Kirsty Anna MacColl (10 October 1959 – 18 December 2000) was a British singer and songwriter, daughter of folk singer Ewan MacColl. She recorded several pop hits in the 1980s and 1990s, including "There's a Guy Works Down the Chip Shop Swears He's Elvis" and cover versions of Billy Bragg's "A New England" and the Kinks's "Days". Her first single, "They Don't Know", had chart success a few years later when covered by Tracey Ullman. MacColl also sang on a number of recordings produced by her then-husband Steve Lillywhite, most notably "Fairytale of New York" by the Pogues. Her death in 2000 led to the Justice for Kirsty campaign.

Early life and career
Kirsty MacColl was born in Croydon, Surrey (now in South London), the daughter of folk singer Ewan MacColl (1915–1989) and dancer Jean Newlove (1923–2017). Her father was born in England of Scottish parents. MacColl and her older brother, Hamish MacColl, grew up with their mother in Croydon, where she attended Park Hill Primary School, Monks Hill High School and John Newnham High School, making appearances in school plays. At the time of her birth, her father had been in a relationship with folk singer, multi-instrumentalist and songwriter Peggy Seeger since 1956 (a relationship that would continue until his death in 1989), and already had a son with her.

She came to notice when Chiswick Records released an EP by local punk rock band the Drug Addix (originally called Tooting Fruities) with MacColl on backing vocals (The Drug Addix Make A Record) under the pseudonym Mandy Doubt (1978). Stiff Records executives were not impressed with the band, but liked her and subsequently signed her to a solo deal.

Career
Her debut solo single "They Don't Know", released in 1979, peaked at number two on the Music Week airplay chart. However, a distributors' strike prevented copies of the single getting into record stores, and the single consequently failed to appear on the UK Singles Chart.

MacColl recorded a follow-up single, "You Caught Me Out", but felt she lacked Stiff Records's full backing, and left the label shortly before the song was to be released.  The single was pulled, and only a few "white label" promo copies of the single are known to exist.

MacColl moved to Polydor Records in 1981. She had a number 14 UK hit with "There's a Guy Works Down the Chip Shop Swears He's Elvis", from her critically acclaimed debut album Desperate Character. In 1983, Polydor dropped her just as she had completed recording the songs for a planned second album (to be called Real) which used more synthesizers and had new wave-styled tracks. She returned to Stiff, where pop singles such as "Terry" and "He's on the Beach" were unsuccessful, but a cover of Billy Bragg's "A New England" in 1985 reached number 7 on the UK charts. This included two extra verses specially written for her by Bragg. Also around this time, MacColl wrote and performed the theme song "London Girls" for Channel 4's short-lived sitcom Dream Stuffing (1984).

In the United States, MacColl was perhaps best known as the writer of "They Don't Know". Tracey Ullman's recording of the song was a Billboard Top Ten hit. Ullman's version reached No. 8 on the US Hot 100 in April 1984 (and did even better in the UK, hitting No. 2 in September 1983). MacColl also sang back-up on the track, providing the "Baay-byy" because it was too high a pitch for Ullman.  It was played over the closing credits of Ullman's HBO show Tracey Takes On... in 1996. Ullman also recorded three more of MacColl's songs, "You Broke My Heart In 17 Places" and "You Caught Me Out", as the title tracks of her first and second albums respectively, and "Terry" which was released as a single in 1985.

In 1986, she contributed backing vocals for the Smiths song "Ask". Kirsty contributed backing vocals to the Simple Minds 1984 album, Sparkle in the Rain. Her vocals can be heard on the tracks "Speed Your Love to Me" and "Street Hassle".

When Stiff Records went bankrupt in 1986, MacColl was left unable to record in her own right, as no record company bought her contract from the official receiver. However, she had regular session work as a backing vocalist, and she frequently sang on records produced or engineered by her husband, Steve Lillywhite, including tracks for The Rolling Stones  on the Dirty Work (Rolling Stones album) album, Robert Plant, the Smiths, Alison Moyet, Shriekback, Simple Minds, Talking Heads, Big Country, Anni-Frid Lyngstad (of ABBA) and the Wonder Stuff, among others.  She appeared in the videos "Welcome to the Cheap Seats" for the Wonder Stuff and "(Nothing But) Flowers" for Talking Heads (along with Johnny Marr, ex-member of the Smiths). MacColl also set the track sequencing for U2's acclaimed breakthrough album The Joshua Tree, for which Lillywhite provided mixes.

MacColl re-emerged in the British charts in December 1987, reaching number 2 with the Pogues on "Fairytale of New York", singing a duet with Shane MacGowan. This led to her accompanying the Pogues on their British and European tour in 1988, an experience which she said helped her temporarily overcome her stage fright. In March 1989, MacColl sang backing vocals on the Happy Mondays' Hallelujah EP.

After the contract issue was resolved, MacColl returned to recording as a solo artist and received critical acclaim upon the release of Kite (LP) in 1989. The album was widely praised by critics, and featured collaborations with David Gilmour and Johnny Marr. MacColl's lyrics addressed life in Margaret Thatcher's Britain and addressed the vagaries of love in "Don't Come the Cowboy with Me Sonny Jim!". Although Kite contained many original compositions, MacColl's biggest chart success from the album was the cover of the Kinks' song "Days", which gave her a UK top 20 hit in July 1989. A bonus track on the CD version of Kite was a cover of the Smiths song "You Just Haven't Earned It Yet, Baby".

