned basics, I managed to overcome every obstacle in my playing.
Today I’m a professional musician, composer, and a songwriter, with quite a lot of mileage, both onstage and in the studio. If at any point you find a lesson fatiguing, take a break, and return to your practice later. I remember I had a hard time learning too. But trust me, once your mind is set into guitar mode, you won’t be able to leave it ever again. Enough with the talk, let’s get down to business.
PRACTICING

[Man playing a guitar]

This might sound strange at first, but playing an instrument is just like playing a sport. You have to practice regularly and try not to overdo it. Like in sports, you can easily get hurt playing as well. Your hand and fingers are not used to this kind of stress, so there is no need to push them even more. It’s important to set a daily routine before the muscles you’ll use when playing are ready to endure longer use.
Acoustic guitars, especially ones with metal strings are a bit harder to play than the electric. This is the reason why you should start with a classical guitar. Its strings are softer, while the action on the neck is somewhere between the acoustic and the electric guitar. This way you won’t have any trouble switching to either. If you wish to strengthen your guitar muscles faster, you can get a sports hand gripper and use it a few minutes per day.
Before you pick up a guitar be sure to have two things: A metronome, and a notebook.
The metronome will become your best friend over the time, trust me. This device divides music from nonsense. Time in music is as important as in everyday life, so make sure you know how to measure it. The metronome will help you play each note at the exact time it needs to be played.
A notebook?!? You’re probably wondering, why a notebook? It’s simple, if you want to be sure you are making some progress, you have to know you were bad before. It might sound strange, but every serious musician does it. You don’t have to do it daily, but try to fill your “journal” at least weekly. Write everything that comes to your mind. From what you want to achieve, to what pains you. Rewind the pages whenever you like and revisit your mistakes until you surpass them.
Stay motivated! I assure you, you won’t be able to grab a clean chord for some time because nobody did. Don’t get stressed out because you can’t play something. Just keep it cool don’t let your self-critic put you down. The technique will come, it just takes some time and a lot of positive attitudes.
The best way to assure yourself you are making some progress is by playing for someone. Practice on a tune you like, learn it and present your skill to your friends or family members. Even if you think you are not ready, just do it! It’s normal to feel anxious. And you should, this means you care! If some compliments come after your first “show” your will to keep on learning will be boosted for sure.

HOLDING A GUITAR

[Proper guitar position]

The first thing you need to do before you grab a guitar is to relax! Playing an instrument may make you feel tense, with that feeling comes pain which makes playing uncomfortable. If you feel this, stop playing. Take a break and go back to your practice. This tension usually comes from your mind, but with time you’ll feel in only when you are not playing.
Make yourself comfortable while playing with a right seating position. There are a few standard stands when holding a guitar. It’s completely up to you to pick which suits you the best. Classical guitarists hold a guitar on the knee opposite to their primary hand, with a small stand underneath their foot. This might be unpractical for a regular guitar playing. What is the same for every playing style, is the position of the neck. Your neck has to be slightly tilted up, so you can see the frets clearly.
No matter which leg you are using to put your guitar on, always separate it a bit from your body. This way you’ll have a full control over the instrument.
Let’s say you are a right-handed player – Lay your right arm softly to the body of your guitar, so your hand can be close to all six strings. On the other end, your fretting hand needs to form a so-called “claw”. This means you put your thumb in the middle of the neck, crook your hand a bit until your index finger reaches the top of the neck. This might be complicated at first. Once you stretch your fingers enough, it won’t be an issue. The most important thing is that you don’t press your upper strings with your thumb. This way you won’t get a clear tone, and your other fingers will be extremely limited on the fretboard.
Always try to keep your back straight, guitar’s neck tilted and hands on their positions. Now, if your stand is firm, we can move on to the actual playing.

TABLATURE

Music has its own language and its called notation. Classical musicians have to know how to read it, but as a guitar player, I found much easier working with tablatures. The neck and strings of the guitar are clearly depicted. If you like you can learn the notation as well, it’s all up to you. For your first steps, it’s easier to use “tabs”.
Each line in front of you represents a string of your guitar. The top line is your bottom (first) string. You notice numbers on the tablature and some kind of order in them. Each number is a fret of your guitar’s neck. If you see a zero (0) it means this string is played without pressing any of the frets or better-said open. The “X” in the tab means you need to mute the string. You’ll achieve this with a light touch on the string with your right palm.

[tablature]

The numbers on the tab will also help you know which finger you should use for a certain note. It’s quite logical. Let’s say you hold your hand on top of the neck, your index finger will then be number one (1) on the tab. The index finger will always play the lowest number written. Of course, you’ll move your hand up and down the neck, depending on the numbers written in front of you.
Another thing to pay attention to is the alignment of the numbers. If they are separated it means you will hit one string at the time, if on the other hand, they lay one above/below another you’ll play those strings together.
There are some other symbols you’ll find on any tablature, but we’ll leave that for another time. Let’s say, tablatures will help you create a specific sound, not just a clean tone.

CHORD DIAGRAMS

A chord diagram is a graphical representation of how to play a certain chord. Vertical lines represent your frets, while the horizontal lines represent your strings. By the numbers, you can tell which finger you should use to play a chord. If there’s a zero (0) on the diagram, don’t be confused, it means that string is played opened.

_[tablature]_

You won’t be seeing chord diagrams in the tablatures, so never mix these two. Chord diagrams are used in notations, so even if you don’t know how to read them, you’ll have a diagram to explain you how. The usual placing of the chord diagram is right of the notes that form a chord in the notation.

[tablature]

TUNING

In order to learn how to play properly, you need to know how to tune your guitar. If it doesn’t sound right, it can only hurt your future progress. At the beginning, you won’t notice when the guitar is out of tune, or when some string is not right.
That’s why it’s important to have two things on hand when you are learning. The first one is an electric tuner, which will help you tune your guitar with ease. But, to really learn how to tune you’ll have to have a pitch pipe. This device can also be in a form of a software so you don’t have to own it physically.
To tune your guitar with a help of a pitch pipe you’ll net to set it to emit the “Concert A” pitch. Start with your first string (thinnest string, at the bottom) by pressing your finger on the fifth fret. If the sound doesn’t match it means you’ll have to turn your tuner’s knob a bit. Do that until the sound from the pitch pipe and the sound of your first string are not identical.

[tablature-4]

Follow the tab upwards, string by string, until everything is in order. Once you are sure each string sounds the way it should separately, play them all together to see what you get. In the beginning be sure to check if everything is ok with an electric tuner. With time, you’ll forget you even owned one, because tuning will become natural.

[tablature-5]

PLAYING SONGS
Everything so far was a preparation for the real deal! Below is a simple tablature for a typical shuffle used in popular music. You already know how to read the tab, now it’s up to you to pick how to strum this progression.

[tablature-6]

You can think of your own pattern, just keep in mind to follow the metronome. What’s also important is not to strum the unmarked strings. This is a practice for both rhythm and right-hand coordination.
Now, allow me to confuse you a little bit, what you’ve just played is known as an I-vi-IV-V-I progression in the C major key. Let me explain it to you. It can be only one major scale, but it can be played in twelve different keys. There are seven different notes in a major scale, and each of them can form a chord. Depending on its place in scale, each chord has its Roman numeral which is also its name.
You’ve might notice that some of the numerals are in the uppercase, and some in the lowercase. There is a reason for that too! The case of the numeral depends on the chord’s quality. This doesn’t mean that some chord is more valuable than the other. Major chords are marked with uppercase, while minor chords are in lowercase.

[tablature-7]

Each chord has its characteristic when it comes to its sound. There are four types of chords: major, minor, dominant and half-diminished. Major chords are happy, minor are sad and ominous, dominant sound bluesy, while half-diminished are kind of anxious version of a dominant chord. Thanks to their versatility we, as musicians, can reproduce all kinds of emotions through our music. One’s creativity lies in his/her capability to combine all of these in a unique way.
BASIC CHORDS
The type of chords found in most of the songs you’ll first start learning. As a matter a fact, the chords you had in the previous section are basic chords. Here you have an example of song in G major.

[tablature-8]

Try to play them all loud and clear, come up with some chord changes you find comfortable and follow the metronome.
BARRE CHORDS
Here things are getting a bit more serious. Before you even start playing barre chords have in mind that they are quite tricky, and it will take some time until you can play them clear. In the beginning, you might get tired too fast. Don’t worry about it, it’s normal! This need for strength comes from the shape of this type of cord. Your index finger has to press all six strings down the fret, and at the same time, your other three fingers form a chord. In order to achieve this strength try to keep your thumb in the middle of the neck. This way you’ll gain more pressure on the strings, with less pain in your hand.
HERE’S HOW A BARRE CHORD LOOKS LIKE:

[tablature-9]

question: What does the text say about piano lessons?

question: What is the purpose of the text?

answer: The text is a beginner guitar lesson meant for those who are new to the instrument and don't know where to start. The guide or tutorial is devised to lead the novice musician through the fundamentals of guitar playing and the introduction to the instrument itself. There are loads of information on how to play the guitar on the internet, but it can get overwhelming pretty fast, especially for beginners. This guide breaks down the fundamentals into even smaller pieces so new players can master the basics. The lesson talks about everything, from how to hold the guitar, how to tune it, how to exercise the fingers and hands, and how to play and write songs.

question: What does the text say about the hardships that Ryan Wong encountered when he first started playing the guitar and the outcome of his efforts?

answer: Ryan was confused with a lot of things when he grabbed his first guitar. He couldn't do anything with it until he got a few guidelines and learned how to play. He also had a hard time learning at first, but when he learned the basics, he was able to overcome every obstacle in his playing. Now, Ryan is a professional musician, composer, and songwriter with a lot of experience both onstage and in the studio.

question: Summarize the general advice Ryan gives beginners before starting the guitar lesson.

answer: Ryan says that playing an instrument is like playing a sport. Regular practice is needed, but shouldn't be overdone because, like any sport, it's easy to get hurt playing the guitar. Hands and fingers aren't used to the stress, so a daily routine is important to build muscle endurance. Beginners should start with classic guitars because acoustic guitars with metal strings are harder to play. The strings are softer, and the neck action is somewhere between an acoustic and electric guitar. Using a hand gripper a few minutes a day can strengthen the guitar muscles faster. A metronome and a notebook are critical to learning guitar faster. A metronome is a device that helps newbies play each note at the exact time it needs to be played. A notebook serves as a journal so players can look back at past mistakes and improve. The last piece of advice Ryan gives is to always be positive and stay motivated. The best way to check progress is by playing for family or friends.

question: What are the lessons featured in the tutorial?

answer: The first lesson is how to hold a guitar properly. The second lesson is how to read tablature (notation) or "tabs". The third lesson is chord diagrams, which are graphical representations of how to play a certain chord. The next one is how to tune a guitar manually with a pitch pipe and by using an electric tuner. The final lesson is playing songs using the provided tablature.


text:
MARY EGGERS TENDLER (née EGGERS) is a volleyball coach and former volleyball player. She is the head volleyball coach at Elon University[1] and played collegiately for Illinois where she was a First-Team All-American and winner of the Broderick Award (now the Honda Sports Award) in 1989 as the nation's top collegiate female volleyball player.[2]

Early life

Eggers was born to Warren and Shirley Eggers and grew up in Aurora, Illinois with four older brothers and sisters. She shot basketballs in her driveway in the evening, and when her older sisters would return home with a date, she would challenge the dates to a hoop contest. Even though she was ten years old, she would challenge them in her pyjamas and usually beat them, picking up a little pocket change.[3] She started playing volleyball in eighth grade, when her pastor persuaded her to join a team.[4][5] She attended West Aurora High School, where she played both basketball and volleyball, but she improved her volleyball skills and was named a high school All-American. In her senior year, she helped lead the team to the state supersectionals.[6]

While at high school, she played basketball and volleyball for her first three years, but then decided to concentrate on volleyball, and only played volleyball as a senior.[7] In her senior year, the was named the Chicago Sun-Times Girls Volleyball Players of the Year.[8] She considered several schools in the area, including Northwestern, Illinois State, Western Michigan and Illinois. However, while all three schools other than Illinois were ranked in the top 20 in the nation, she decided to go to Illinois.[9] It wasn't because of their strength as a program, the team was 15–18 the year before she arrived, and 5–25 the year before, but she felt Illinois was a “team on the rise” and she wanted to be part of it.[10][11]

College

Eggers led the nation in hitting percentage in her sophomore and senior years, 1986, and 1988. She was named to the First-Team All-Big Ten team all four years of school, and was named an All-American three times.[12] Her career hitting percentage, .420, was tops in the nation and stood as the top mark until 1993.[13] She helped lead the team to their first ever NCAA Division I Women's Volleyball Tournament in 1985, and helped the team reach the final four in 1987 and 1988.[14][15] In 1989, her senior year, she won the Honda Broderick Award as the nation's top collegiate female volleyball player.[16][17]

Professional

Eggers played a year and a half with the Olympic team, then played professionally for two years in Germany and France.[18]

Coaching

She began her coaching career as an assistant coach at Illinois State, Drake and James Madison.[19] She became the head coach at Elon University in 2002.[20] In 2010, she was named the SoCon Coach of the Year as the best coach in the Southern Conference.[21]

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title: Mary Eggers Tendler

question: What would have happened if Eggers did not join Illinois?