During this time, MacColl featured on the British TV sketch comedy French and Saunders, appearing as herself, singing songs including "15 Minutes" and "Don't Come the Cowboy with Me Sonny Jim!" (from Kite), "Still Life" (the B-side of the "Days" single), "Girls on Bikes" (a reworking of B-side "Am I Right?") and, with comedy duo Raw Sex, the Frank and Nancy Sinatra hit "Somethin' Stupid". She continued to write and record, releasing the album Electric Landlady in 1991. The album's title was coined by Johnny Marr as a play on the Jimi Hendrix album title Electric Ladyland. It included her most successful chart hit in North America, "Walking Down Madison", co-written with Marr and a top 30 hit in the UK. Despite the song's U.S. chart success, Landlady was not a hit for Virgin Records and in 1992, when Virgin was sold to EMI, MacColl was dropped from the label.

MacColl released Titanic Days, informed by her failing marriage with Lillywhite, in 1993, but ZTT Records had agreed only to release the album as a "one-off" and declined to sign her to a contract. The album included "Soho Square", an original composition set in London. After MacColl's death a memorial  bench was placed in Soho Square inscribed with a lyric from the song where fans could pay their respects. In 1995, she released two new singles on Virgin, "Caroline" and a cover of Lou Reed's "Perfect Day" (a duet with Evan Dando), together with the "best of" compilation Galore.

Galore became MacColl's only album to reach the top 10 in the UK Albums Chart, but neither of the new singles, nor a re-released "Days", made the Top 40. MacColl did not record again for several years; her frustration with the music business was exacerbated by a lengthy case of writer's block. MacColl herself admitted that she was ready to give up her music career and become an English teacher in South America.

In 1998, the album What Do Pretty Girls Do? was released, containing BBC Radio 1 live sessions (featuring Billy Bragg on two songs) that were broadcast between 1989 and 1995.

After several trips to Cuba and Brazil, MacColl recorded the world music-inspired (particularly Cuban and other Latin American forms) Tropical Brainstorm, which was released in 2000 to critical acclaim.  It included the song "In These Shoes?", which garnered airplay in the U.S., was covered by Bette Midler and featured in the HBO show Sex and the City. After MacColl's death it was adopted by Catherine Tate as the theme tune for her BBC programme The Catherine Tate Show, and featured on the soundtrack to film Kinky Boots.

However, despite the relative success of Tropical Brainstorm, MacColl had been dropped by V2 Records prior to her death.

Television
MacColl featured regularly in the third series of the French and Saunders Show, a comedy show on the BBC. Unlike other guests on the show, she was not part of any of the sketches but sang her songs whilst performing as in a music video. She also made regular appearances on Jools Holland's TV shows, also on the BBC, singing during the 1995 Hootenanny a rendition of "Miss Otis Regrets" with the Pipes and Drums of the Irish Guards.

MacColl appeared in the 1991 Channel 4 historic musical fantasy The Ghosts of Oxford Street as Kitty Fisher, performing "Fairytale of New York" opposite Shane MacGowan as the Duke of York.

Death
In 2000, after she participated in the presentation of a radio programme for the BBC in Cuba, MacColl took a holiday in Cozumel, Mexico, with her sons and her boyfriend, musician James Knight. On 18 December 2000, she and her sons went diving at the Chankanaab reef, part of the National Marine Park of Cozumel, in a designated diving area that watercraft were restricted from entering. With the group was a local veteran divemaster, Iván Díaz. As the group was surfacing from a dive, a powerboat moving at high speed entered the restricted area. MacColl saw the boat coming before her sons did. Louis, age 13 at the time, was not in its path, but Jamie, age 15, was. She was able to push him out of the way (he sustained minor head and rib injuries), but she was struck by the powerboat, which ran over her. MacColl suffered severe chest and head injuries and died instantly. MacColl's body was repatriated to the United Kingdom and was cremated after a funeral service at Mortlake Crematorium in Kew.

Aftermath
The powerboat involved in the collision was controlled by Guillermo González Nova, multimillionaire president of the Comercial Mexicana supermarket chain, who was on board with members of his family. The boat was owned by Carlos González Nova, brother of Guillermo and founder of Comercial Mexicana. An employee of Guillermo González Nova, boathand José Cen Yam, said he was in control of the boat at the time of the incident. Eyewitnesses said that Cen Yam was not at the controls and that the boat was travelling much faster than the speed of one knot that González Nova said.

Cen Yam was found guilty of culpable homicide and sentenced to two years 10 months in prison. He was allowed under Mexican law to pay a punitive fine of 1,034 pesos (about €63, £61 or US$90) in lieu of the prison sentence. He was also ordered to pay approximately US$2,150 in restitution to MacColl's family, an amount based on his wages. People who said they spoke to Cen Yam after the killing said he received money for taking the blame.