answer: It is very likely that Eggers would have chosen the highest ranked school among Northwestern, Illinois State, and Western Michigan. This is because her initial choice was based on intuition -in a scenario where intuition is not followed, then a more logical approach would be chosen. An alternative viewpoint, however, is that she had lied about her motives for choosing Illinois as being on the rise, but rather chose a non-top 20 school since the pressure to perform would be lower; if this is the case, then she would have chosen another non-top 20 school.


text:
UTC | timezone_DST = BST | utc_offset_DST = +1 | postal_code_type = Postcodes | postal_code = | area_code_type = | area_code = 01708, 020 | geocode = | iso_code = | registration_plate = | blank1_name = ONS code | blank1_info = 00AR | blank2_name = GSS code | blank2_info = E09000016 | blank_name_sec2 = Police | blank_info_sec2 = Metropolitan Police | website = http://www.havering.gov.uk/ | footnotes = }}

The LONDON BOROUGH OF HAVERING () in East London, England, forms part of Outer London. The principal town is Romford. Other communities are Hornchurch, Upminster, Collier Row and Rainham. The borough is mainly suburban, with large areas of protected open space. Romford is a major retail and night time entertainment centre, and to the south the borough extends into the London Riverside redevelopment area of the Thames Gateway.[1] The name Havering is a reference to the Royal Liberty of Havering which occupied the area for several centuries. The local authority is Havering London Borough Council.

Population

In 2011, the borough had a population of 237,232 [2] over . Havering has a lower population density than other London Boroughs as large areas are parkland and (more than half the borough) is Metropolitan Green Belt protected land. Those areas of development are extensive but rarely intensive. It has, at 4.5%, a below average unemployment rate for Greater London,[3] and one of the lowest crime rates.

Havering has a significantly higher proportion of residents in white ethnic groups than other outer London boroughs (87.7% – 2011 census). The Black African population is the most significant minority ethnic group in Havering (3.2%). The Upminster ward of the borough is the third least ethnically diverse in Greater London, with a Simpson's diversity index of 1.10.[4]

Neighbours

Havering is bordered to the south by the London Borough of Bexley by the River Thames, to the west by the London Borough of Redbridge and the London Borough of Barking and Dagenham and to the north and east by Essex.

Industry and commerce

There are over 7,000 businesses based in Havering. Romford is the main commercial hub of the borough with a small district of mainly office development close to the railway station. There is also some industry to the south between Rainham and the River Thames such as Rainham Steel headquarters on the boundary of Elm Park. Light industry elsewhere in the borough has been in decline, with major employers such as the former Star Brewery now closed down.[5] New industrial development is encouraged in the south of the borough has been encouraged by the London Development Agency (now GLA Land and Property), with the opening of the Centre for Engineering and Manufacturing Excellence.

The main retail district is also located in Romford with several interconnected or neighbouring shopping arcades including the Liberty Shopping Centre, the Mercury Mall, and the Brewery. Romford Market is located to the north of Romford and is the largest market within the borough and in the surrounding area. Hornchurch and Upminster are the other main retail centres with extensive high street shopping areas.

Romford has a developed night-time economy with one of the highest concentrations of bars and nightclubs anywhere in Greater London outside the West End with public transport radiating into all parts of the borough.

Havering London Borough Council applied to the Government to allow a 'super-casino' to be built in the south of the borough,[6] however the application was rejected in May 2006.[7]

History

The London Borough of Havering was created in 1965 by the combined former area of the Municipal Borough of Romford and Hornchurch Urban District which had been transferred to Greater London from Essex by the London Government Act 1963. The name originates from the Royal Liberty of Havering which covered broadly, but not exactly the same area, and had been abolished in 1892.[8]

Early history

Modern settlement originated in Anglo-Saxon times when it consisted of Havering Palace and the surrounding lands that belonged to the king. The palace itself is known to have existed since at least the reign of Edward the Confessor when it was one of his primary residences. The area formed a liberty from 1465 which included the parishes of Havering atte Bower, Hornchurch and Romford.

The name Havering appears in documents from around the 12th century. The origins of this name have been debated by historians since the Middle Ages when it was linked to the legend of Edward the Confessor and a mystical ring returned to him by Saint John the Apostle. The event being commemorated in stained glass (from about 1407) in a chapel at Romford, that was dedicated to the king.[9]

Settlement

London Underground and fast rail services to central London resulted in considerable residential land use mixed with designated parklands and farmland under the planning policy of the predecessor local authorities and current authority during the 20th century and into the early 21st century.

The development of the borough came in two distinct phases. The first middle class suburban developments were built in the late Victorian and Edwardian period. The garden suburbs of Upminster, Emerson Park and Gidea Park (also known as Romford Garden Suburb) were spurred on by the building of the railway lines through Havering from Liverpool Street and Fenchurch Street in the late 19th century.

In the 1930s the District Line was electrified and extended to Upminster with new stations at Elm Park and Upminster Bridge. Also at this time new industries near the area such as the Ford Motor Company plant at Dagenham caused a new wave of mostly working class developments along the route of the new Underground line. In addition to this, to the north of the borough, the large housing estates of Harold Hill and Collier Row were constructed to deal with the chronic housing shortages and early slum clearance programmes in central London.

Districts

[Queen's Theatre, Hornchurch]

This pattern of the 'garden suburb' with inter- and post-war private housing developments occurred widely across the borough, with small estates of social housing representing a low percentage of housing in any single council ward; six of the 30 electoral wards with fewer than 2% social housing are in the borough: Hylands, Mawneys, Pettits, Hacton and the two wards forming Upminster, Cranham and Upminster Ward.[10] Plans to extend existing developments in much of the borough are blocked as open land is protected as part of the Metropolitan Green Belt. In contrast, the southern part of Havering adjacent to the Thames is within the London Riverside section of the Thames Gateway redevelopment area. New open spaces and large scale house building to provide an entirely new residential community is planned.

The most built-up areas are the traditional garden suburb districts of Hornchurch, Emerson Park, Gidea Park, Harold Wood, Romford and Upminster. These places have developed over the last hundred years to form a large area of continuous urban sprawl with indistinct boundaries.

A 2017 study found that, when comparing low-end rent to low-end earnings, private rented housing in Havering is the most affordable of any London borough.[11]

Named neighbourhoods are the developments of Ardleigh Green, Chase Cross, Collier Row, Elm Park, Harold Hill, Rainham. The borough's exurbs with green buffers of farmland or parkland are:

-   Havering-atte-Bower
-   North Ockendon
-   Noak Hill
-   Wennington

Transport

Roads

The M25 motorway forms part of the borough boundary to the east with North Ockendon the only settlement to fall outside. The A12 (near Romford) and the A13 (near Rainham) are the main trunk radial routes from central London and are located to the north and south of the borough respectively. The A127 trunk route to Southend begins at Gallows Corner; which also forms the eastern end of the A118 local artery from Stratford. The A124 local artery from Canning Town terminates at Upminster. [London Underground stations in Havering]

Public transport

The District line of the London Underground runs roughly east–west through the middle of the borough and there is an extensive network of London Bus routes, linking all districts to Romford and other places beyond the borough.[12] The London, Tilbury and Southend Railway (operated by c2c) passes through the borough in two places and the Great Eastern Main Line (operated by TfL Rail and Abellio Greater Anglia) passes through the north of the borough serving Romford, Gidea Park and Harold Wood. There is also a branch line from Romford to Upminster which is currently operated by London Overground. There are proposals for transport improvements in the south of the borough where the population is expected to rise.