Justice for Kirsty campaign
MacColl's family launched the Justice for Kirsty campaign in response to the events surrounding her death. Among the group's efforts:
 Lawyers for MacColl's family and the group campaigned for a judicial review into the events surrounding her death. They were in repeated contact with the Mexican government and made an application to the Inter-American Commission on Human Rights.
 MacColl's friends and family were critical of what they perceived as lack of cooperation from the Mexican authorities. In May 2006, Emilio Cortez Ramírez, a federal prosecutor in Cozumel, was found liable for breach of authority in his handling of MacColl's case.
 In 2004, the BBC showed a documentary by Olivia Lichtenstein titled Who Killed Kirsty MacColl?
 U2 frontman Bono, who was a friend of MacColl, spoke about the incident during a concert in Monterrey, Mexico, in February 2006. The Mexican government released a statement after the concert indicating it would take action.

On 20 August 2009, Carlos González Nova, brother of Guillermo González Nova, died at 92 of natural causes. In December of that year, the Justice for Kirsty Campaign Committee issued a statement announcing that the campaign was being terminated since it "was successful in achieving most of its aims" and "it is unlikely that any more could be achieved". The campaign's remaining funds were to be divided between two charities, Casa Alianza México and Cuba Music Solidarity, a gesture of which, the statement read, "Kirsty would have approved".

Legacy

Since MacColl's death, Billy Bragg has always included her extra verses when performing "A New England". She was honoured in 2002 with a memorial concert in London at the Royal Festival Hall, featuring a number of musicians who had worked with her or been influenced by her. A similar memorial concert took place on her birthday (10 October 2010) at the O2 Shepherd's Bush Empire, to support her favourite charity, The Music Fund for Cuba.

In 2001, a bench was placed by the southern entrance to London's Soho Square as a memorial to her, after a lyric from one of her most poignant songs: "One day I'll be waiting there / No empty bench in Soho Square". Every year on the Sunday nearest to MacColl's birthday, 10 October, fans from all over the world hold a gathering at the bench to pay tribute to her and sing her songs.

MacColl continues to receive media exposure; in 2004, Kirsty MacColl: The One and Only, a biography of MacColl by Karen O'Brien, was published. A retrospective three-CD set spanning her full career, From Croydon to Cuba, was released in 2005. Titanic Days was re-released in 2005 as a deluxe 2-CD set, and Kite and Electric Landlady were also remastered and rereleased with additional tracks. Her first album, Desperate Character, was given its first CD issue in 2012 on the Salvo label. On 7 August 2005, The Best of Kirsty MacColl, a single-disc compilation that included a "new" single, "Sun on the Water", made its debut on the UK album charts at number 17, climbing to No. 12 a week later.

MacColl's collaboration with the Pogues, "Fairytale of New York", remains a perennial Christmas favourite. In 2004, 2005 and 2006, it was voted favourite Christmas song in a poll by music video channel VH1. The song was re-released in the UK in December 2005, with proceeds being split between the Justice for Kirsty Campaign and charities for the homeless. The re-release reached number 3 on the UK charts, and spent five weeks in the top 75 over the Christmas and New Year period. It reached the top 10 for the third time in its history in 2006, peaking at number 6, and charted again in December 2007. The song has also made the Top 20 in subsequent years, and has now spent more time in the top 20 than any other song. With the exception of the 2005 and 2012 re-releases, the seasonal re-charting in the 21st century is due to download sales, and not due to further releases (download sales counting toward the singles chart since 2005). A 7" single was produced in 2012 to mark the 25th anniversary of its original appearance (Rhino Records WEA400), backed with an instrumental version.

Awards and nominations
{| class="wikitable sortable plainrowheaders"
|-
! scope="col" | Award
! scope="col" | Year
! scope="col" | Nominee(s)
! scope="col" | Category
! scope="col" | Result
! scope="col" class="unsortable"|
|-
!scope="row" rowspan=2|Ivor Novello Awards
| 1992
| "Walking Down Madison"
| Best Contemporary Song
|
|
|-
| 1995
| "Dear John"
| Most Performed Work
|
|

Discography

Desperate Character (1981)
Kite (1989)
Electric Landlady (1991)
Titanic Days (1993)
Tropical Brainstorm (2000)

Bibliography

References

External links

 Kirsty MacColl discography at Discogs
 BBC announcement of her death
 Justice for Kirsty – in-depth information regarding MacColl's death

1959 births
2000 deaths
20th-century English singers
Boating accident deaths
English women pop singers
English humanists
English manslaughter victims
English new wave musicians
English people of Scottish descent
English women singer-songwriters
English singer-songwriters
Women new wave singers
Musicians from Croydon
Musicians from Surrey
Underwater diving deaths
Stiff Records artists
ZTT Records artists
20th-century English women singers
2000 crimes in Mexico

Kirsty MacColl


Tlacoachistlahuaca is one of the 81 municipalities of Guerrero, in south-western Mexico. The municipal seat lies at Tlacoachistlahuaca.  The municipality covers an area of 450.6 km².

As of 2005, the municipality had a total population of 18,055.

References

Municipalities of Guerrero

Tlacoachistlahuaca (municipality)


Szymon Abramowicz Winawer (March 6, 1838 – November 29, 1919) was a Polish chess player who won the German Chess Championship in 1883.

Tournament and match results
At the Paris 1867 tournament held at the Café de la Régence, his first international tournament, Winawer finished in second place, tied with Wilhelm Steinitz behind Ignatz Von Kolisch. He remained one of the world's best players for the next 15 years.

At Warsaw 1868 Winawer won the first chess tournament conducted in Poland. He won an 1875 match in Saint Petersburg against Russian master Ilya Shumov, 5–2. At Paris 1878 Winawer tied for first place (+14−3=5) with Johannes Zukertort, ahead of Joseph Henry Blackburne and George Henry Mackenzie, but took second prize after the play-off. At Berlin 1881 he finished =3rd with Mikhail Chigorin. Winawer's best result was a first place tie with Steinitz at Vienna 1882, in what was the strongest chess tournament in history up to that time. At London 1883 he failed to place for the first time, but later that year at Nuremberg (3rd German Congress) he finished first, defeating Blackburne who took second place.

After a long absence Winawer returned to chess in the 1890s, but by then he had been surpassed by younger players including Siegbert Tarrasch and Emanuel Lasker. At Dresden 1892 and Budapest 1896 he placed sixth. He lost an 1896 match to Dawid Janowski 2–5. He turned 63 during his final international tournament, Monte Carlo 1901, and did not place among the prizewinners. Winawer continued to play competitive chess into his 60s, and in his career he faced all of the top players from the last third of the 19th century, from Adolf Anderssen to Lasker. His rivalry with Blackburne stretched from 1870 to 1901, and they met in competitive games in five consecutive decades. Winawer died in Warsaw on November 29, 1919.

Legacy
Winawer has several opening variations named for him. The most popular is the Winawer Variation of the French Defence (1.e4 e6 2.d4 d5 3.Nc3 Bb4). His name is also associated with the Winawer Attack in the Ruy Lopez. At Monte Carlo 1901, Winawer's last international tournament, he introduced the Winawer Countergambit in the Slav Defense in a game against Frank Marshall.

Sample game

In one of his best known games, he beat Steinitz in Nuremberg in 1896: 1.e4 e5 2.d4 exd4 3.Qxd4 Nc6 4.Qe3 Nf6 5.Nc3 Bb4 6.Bd2 O-O 7.O-O-O Re8 8.Bc4 Bxc3 9.Bxc3 Nxe4 10.Qf4 Nf6 11.Nf3 d6 12.Ng5 Be6 13.Bd3 h6 14.h4 Nd5 15.Bh7+ Kh8 16.Rxd5 Bxd5 17.Be4 f6 18.Bxd5 fxg5 19.hxg5 Ne5 20.g6 1–0

References

See also
 List of Jewish chess players

External links

1838 births
1919 deaths
Sportspeople from Warsaw
19th-century Polish Jews
Chess players from the Russian Empire
Polish chess players
Jewish chess players
Chess theoreticians
19th-century chess players

Szymon Winawer


Wu (Hao)-style tai chi () is one of the five primary styles of tai chi. It was created in the mid-nineteenth century by Wu Yuxiang, a member of a wealthy and influential family in Yongnian, Hebei, China. Wu trained for approximately ten years with the founder of Yang-style tai chi, and then for over a month with a Chen-style master. Wu also obtained a manual on internal martial arts that formed the core of what are now known as the tai chi classics and include Wu's own writing on the subject. From these sources Wu and his family developed their own style, and may also have developed much of the cultural and intellectual foundation of tai chi as well.

Hao Weizhen was a disciple of Wu's nephew and was the first person outside the family to master their tai chi. Hao's contributions — in developing and spreading the art, and in training the founders of all subsequent Wu (Hao) lineages, as well as the further contributions of his son and grandson — are why many include his surname alongside or in place of Wu's when referring to this style.

This Wu style (, Wǔ) is the third-oldest among the five major styles – Chen, Yang, Wu (Hao), Wu (, Wú), and Sun – but is the smallest and least well-known of the five, in part because Wu Yuxiang and his family had no need to teach professionally. It is best known for its small- and medium-frame forms, as well as its emphasis on the core tai chi concept of "open-close" or "kai he" (), and so is also known as Kai He tai chi ().

History

Wu Yuxiang
Wu Yuxiang began training with Yang Luchan, the founder of Yang-style tai chi, in the early 1840s after Yang returned to Yongnian from his years in the Chen village. Among their many properties the Wu family were the landlords of Chen Dehu's pharmacy and clinic, where Yang offered instruction in what he then called "soft boxing" (), "cotton boxing" (), or "neutralizing boxing" (). But in the early 1850s, Wu and his family introduced Yang as martial arts instructor to a prominent family in distant Beijing, where Yang was invited to take up a teaching position at the palace of Prince Duan.

Wu then found his way to Chen Qingping, a master of Chen-style and Zhaobao tai chi, in Zhaobao village where he trained with Chen for over one month (per writings left by Wu's nephew and grandson). After approximately ten years of training with Yang, Wu was likely able to quickly master a great deal from Chen, gaining further depth and insight.

From this training Wu began to develop his own style, which he shared with members of his extended family. He and his family were wealthy gentry, some of them government officials but none in military careers at that time, and had no need to teach martial arts for professional or financial purposes. They seem to have pursued tai chi primarily as a means of self-cultivation, and possibly for self-defense and leadership in a time of widespread civil breakdown and unrest including banditry, anti-landlord uprisings, and the Nian and Taiping rebellions.