With the introduction of Crossrail there will be an increased service from Harold Wood, Gidea Park, and Romford to both Central London and Reading.

Travel to work

In March 2011, the main forms of transport that residents used to travel to work were: driving a car or van, 31.8% of all residents aged 16–74; train, 6.3%; underground, metro, light rail, tram, 6.3%; bus, minibus or coach, 5.1%; on foot, 4.1%; work mainly at or from home, 2.4%; passenger in a car or van, 2.1%.[13]

Media

The local newspaper is the Romford Recorder.

Bedrock Radio [14] is a charity run community health & Hospital radio station located within the Queen's Hospital in Romford.

The first Hospital Radio Service In Havering began broadcasting in 1964 as Harold Wood Radio.[15] Today, Bedrock Radio serves the community by broadcasting online and to Queen's, King George & Goodmayes Hospitals and features information about the Hospitals and NHS services, promotes charitable and community organisations and has an extensive local events guide featuring community non-profit events.

Time 107.5 FM is the commercial radio station broadcasting to Havering and surrounding areas and features local news.

Places of interest

[Fairkytes Arts Centre in Hornchurch is operated by Havering Council.]

-   _The Diver_
-   Brookside Theatre
-   Langtons
-   Liberty Shopping Centre
-   Queen's Theatre
-   Rainham Hall – National Trust house in Rainham
-   Romford Market
-   Romford Garden Suburb
-   Upminster Windmill
-   Upminster Tithe Barn Museum of Nostalgia

Politics

London Borough Council

[A map showing the wards of Havering since 2002] Havering elects 54 councillors from 18 wards:

After the 2006 local elections the Conservative Party had a majority on the council with 34 councillors and the second largest party represented was the Havering Residents Association with 13 councillors. The Rainham Independent Residents Association had three councillors, the Labour Party had two councillors and the Liberal Democrats and the BNP had one councillor each.[16]

Between May 2006 and October 2008 were three by-elections. The Residents' Association in St Andrews Ward and the Conservatives in Squirrels Health Ward each retained one seat, the Residents' Association lost South Hornchurch to an independent candidate. One councillor elected as a Conservative has resigned the whip and now sits as an independent. Following his election, the independent in South Hornchurch joined the leader of the Rainham Independent Residents' Association in forming the Independent Local Residents' Group. The other two Rainham Independent Residents' Association members formed the Rainham Residents' Association as a separate entity. In May 2004 Councillor Michael White was elected Leader of the Council. In June 2014 Councillor Roger Ramsey was re-elected Leader of the Council.

The 2010 local elections took place on 6 May 2010. The outcome was little change: Conservatives having 33 councillors, Havering Residents Group 12, Labour 5 and Independent Residents 4. The BNP lost its incumbent before the election having turned to an Independent Resident who was later elected as such. Labour increased its membership by three. The Independent Residents, who had split in 2008, regained the seats lost through the split. The Lib Dem Member also lost, to a Residents (ex-Labour) candidate.

In March 2013, UKIP gained its first seat on the authority. UKIP's Lawrence Webb gained his seat from the Conservatives following the death of veteran Conservative, Cllr. Dennis Bull. In July 2013, thirteen Conservative councillors were reported by the local press, the _Romford Recorder_, as being deselected by the Romford Conservative Association including council cabinet members, formal complaints were made to Conservative Party Headquarters, and later three Conservative councillors defected to UKIP. Councillors Sandra Binion, Ted Eden and Fred Osborne joined UKIP citing local and national disillusionment.

London Assembly

Havering forms part of the Havering and Redbridge London Assembly constituency.

UK Parliament

Until 2010 the borough was split between the parliamentary constituencies of Hornchurch, Romford and Upminster with the three constituencies entirely within the borough. At the 2010 United Kingdom general election, the boundaries of these constituencies changed to a new Hornchurch and Upminster constituency and Rainham became part of the new cross-borough Dagenham and Rainham constituency.

Sport and leisure

The London Borough of Havering has several sporting clubs:

-   Football
    -   Romford F.C., a Non-League football club who play at Ship Lane, Aveley.[17]
    -   A.F.C. Hornchurch, a Non-League football club who play at Hornchurch Stadium
-   Ice hockey
    -   Romford Raiders, an ice hockey team who play at Romford Ice Arena.[18]
-   Field hockey
    -   Havering Hockey Club, who play at Campion school

Twinning

Havering is twinned with:

-   Ludwigshafen, Germany
-   Hesdin, France

Education

The Borough is the education authority for the district providing education in a mix of foundation, community and voluntary aided schools. There are also a number of academies.

Havering Adult College provides part-time day, evening and weekend adult education (19+) from sites throughout the borough.[19] Havering Sixth Form College provides sixth form education for pupils of borough schools as well as those who are resident in the borough.[20] Havering College of Further and Higher Education provides part-time and full-time education to students aged 14+.

A 2017 study by Trust for London and the New Policy Institute found that 52% of adults in Havering lack Level 3 Qualifications (A Level equivalent) – the worst level of any London borough. 44% of 19 year olds in Havering also lacked these qualifications – the second worst level in the capital.[21]

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[8] Vision of Britain – Havering London Borough

[9] 'Parishes: Havering-atte-Bower', A History of the County of Essex: Volume 7 (1978), pp. 9–17 accessed: 4 June 2007.

[10] Key Statistics: Population; Quick Statistics: Economic indicators. (2011 census and 2001 census) Retrieved 2015-02-27.

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[12] Transport for London – Bus maps of Havering

[13]  Percentages are of all residents aged 16–74 including those not in employment. Respondents could only pick one mode, specified as the journey’s longest part by distance.

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[16] Greater London Authority – elections data for the local government (borough) elections Retrieved 2015-02-

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title: London Borough of Havering

question: Summarize the population of the borough.

answer: The borough has a population of 237,242 over. They have a 4.5% below average unemployment rate for Greater London. The population is largely from a white ethnic background, the Black African population is one of the minority groups.

question: What is the mode of transportation to the borough?

answer: The borough is connected in the east by the M25 motorway. The A12 and the A13 are the main trunk radial routes from central London to the north and south of the borough respectively.

question: What educational institutions are a part of the borough?

answer: The borough offers education in a mix of foundation, community, and voluntary aided schools. They also have the Havering Adult College and the Havering College of Further and Higher Education for students aged 19+ and 14+ respectively.


text:
[[Image:GilbertDuprez.jpg|thumb|200px|

Gilbert Duprez

]] GILBERT-LOUIS DUPREZ (6 December 180623 September 1896) was a French tenor, singing teacher and minor composer who famously pioneered the delivery of the operatic high C from the chest (_Ut de poitrine_, as Paris audiences called it). He also created the role of Edgardo in the popular bel canto-era opera _Lucia di Lammermoor_ in 1835.