The tai chi classics

In the early 1850s Wu's eldest brother Chengqing (, also known as Wu Qiuying, ; 1800-1884) was serving as a government official in Henan, when he obtained a manual on the principles of internal martial arts. In the writings of the next generation, this was tersely reported as having been received at "a salt shop", with the assumption that any reader would understand the context of that statement. Salt merchants were wealthy and of equal social status with an official like Wu Chengqing. At least one scholar speculates that the owner of that shop may have been a fellow book collector who had learned of the Wu family's interest in the topic, and was seeking to curry favor with Chengqing who among other things was in charge of tax collection.

Authorship of the manuscript was attributed to a Wang Zongyue of Shanxi, about whom no information is available in verifiable historical records. (Some have suggested Wang Zongyue could be a pseudonym of Wu Yuxiang or another Wu family member, but the writing style is different and the mundane salt shop story – as opposed to, say, claiming an immortal sage found it in an enchanted cave – lends believability as well.) Wu Chengqing passed the manual on to Wu Yuxiang, who discussed it with his friend and teacher Yang Luchan. Yang agreed it was important. Over the following years, Wu and his family applied the lessons of this text to the development of their art and created a body of written work around it, which together became known as the first version of the tai chi classics.

Wu's nephew and top disciple Li Yiyu (; 1832–1892) contributed several texts to the final collection. Wu's older brothers Chengqing and Ruqing (; 1803-1887), also wrote on the topic after they retired from government service, though those works along with more by Li Yiyu were not made public until the 1980s and 1990s, so have been called "lost classics". Wu likely also shared his writings with Yang Luchan, and with Yang's son Yang Banhou, who Wu tutored (probably in literacy as well as tai chi). Although the Wu and Yang lineages appear to have drifted apart by the next generation, in the early twentieth century Yang Chengfu's disciples began to publish their own versions of these texts with their own additions, and began to call them the "tai chi classics".

The name of tai chi

The name "taijiquan" (the Chinese name of tai chi) may have first appeared in the Wu/Li family's mid-nineteenth century writings, perhaps drawn from the Wang Zongyue text which begins with the words "Taiji is born from Wuji; it is the mother of Yin and Yang". As the Wu family had no need to promote their art, it was left to the Yangs to bring this to the public first. But with different priorities, especially as the two families drifted apart (or worse) by the second generation, they often felt no need to mention each other at all which is why few knew of this.

Yang family tradition tells us only that imperial court scholar Weng Tonghe used the term "taiji" (tai chi) in a poem to describe a performance by Yang Luchan. It is not clear if that was an additional influence on the name, or if the new name was already in use there, along with the earlier names "Thirteen Postures" (), "Long Boxing"(), and "Soft/Cotton/Neutralizing Boxing" (). Written evidence that the Yang family had started using the name taiji for their martial art first appears in a later text, possibly completed in 1875 by Yang Luchan's son Yang Banhou (who had been tutored by Wu Yuxiang), or no later than the first decade of the twentieth century by one or more of Yang Banhou's disciples.

By the second decade of the twentieth century, Yang Chengfu's disciples and Sun Lutang were using the term "taijiquan" in their publications, including in the titles of some of the tai chi classics. It then appeared in a book by a Chen family member, Chen Xin, published after he died in 1929. This timeline may represent the origin and history of the adoption of this name — from Wu to Yang to Wu (), then Sun, then Chen — but with no record of verbal usage we have no way of knowing for sure.

The legend of Zhang Sanfeng

The Wu family wrote of many other connections between the art and traditional Chinese culture, with the writings of eldest brother Wu Chengqing especially showing his interest in Daoism when he was not occupied with his official Confucian responsibilities. Scholars believe Wu Yuxiang passed along to his successors and to the Yang family the story of the creation of internal martial arts by legendary Daoist alchemist Zhang Sanfeng.

For Wu Yuxiang and the seventeenth century authors he likely drew from, that story may have been primarily an anti-Manchu political allegory. There is no mention of Zhang in original Chen village documents, and although Wu's nephew and disciple Li Yiyu did write about Zhang, in a later piece written in 1881 Li stated "The creator of tai chi is unknown".

But with Wu Yuxiang most likely having planted the seeds of this tradition, supplementary chapters on internal martial arts attributed to Zhang were appended to the above-mentioned work by Yang Banhou or his disciples, and by the early twentieth century publications by Yang Chengfu's disciples and Sun Lutang proclaimed Zhang Sanfeng creator of tai chi itself. In Yang style editions Zhang was also named as author of one of the tai chi classics.

Li Yiyu and Hao Weizhen

"Wu Yuxiang taught reading as a hobby, and Li Yiyu practiced medicine as a profession. They both considered themselves to be members of the literati, and in their hometown taught very few students. Li's best student was his neighbor, Hao He, known by the courtesy name Weizhen." — Gu Liuxin

Wu Yuxiang practiced his tai chi with his older brothers, and his only disciples were his nephews Li Yiyu and Li Qixuan (, Simplified Chinese , 1835-1899). Li Yiyu became a prominent voice speaking to us from the past through his writing on tai chi, and he was the first to teach this style to anyone outside the family. Wealthy and occupied for many years with establishing and running a smallpox clinic, he devoted much of his spare time to practicing, researching, and further developing the art with his uncle Yuxiang and brother Qixuan, but also took on as a disciple his neighbor Hao Weizhen, for whom he made one of only three handwritten copies of the Wu/Li family tai chi manual.