Biography

Gilbert-Louis Duprez was born in Paris. He studied singing, music theory, and composition with Alexandre-Étienne Choron and made his operatic début at the Odéon in 1825 as _Count Almaviva_ in Rossini's _Il barbiere di Siviglia_. He worked in that theatre without much success until 1828, when he decided to try his luck in Italy. There, the operatic scene was more active and developed. As a result, Duprez was able to immerse himself in work, beginning principally with _tenore contraltino_ roles such as _Idreno_ in '' Semiramide '' and _Rodrigo_ in _Otello_, both by Rossini. He appeared, too, as _Gualtiero_ in Bellini's _Il pirata_. The latter role proved to be his first undisputed stage success, probably because it was free of elaborate coloratura passages, which were not considered to be his strong suit as a vocalist.

In 1831, in Lucca, Duprez took part in the premiere Italian performance of _Guglielmo Tell_, singing for the first time (in an opera theatre) a high C sung not in the so-called falsettone register,[1] as other tenors of that time were accustomed to do, but with a full voice, often described as coming “from the chest”. His Italian career then proceeded on a highly successful course. It embraced, among other things, two premieres of operas by Donizetti, namely, _Parisina_ (in the role of Ugo) at Florence in 1832, and, more significantly, _Lucia di Lammermoor_ (in the role of Edgardo) at Naples' San Carlo in 1835. His Italian reputation strongly established, Duprez returned to Paris in 1837 and scored an immediate success at the Opéra with his exciting new style of vocal delivery as exemplified in _William Tell._ Consequently, he obtained equal billing with Adolphe Nourrit as “principal tenor” of the theatre. Nourrit responded by leaving for Italy in emulation of his competitor; but unlike Duprez, he failed to master the new singing style during studies with Donizetti and committed suicide.

Duprez maintained his leading position at the Opéra until 1849, singing the title role in the première of Berlioz's _Benvenuto Cellini_ in 1838, and taking part in several further Donizetti premieres, including those of _La favorite_ (as Fernand) and _Les Martyrs_ (as Poliuto), both in 1840, and Dom Sébastien (in the title role), in 1843. Ironically the role of Poliuto, which Donizetti had written expressly for Nourrit in order to help him to maintain his exalted position, was to become associated in the public's mind with Duprez. [As Gaston in the première performance of Giuseppe Verdi's _Jérusalem_.] After singing in London at the Drury Lane theatre in the years 1843–1844, Duprez began to cut back on his stage performances, with a notable exception being the lead role in Giuseppe Verdi's _Jérusalem_. His last public appearance was in 1851 in _Lucia di Lammermoor_ at the Théâtre des Italiens. He then devoted himself to teaching, first at Paris's Conservatoire (where he had been appointed to a professorship as far back as 1842), and afterwards privately. His students included the celebrated French virtuoso bass Pol Plançon (1851–1914), whose voice is preserved on gramophone recordings made in 1902–1908. Duprez also devised a system of written exercises for singers and composed a few less than successful operettas.

In his 1880 book _Souvenirs d'un chanteur_, Duprez, a close friend of Donizetti's, related in deeply felt terms the bitter setbacks and obstructions which the Bergamo composer had suffered in the theatrical world.

Duprez died at Poissy, near Paris, in 1896. He was the father of soprano Caroline Duprez.

Vocal character

One can differentiate two distinct phases in Duprez's artistic life. Initially, being equipped by nature with a clear but comparatively thin voice, he appears to have stood in the French _haute-contre_ tradition of singing. So, when he first went to Italy, he naturally assumed equivalent _tenore contraltino_ roles in operas written by Rossini. However, he failed to make any great impression on Italian audiences with his Rossinian endeavours, perhaps because of his deeply rooted disinclination to indulge in displays of coloratura.

While in Italy, he began by modelling himself on the bel-canto tenor Rubini, whose bravura vocalism was a byword for sweetness and elegiac inflexion. Soon, however, he found a new source of inspiration in the person of Domenico Donzelli, the then greatest living “baritonal” tenor. Donzelli possessed a robust voice and a deliberately darkened timbre, coupled with firmly accented diction, immense nobility of phrasing and a vibrant, intense method of acting. The merging of Rubini and Donzelli's contrasting styles in Duprez, and the introduction of the famous high C from the chest (which soon became a standard feature of Romantic singing), gave rise to a fresh category of tenor, the _tenore di forza_. The dramatic tenor of the present day is a direct descendant in terms of range, tessitura and tonal thrust from this kind of mid-19th century voice first exemplified by Duprez.

The real origin of the “high C from the chest” is much disputed, nonetheless. For example, Paolo Scudo, a music critic employed by the _Revue des Deux Mondes_, considered that Manuel García, a tenor of an earlier generation to that of Duprez, was already capable of delivering the chest high C: but true or not, this reputed accomplishment does not diminish Duprez's historical significance. García (given his favoured style and personal taste) avoided delivering on stage any such “shriek of a strangulated capon” (as Rossini described the note's sound), whereas Duprez transformed it into “a cry of the soul”, over which innumerable tenors, for better or worse, have tortured themselves ever since. (Recently developed vocal techniques have enabled some modern-day lyric tenors to sing not only the chest high C, but also to execute the notorious high F in Bellini's _I puritani_ in a full head voice without resort to falsetto. The results, however, cannot be described as beautiful or alluring.)

Duprez was a small man and, regrettably, the chest high C was an element of his vocal mechanism which soon took a toll on his physical resources. According to Berlioz, his voice sounded “hardened” as early as 1838, at the premiere of _Benvenuto Cellini_, and over the next 10 years, despite some isolated successes, his singing continued to deteriorate. Finally, Duprez was driven into an early retirement from the stage and he took up teaching.