Hao Weizhen became a well-known master and professional instructor, further refining the art and developing his own solo form (see the Characteristics section below). Closely associated with the martial arts community in Hebei, including Yang Zhaolin (; 1884-1922) the eldest grandson of Yang Luchan, beginning in 1914 he also taught in Beijing where his students included Sun Lutang, the founder of Sun-style tai chi, and in Yongnian that same year Hao led the first tai chi program in a public school. Hao's contributions – in developing and spreading the art, and in training the founders of all subsequent Wu (Hao) lineages, as well as the further contributions of his son and grandson – are why many include his surname when referring to this style.

Lineage
The Wu (Hao) lineage () is represented today by at least a dozen branches () with many smaller offshoots. The four largest branches are listed here, named for the purposes of this article as follows:
 Li family branch
 Hao family branch
 Li Shengduan branch
 Li Baoyu (Li Xiangyuan) branch

The founders of these branches trained under Hao Weizhen, but the first branch in the list traces lineage directly back to the original Wu and Li families. Li family descendants still teach, but no direct descendant of the Wu or Hao families has a leading role in the art today.

Although Sun style is considered a descendant () of Wu (Hao) style because the founder learned tai chi from Hao Weizhen, that style is covered in a separate article and not included here.

(Article continues below lineage tree)

Lineage tree

Li family branch

This branch uses the name "Wu-style tai chi" (), sometimes spelled "Wuu" in translation to indicate the pronunciation. Some have referred to it as "Li Frame" () or "Northern Branch", and we discuss those names below, but members of this lineage do not use those labels themselves today. They also do not include the name Hao because their lineage includes family bonds to the original Li and Wu families, but Hao Weizhen did help train founder Li Xunzhi (, 1882–1944). Xunzhi was ten years old when his father Li Yiyu died, and so completed his training under his elder brothers and his elder "martial brother" Hao Weizhen.

Li Xunzhi's sons were key disciples, including Li Jinfan (; 1920-1991), and the lineage continued on through his grandsons and other family members, but among his most well-known disciples were also Wei Peilin (; 1913-1961) and Yao Jizu (; 1917-1998).

Wei was rising to prominence with the National Sports Commission before he died while still in his forties. Yao led prominent tai chi organizations and schools, and published many books and articles, including  (The Complete Book of Wu Style Taijiquan), which covers this lineage's forms and other training practices. That serves as their core handbook, supplemented with books and articles by fifth generation grandmaster Zhai Weichuan (; 1942-) and others, including Zhai's book  (Wu Style 37-Posture Taijiquan) on the simplified form he developed for busy beginners. This lineage has continued to develop shorter forms, including a 28-posture routine, consistent with trends and standards in the field. They generally practice in middle frame, with small frame training for advanced students.

Grandmaster Zhai was a disciple of Wei Peilin until Wei died, and then became a disciple of Yao Jizu. Zhai is currently the president of the Yongnian Yuxiang Taiji Research Institute (), headquartered in Yongnian with branches in Hangzhou, Tianjin, Shijazhuang, and other places in China, and has taught in many more locations nationwide. His son Zhai Shizong () is managing director and a master instructor there.

In 1999 Zhai Weichuan founded a 1,000-student primary school centered around tai chi. Tens of thousands of adult tai chi students have also participated in his training programs, including groups from abroad, and he has accepted 140 formal disciples. In 2020 he appeared in the film submitted by China to place tai chi on the UNESCO Intangible Cultural Heritage List, representing the "Wuu" style.

Zhong Zhenshan (钟振山, 1949-), another fifth generation grandmaster, is perhaps better known in the West than most representatives of this lineage. Born in Yongnian, he became disciple of Yao Jizu at age 13. He has written over twenty articles on tai chi, and assisted Yao Jizu in compiling  (The Complete Book of Wu Style Taijiquan). With others of his lineage generation, he  helped develop the Wu-style competition and simplified forms. Winner of several gold medals in tai chi contests, he was appointed general instructor for a thousand-person tai chi performance, and has been officially recognized for his accomplishments. He has trained many disciples and students in China, and has led workshops and advised Wu-style organizations in North America as well.

This lineage practices a 108-posture empty-hand form, as well as simplified and competition forms, sword and staff forms, push hands, and other aspects of the art. More about forms and partner work is in the Characteristics section.

Hao family branch

In the past this branch often used the name "Wu-style tai chi" (), with some attempts to clarify by calling it "Hao Frame" () or "Hao School" (), resulting in longer locutions like "Wu Style Hao Family tai chi" (). But over time the trend has been to call it "Wu (Hao) tai chi" () or even simply "Hao Family tai chi" (). The branch was founded by Hao Weizhen's son Hao Yueru (; 1877-1935) and grandson Hao Shaoru (; 1907-1983), who brought the art from Yongnian to the Nanjing region and Shanghai in 1930, at a time when many martial artists followed the Chinese government and economy to those areas.