Musical and dramatic works

[Duprez's original manuscript from _Jéliotte_, 1853] _(List from German Wikipedia)_

-   _La Cabane du pechêur_, Comic Opera (Libretto: Edmond Duprez), 1st prodn. 1826
-   _Le Songe du Comte Egmont_, Lyric Scena (Libretto: Edmond Duprez), 1st prodn. 1842
-   _La Lettre au bon Dieu_, Comic Opera (Libretto: Eugène Scribe), 1st prodn. 1853
-   _Jéliotte_, or _Un Passe-temps de duchesse_, Operetta, 1st prodn. 1854
-   _Samson_, Operetta (Libretto by Edmond Duprez after Alexandre Dumas _père_), 1st prodn. 1857
-   _Amélina_, 1860
-   _La pazzia della regina_, 1st prodn. 1877
-   _Tariotti_
-   _Zephora_

Published writings

-   _L'art du chant_, Paris, 1845 (accessible online in a French / German 1846 edition at IMSLP)
-   ''La mélodie: Études complémentaires vocales et dramatiques de 'L'art du chant' '', Paris, Au Ménestrel, 1874 (accessible online at IMSLP)
-   _Souvenirs d'un chanteur_, Paris, Levy, 1880 (accessible online at Gallica - B.N.F.)
-   _Récréations de mon grand áge_ (2 volumes), Paris, 1888

[1] 'Falsettone' is defined as a form of strengthened falsetto by which the white sounds in the upper notes are brightened and reinforced, while still remaining rather piercing and quivering. See Caruselli, S. (ed), _Enciclopedia_, vol 4, p 1196, article: “Tenore”.

title: Gilbert Duprez

question: What does the article say about the negative consequences of Duprez's high C technique?

answer: Unlike Duprez, Nourrit failed to master this new singing style and ultimately committed suicide. Duprez transformed the note into a "cry of the soul" over which many tenors have tortured themselves ever since. The chest high C also took a toll on Duprez's own physical resources, with his voice deteriorating until he was driven into an early retirement.

question: What does the article say about what it takes to be a good singer?

question: What does the article say about Gilbert Duprez's notable accomplishments?

answer: He pioneered the delivery of the operatic high C from the chest. He also created the role of Edgardo in the opera Lucia di Lammermoor. He maintained a leading position at the Opera until 1849.

question: What does the article say about education?

answer: Duprez studied singing, music theory, and composition with Alexandre-Etienne Choron. Nourrit attempted and failed to master Duprez's new singing style during studies with Donizetti. After retiring from performing, Duprez devoted himself to teaching, first at Paris's Conservatoire and then privately. His students included Pol Plancon. He also devised a system of written exercises for singers.


text:
PRESIDENT (also commonly called ASSHOLE,[1] SCUM,[2] or CAPITALISM[3]) is a westernized version of an originally Japanese card game named _daifugō_ or _daihinmin_. It is a game for three or more, in which the players race to get rid of all of the cards in their hands in order to become “president” in the following round.[4][5][6]

President can also be played as a drinking game,[7][8][9][10] and a commercial version of the game exists under the name _The Great Dalmuti_, with a non-standard deck.

Special titles

There may be many titles used by players during the game.[11][12] Often, players move seats to sit in the order of their place, so as not to forget the order. There is generally at least a president, vice-president and scum.[13] However, this game is usually played with up to 6 players, and if so, more titles may be needed.

The rankings for four players are as follows:

-   PRESIDENT – the winner of the previous round, regardless of number of players.
-   VICE-PRESIDENT (_“VP”_) – second place, regardless of the number of players.
-   PERSON (or other name, commonly “citizen” etc.) – the other players.
-   HIGH-SCUM (VICE-SCUM) (or other names) – next-to-last place. (For example, in a seven-person game, high-scum is whoever placed sixth.)
-   SCUM (or other names, commonly “asshole”, “bum”) – last place in the previous round. If the scum is last place, they get to go first to start the round.

There are other titles for games with larger numbers of player with various names.

Rules regarding card passing can be changed to accommodate these two positions if desired. A large or odd number of players generally calls for having at least one “Person” role, but there can be as many as needed.

The President (or the Scum in some versions) deals the cards, starting with themselves and proceeding in order of player hierarchy from low to high until all cards are dealt. If the Scum is the dealer, this ensures that the President begins with the fewest cards if the hands are uneven.

How to play

The rules provided are merely one of many ways known to play the game;[14] there are many different varieties with slight twists to the rules.

Dealing

The person who is president (or the scum in some versions) shuffles and deals the cards. All the cards are dealt as evenly as possible in clockwise rotation.

After cards are dealt, the scum must hand over the best card in their hand to the president, and the president passes back any card they do not want.[15]

Variations with multiple top and two bottom positions often require the scum to hand additional cards to the president, up to the number of top positions in the game. (For example, a game with a secretary and clerk might call for the scum to hand over three cards to the president, the high-scum to hand over two cards to the vice-president and the clerk to hand over one card to the secretary.) In any event, the players who receive cards from the bottom positions always hand back an equal number of “junk” cards that they do not want. They are not obliged to pass back their lowest cards.

Playing

Play in President is organized into _tricks_, much like in spades or bridge. However, unlike those games, each trick can involve more than one card played by each player, and players do not have to play a card in a trick. Suits are irrelevant in the game of president.

The player on the dealer's left begins by leading any number of cards of the same rank (1–4; 5 or more are possible with wildcards, jokers or multiple decks). The player on the left may then play an equal number of matching cards with a higher face value, or may pass. (In a few variants, it is permitted to play cards with an equal value as the last cards played. Doing so may skip the player next in order.) Note that the same number of cards as the lead must be played. If the leader starts with a pair, only pairs may be played on top of it. If three-of-a-kind is led, only three-of-a-kinds can be played on top of it. (There are notable exceptions among the many variants in this game.) The next player may do the same, and so on.

This continues until all players have had a turn (which may or may not be because the highest-value card has already been played), or opted to pass.

End of a round

When one player runs out of cards, they are out of play for the rest of the round, but the other players can continue to play to figure out the titles. A few versions hold that once a player goes out, players count remaining card values to establish titles, or simply count the number of cards remaining in each player's hand, and other versions have one player left with cards at the end.

When playing by traditional rules, once titles are decided, everyone needs to get up and move. The President is the dealer (or the Scum in some versions), and the players must rearrange themselves around them so that they are seated in order of rank, clockwise. Some variants do not rearrange the seating of the players, so everyone plays in the same order each hand (though the president still leads the first trick).

After the first round has determined player rank, subsequent hands are opened by the president.