They also made changes to their art consistent with developments happening in many tai chi styles and other martial arts at the time, to bring the benefits of tai chi to a wider range of people. Building on the form created by his father Hao Weizhen, Hao Yueru developed a 96-posture small frame form and his son Hao Shaoru developed a shortened 49 posture version of the same form, both designed to be accessible to people who practice tai chi primarily for health, while still offering a martial core with lessons on internal power and other advanced aspects of the art to intermediate and advanced students. This lineage is known for their focus on the internal aspects of "yi" (, "intention") and "qi" (, "energy") in martial applications.

Hao Shaoru paused his public tai chi teaching in the 1950s, but thanks to his friend Gu Liuxin he was invited by the government to lead a new class in Shanghai in 1960, and in 1963 published the seminal book Wu Style Taijiquan () which focused on the 96-movement form. Liu Jishun (, Simplified , 1930-), also known as Jackson Liu, became the second student in that 1960 class. Also a master of tui na and other aspects of traditional Chinese medicine, Liu continued training with Hao Shaoru until Hao's death in 1983 (though they practiced separately for a few years during the Cultural Revolution), and in 1981 Liu was selected by Hao Shaoru to begin representing the lineage alongside top artists from other tai chi styles at events in Yongnian and elsewhere.

Grandmaster Liu trained a new generation of disciples and other students in China, serving as vice president and then president of the Shanghai Wu Style Taijiquan Research Association in the 1980s. He also accepted disciples from the United Kingdom, including the head of the British Jingwu Athletic Association, Jifu Huang (, 1935-1995), and two more UK disciples who have in turn trained several British national push hands champions and founded Hao-style schools in the UK and Singapore. In 1995 Liu moved to the United States, where he founded the Wu (Hao) Taiji Association of Silicon Valley and trained several disciples there. In 2005 he retired to the San Diego area, where he continued to teach tui na and tai chi, and in 2008 and 2012 two English/Chinese books on the Hao family style were issued under his name by a Hong Kong martial arts publisher.

Other Hao Shaoru disciples and students include Pu Gongda (; 1905-1997), a lifelong martial artist who began training with Hao Shaoru in the 1960s, established the Shanghai Wu Style Taijiquan Research Association with Hao in 1983 and served as president of the organization, and trained thousands of students including British and Americans; Hao's adopted son Li Weiming (, 1944-), also a master of tui na and traditional Chinese medicine, who began training with Hao Shaoru in 1961 and now teaches in Shanghai and Bangkok; and Hao's adopted son Hao Yinru (, 1958-), who changed his name from Wang Muyin () and now teaches in Shanghai. In 1991 Hao Yinru wrote a new foreword to a new edition of Hao Shaoru's book, Wu Style Taijiquan ().

In addition to the 49- and 96-posture small frame forms, advanced students in this lineage also learn the old form of Hao Weizhen in small frame, as well as staff/pole training, straight sword, push hands, and other aspects of the art. More about forms in the Characteristics section.

Li Shengduan branch

This branch currently uses the name "Wu (Hao) tai chi" or "Wu Hao tai chi" (). The founder, Li Shengduan (; 1888-1948), of Xingtai, Hebei, was a disciple of Hao Weizhen and was an accomplished scholar. Descended from China's Hui people, he was not related to Li Yiyu. His most prominent disciples were Ma Rong (; 1912-1965), Chen Gu'an (; 1913-1993), and Wu Wenhan (; 1928-2019).

A scholarly lineage from the start, Li's disciples authored many books and articles on tai chi and related subjects, in addition to training many disciples and students of their own. Chen Gu'an wrote a book on the 108-posture form he standardized for this lineage and another on the Wu (Hao) style staff. Wu Wenhan wrote a book on Wu (Hao)-style applications and edited a comprehensive collection of classic works on tai chi — from Li Yiyu's copy of the Wang Zongyue classic through major early twentieth century writers of all tai chi styles — as well as over 200 articles on the history and theory of the art.

Wu Wenhan also researched and released in 1993 previously unknown works by Wu Yuxang's eldest brother Wu Chengqing. Those texts, along with other "lost classics" by Li Yiyu, Wu Ruqing, and Yang Banhou first revealed to the public between 1985 and 1993, expanded our understanding of the original history and thought of the founding generations and the tai chi classics.

This lineage continues to thrive in China, and is represented worldwide by Texas-based Grandmaster Jimmy K. Wong (, , Wang Guoqiang, Wong Kokkhang), a disciple of Chen Gu'an and Wu Wenhan. Their schools practice a small frame 108-posture long form standardized by Chen Gu'an plus several small frame simplified forms, as well as straight sword, saber, staff, and other aspects of the art. More about forms in the Characteristics section.

Li Baoyu (Li Xiangyuan) branch

Focused on the old form of Hao Weizhen, most masters in this lineage call their art "Hao-style tai chi" (). The branch was founded by Li Baoyu (; 1888-1961), who was also known by the courtesy name Li Xiangyuan (). Li was a native of Shunde in what is now Xingtai, Hebei, and was not related to Li Yiyu. Beginning at age 14 he trained under Liu Yingzhou () in San Huang Pao Chui, and then as an adult studied Yang Banhou tai chi under Yang Luchan's eldest grandson Yang Zhaolin (; 1884-1922), before mastering Wu (Hao)-style as a disciple of Hao Weizhen.