President's choice and trading

In some variations of the game, after the president (or whoever deals) has dealt and everyone has received their decks, the players are able to trade cards with one another. In a group of four, the president gives two cards of their choice to scum (who responds with the two very best cards from their hand), and the vice-president gives one card of their choosing to vice-scum, who responds with their very best card. In some variants, the president may choose to allow a black market, in which any player can trade with any other player. When this happens, the President usually has a poor hand and needs better cards. The president may also allow table talk, which is when two given players (usually of adjacent ranks) let each other see each other's hands. If there are no image cards on the hands of the (scum) there will be a new 'dealing'

Notes on game play

-   The ordering of the face values is a little different from most American and English card games – the 2 is the highest value (besides the joker, if that card is used) and is unbeatable, though certain variants allow a single 2 to be topped by a pair of 2s. The ace is next highest, the King the next highest, etc. with the 3 being the lowest. A few variants allow a single deuce to be played on top of any other combination, but typically games require the same number of 2’s to be played as were originally led. In a few variants, the 2 (and no other card) can be placed at any time, even if it is not the player's turn. On the West Coast and in Hawaii, Aces are high and 2 is the lowest card.
-   Passing is allowed, passing does not prevent you from playing the next time around.
-   Players can pass at any time, even if the player has cards that could be played.
-   Players can never lead with a two or bomb.
-   Players can continue playing even after all other players have passed until the last player decides to stop playing.
-   The number of cards that can be led to begin any trick is only dependent on the cards in the player's hand and their strategy. In a game with two decks, it is absolutely legal to start out a trick with, say, seven 5s. (In this case, obviously, seven 5s are only possible if the owner of those seven 5s is the one who begins the trick. This adds to the necessity to “capture” tricks by being the one to play the highest card.)
-   Regardless of whose turn it is, in variants that include “quick-clears”, a player can complete the cards on the table by playing the remaining cards of the quadruple. This is valid even if the last card played of the quadruple before the clear was a face-down or face-up card the previous player “attempted” to play in a commonly accepted charade wherein that player shows the card before picking it up along with the pile. In this type of clear, timing is key and successfully pulling it off reveals the true skill of the clearing player.
-   Players can only play a bomb on their turn.
-   If a player plays a card, and no other player can play, that card is discarded and the player puts another card to begin with. This continues until it returns to the player who played the last card: if they are unable to play on their own card, they must discard the cards and start with another card of their choice.
-   In some variants, a player cannot end on a 2 or a joker (or any card that instantly clears the deck), otherwise they immediately become scum/super scum, regardless of who actually got rid of their cards last. (For example, in game, Bob and Alice are the only people left. Bob has an ace and a 2 in his hand. He plays the ace, which Alice cannot play on. That card is discarded, however, Bob has ended on a 2, which means he immediately becomes scum/super scum, and Alice does not fall to the lowest rank.)
-   It is usually played as an aces-high game, although 2s are wild and the red 3 is highest, and 2s cannot beat red 3s. The black 3s are the lowest cards, and 2s can be played as black 3s. The player goes first if they have a 3 of spades in the first round. Double 2s are not needed to clear doubles.
-   One can choose to not show how many cards are in one's hand.
-   Players can also play a card on top of another card, which is called burning cards. This only is allowed with non-wild cards.

Variations

A variant of President exists in which some rules from the game Big two (also known as Deuces) are combined with those of traditional president. See Big two#Big two president variation.

There also exists a variation where the trades between higher players and lower players are reversed. The president trades their two best cards to the scum, and the scum gives their two worst cards to the president, and the same goes with the vice president and scum. This variation is comedically known as “Communism” or “Socialism.”

Some play that the holder of the lowest card of a particular suit (eg. ) leads the first deal.[16] Others play that the scum always starts.

Certain variants allow for game-changing revolutions. If a player leads out with four of a kind, the hierarchy of all the cards will be reversed. For example, if is the typical order of power (from left to right), after four of a kind is played it would be the reverse of that: . If another four of a kind is played, the order would switch back. Revolutions are typically utilized in the game to create better balance and avoid having the same player remain in first position forever.

In some variants, there are certain cards that are able to be played over a 2, those being the two “One-Eyed” Jacks (The Jack of Spades and the Jack of Hearts) and the “Suicide King” (the King of Hearts), the latter of which also ranks above the former. This is often also played in conjunction with the stipulation that one fewer of a bomb card is required to be played over a trick of pairs or triples. For example, if a player plays 4 aces, it can be beaten with three 2s, both One-Eyed Jacks, or the King of Hearts. This creates a rare but interesting scenario where if all four 2s are played at once, it is unbeatable as trumping it would require 3 One-Eyed Jacks or two Suicide Kings, which is impossible if playing with only one deck.

Some other smaller variant rules include: The president being obligated to give their lowest cards to the scum and the game lasting until all players empty their hands.

Terms

-   Single – a card that is played alone
-   Double (dub) – a pair of cards of the same value (ex. Two 5s are known as dub 5s)
-   Triple (trips) – three cards of the same value (ex. Three 5s are known as trip 5s)
-   Quadruple (quads) – four cards of the same value
-   Clear/table – when someone plays a hand and everyone else passes, it “clears” or “tables” or “burns” to the person who played the hand. This person may lead with whatever hand they wish. Also, if a player gets rid of all of their cards, it clears to the next person who can beat the hand, or if no one can or doesn't wish to, it clears to the player after the one who got rid of their last card. In addition, some rules have a certain card (usually a 2, one eyed jacks, joker or suicide king) as an automatic clear card
-   Hand – any valid play (single, dub, trip, quads, etc.)
-   Kicker – a single card played with a four-of-a-kind to make it a bomb (in some variants)
-   Bomb – A single card that can be played on any card(s) to clear the pile of cards (often 2, 10, or 4). This is not allowed in the Official version.
-   Laser – having all four 2s
-   Quick clear (completion)– One or more cards that are suddenly played by a player, regardless if it was their turn, which are the remaining cards that can complete the cards on the table, which also clears the deck (Example: John plays two queens, and Mary plays the other queens, even though it wasn't her turn, and clears the deck). This is only allowed in a few variants. (including 2s)

[1]

[2]

[3]

[4]

[5]

[6]

[7] Asshole rules at Webtender.com

[8] Asshole game rules at Partizzle.com

[9] Asshole rules at Angelfire.com

[10] Asshole rules at DrinksMixer.com

[11]

[12]

[13]

[14]

[15]

[16]

title: President (card game)

question: Why is the game known as President?

answer: As the players get rid of the cards in their hands, the player that drops all his cards first becomes the President in the following round.

question: How many players are required to play the game?

answer: The game can be played by up to six players and needs a minimum of three players.

question: Summarize the dealing of the game.

answer: The President or the scum shuffles and deals the cards. After dealing, the scum hands over the best card they have to the President, and the president returns back any card they do not want. In a few variations, the scum is required to hand additional cards to the president.


text:
The BOURNE SHELL (sh) is a shell command-line interpreter for computer operating systems.

The Bourne shell was the default shell for Version 7 Unix. Unix-like systems continue to have /bin/sh—which will be the Bourne shell, or a symbolic link or hard link to a compatible shell—even when other shells are used by most users.

Developed by Stephen Bourne at Bell Labs, it was a replacement for the Thompson shell, whose executable file had the same name—sh. It was released in 1979 in the Version 7 Unix release distributed to colleges and universities. Although it is used as an interactive command interpreter, it was also intended as a scripting language and contains most of the features that are commonly considered to produce structured programs.

It gained popularity with the publication of _The Unix Programming Environment_ by Brian Kernighan and Rob Pike—the first commercially published book that presented the shell as a programming language in a tutorial form.

History

[Version 7 Unix: the original Bourne shell manual page. PDP-11 simulation with SIMH]

Origins

Work on the Bourne shell initially started in 1976.[1] First appearing in Version 7 Unix, the Bourne shell superseded the Mashey shell.

Some of the primary goals of the shell were:[2]

-   To allow shell scripts to be used as filters.
-   To provide programmability including control flow and variables.
-   Control over all input/output file descriptors.
-   Control over signal handling within scripts.
-   No limits on string lengths when interpreting shell scripts.
-   Rationalize and generalize string quoting mechanism.
-   The environment mechanism. This allowed context to be established at startup and provided a way for shell scripts to pass context to sub scripts (processes) without having to use explicit positional parameters.

Features of the original version

Features of the Version 7 UNIX Bourne shell include:

-   Scripts can be invoked as commands by using their filename
-   May be used interactively or non-interactively
-   Allows both synchronous and asynchronous execution of commands
-   Supports input and output redirection and pipelines
-   Provides a set of built-in commands
-   Provides flow control constructs, quotation facilities, and functions.
-   Typeless variables
-   Provides local and global variable scope
-   Scripts do not require compilation before execution
-   Does not have a goto facility, so code restructuring may be necessary
-   Command substitution using backquotes: `command`.
-   Here documents using << to embed a block of input text within a script.
-   for ~ do ~ done loops, in particular the use of $* to loop over arguments, as well as for ~ in ~ do ~ done loops for iterating over lists.
-   case ~ in ~ esac selection mechanism, primarily intended to assist argument parsing.
-   sh provided support for environment variables using keyword parameters and exportable variables.
-   Contains strong provisions for controlling input and output and in its expression matching facilities.

The Bourne shell also was the first to feature the convention of using file descriptor 2> for error messages, allowing much greater programmatic control during scripting by keeping error messages separate from data.

Stephen Bourne's coding style was influenced by his experience with the ALGOL 68C compiler[3] that he had been working on at Cambridge University. In addition to the style in which the program was written, Bourne reused portions of ALGOL 68's if ~ then ~ elif ~ then ~ else ~ fi, case ~ in ~ esac and for/while ~ do ~ od" (using done instead of od) clauses in the common Unix Bourne shell syntax. Moreover, – although the v7 shell is written in C – Bourne took advantage of some macros[4] to give the C source code an ALGOL 68 flavor. These macros (along with the finger command distributed in Unix version 4.2BSD) inspired the International Obfuscated C Code Contest (IOCCC).[5]

Features introduced after 1979

Over the years, the Bourne shell was enhanced at AT&T. The various variants are thus called like the respective AT&T Unix version it was released with (some important variants being Version7, SystemIII, SVR2, SVR3, SVR4). As the shell was never versioned, the only way to identify it was testing its features.[6]

Features of the Bourne shell versions since 1979 include:[7]

-   Built-in command – System III shell (1981)
-   1.  as comment character – System III shell (1981)

-   Colon in parameter substitutions “${parameter:=word}” – System III shell (1981)
-   with argument – System III shell (1981)

-   for indented here documents – System III shell (1981)

-   Functions and the builtin – SVR2 shell (1984)
-   Built-ins , , – SVR2 shell (1984)
-   Source code de-ALGOL68-ized – SVR2 shell (1984)
-   Modern “” – SVR3 shell (1986)
-   Built-in – SVR3 shell (1986)
-   Cleaned up parameter handling allows recursively callable functions – SVR3 shell (1986)
-   8-bit clean – SVR3 shell (1986)
-   Job control – SVR4 shell (1989)
-   Multi-byte support – SVR4 shell (1989)

Variants

DMERT shell

Duplex Multi-Environment Real-Time (DMERT) is a hybrid time-sharing/real-time operating system developed in the 1970s at Bell Labs Indian Hill location in Naperville, Illinois uses a 1978 snapshot of Bourne Shell “VERSION sys137 DATE 1978 Oct 12 22:39:57”. The DMERT shell runs on 3B21D computers still in use in the telecommunications industry.

Korn shell

[Interaction with _pdksh_ in OpenBSD (default shell)]

The Korn shell (ksh) written by David Korn based on the original Bourne Shell source code,[8] was a middle road between the Bourne shell and the C shell. Its syntax was chiefly drawn from the Bourne shell, while its job control features resembled those of the C shell. The functionality of the original Korn Shell (known as ksh88 from the year of its introduction) was used as a basis for the POSIX shell standard. A newer version, ksh93, has been open source since 2000 and is used on some Linux distributions. A clone of ksh88 known as pdksh is the default shell in OpenBSD.

Schily Bourne Shell

Jörg Schilling's Schily-Tools includes three Bourne Shell derivatives.[9]

Relationship to other shells

C shell

Bill Joy, the author of the C shell, criticized the Bourne shell as being unfriendly for interactive use,[10] a task for which Stephen Bourne himself acknowledged C shell's superiority. Bourne stated, however, that his shell was superior for scripting and was available on any Unix system,[11] and Tom Christiansen also criticized C shell as being unsuitable for scripting and programming.[12]

Almquist shells

Due to copyright issues surrounding the Bourne Shell as it was used in historic CSRG BSD releases, Kenneth Almquist developed a clone of the Bourne Shell, known by some as the Almquist shell and available under the BSD license, which is in use today on some BSD descendants and in low-memory situations. The Almquist Shell was ported to Linux, and the port renamed the Debian Almquist shell, or dash. This shell provides faster execution of standard sh (and POSIX-standard sh, in modern descendants) scripts with a smaller memory footprint than its counterpart, Bash. Its use tends to expose bashisms – bash-centric assumptions made in scripts meant to run on sh.

Other shells

-   Bash (the _Bourne-Again shell_) was developed in 1989 for the GNU project and incorporates features from the Bourne shell, csh, and ksh. It is meant to be POSIX-compliant.
-   rc was created at Bell Labs by Tom Duff as a replacement for sh for Version 10 Unix. It is the default shell for Plan 9 from Bell Labs. It has been ported to UNIX as part of Plan 9 from User Space.
-   Z shell, developed by Paul Falstad in 1990, is an extended Bourne shell with a large number of improvements, including some features of Bash, ksh, and tcsh.

Usage

The Bourne shell was once standard on all branded Unix systems, although historically BSD-based systems had many scripts written in csh. As the basis of POSIX sh syntax, Bourne shell scripts can typically be run with Bash or dash on GNU/Linux or other Unix-like systems.

[1] https://www.bsdcan.org/2015/schedule/events/612.en.html Stephen Bourne Keynote for BSDCan 2015

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10] _An Introduction to the C shell_ by Bill Joy.

[11]

[12]

title: Bourne shell

question: What can we say is Bourne Shell's legacy?

answer: The fact that Bourne Shell is a standard on Unix systems and so many current systems (Bash, rc, Z shell, etc) are based on it is a testament to its importance and legacy.