Small and slightly built, Li Baoyu surprised many challengers, defeating all opponents in and out of the ring including several gangsters. Thrust into a hardscrabble life at an early age, martial arts provided strength and stability, and his prowess earned him the nickname "Spirit Hand () Li". He established a flour milling business and raised a family, but his many storied martial adventures continued on throughout his life. His most famous student was Dong Yingjie. He coached Dong through a nationally celebrated victory against a British boxer in Nanjing — as the story goes, Li was originally slated to fight that match, but a Chinese gangster working for the British consul temporarily blinded him by throwing lime powder in his eyes — and then taught in Suzhou, Hangzhou, Nanjing, Hebei, Shanxi, and elsewhere, his fame attracting requests for training even from the central government.

Known for his Vajra Palm (), Tai Chi Yin Wind Palm () and Extend Peng Draw Lü Rotation () techniques, he trained several disciples, including Shi Fengchun (), Li Wanquan (), and his good friend the Daoist adept Li Jianxing () who was also a master of traditional Chinese medicine. Li Baoyu's daughter Li Guihua (), also a disciple, collaborated on a manual of their Hao style and on a novel about the heroic exploits of her father and his friends that includes the story of intrigue surrounding the famous match in Nanjing.

His disciples established teaching lineages in Hebei and Shanxi, and on the national stage his disciple Ouyang Fang () represented Wu (Hao)-style in an official 1977 government film of the major tai chi styles, performing the Hao Weizhen form. Li Baoyu's friend and student Dong Yingjie included that form, along with fast forms Dong developed in part by incorporating postures and principles he learned from Li, in the advanced curriculum of Dong family tai chi taught today in over twenty countries around the world. More about these forms is in the Characteristics section below.

The rectification of (branch) names

"When Wu-style tai chi spread to Beijing in the first years of the Republic, some people called it 'Li frame', then when Weizhen's son Yueru and grandson Shaoru went to teach in Nanjing and Shanghai in 1928, people also called it 'Hao frame'." - Gu Liuxin

As the Hao family began to spread this style to the public, some confusion resulted. When Hao Weizhen traveled to Beijing in 1914 to teach his middle frame form, he humbly presented himself as a disciple of Li Yiyu. But in 1930 when his son and grandson moved to the Nanjing and Shanghai areas to teach their unique small frame forms, they were more forward about taking credit. And so the Wu-style form created by Hao Weizhen was sometimes called "Li frame" (), while the next-generation Wu-style forms created by his descendants were called "Hao frame" ().

Some also attempted to clarify this by referring to the Li family lineage as the "Northern" branch, and schools of the Hao family beginning with Hao Yueru as the "Southern" branch, though for much of their lives they were all based in Hebei. The other lineages founded by the unrelated masters surnamed Li were also sometimes lumped together as "Northern".

Those terms are seldom used today. The Li family lineage has long since committed to using only the name "Wu-style", while the other branches began using variations such as  "Wu Hao-style" and "Hao-style" more often over time, as described in the above sections on Lineage. The topic of Northern and Southern Chinese martial arts generally refers to a much broader geography and time frame than the early twentieth century context of Beijing vs. Nanjing/Shanghai, and in that wider context all styles of tai chi are considered "Northern".

Characteristics
Wu Yuxiang's style is unlike Chen style, old or new frame, and unlike Yang style, large or small frame. After he learned those styles, he created a new system that offers these unique points: compact postures, slow relaxed movements, and footwork that strictly and clearly distinguishes empty and solid. Chest and belly are kept neutral in advancing, retreating, and turning, completely relying on the internal movement between empty and solid to transform and dominate external forces with "internal qi and hidden change". — Gu Liuxin

Compact frame

Tai chi styles are often categorized by their "frame size", which describes how far the body is extended for small, medium, or large overall reach. Wu (Hao) is practiced primarily in small and middle frame. In describing small frame, Gu Liuxin wrote "the left and right hands each control half the body; they do not cross the center line, and they do not extend beyond the tips of the feet". Medium frame is, of course, midway between that and the fully extended large frame.

Wu (Hao) began as a middle frame style, and the Li family lineage continues to practice primarily in middle frame, though they also train advanced students in small frame as well.

The Hao family lineage is known for their small frame. Their forms and other practice focus on small frame movements, including the old form of Hao Weizhen which they modified for small frame practice.

The Li Shengduan lineage also focuses on small frame practice, while the Li Baoyu lineage teaches the old form of Hao Weizhen and advanced techniques in middle frame, though the Dong family branch has trended towards large frame over time.

Traditional and simplified forms

Wu (Hao)-style forms have undergone five stages of development since the nineteenth century, and since the third generation have often been called "kai he" () forms in reference to their focus on "opening and closing" movements.

First- and second-generation Forms

The earliest written records we have of this style's forms are in Li Yiyu's own hand. In 1881 he recorded a first-generation form consisting of 53 to 55 postures, the count varying as he worked to improve the description. He and his brother Li Qixuan continued working on improvements to the training for the rest of their lives, developing a second-generation 67-posture form. The larger total resulted from separately counting subpostures, such as left and right versions of the same posture, and some additional postures.

Among other core tai chi principles, opening and closing movements were emphasized in this style from the beginning, however in the first two generations' forms the postures named specifically for that concept were  referred to not as "kai he", but with a literary term, "zhuan he" (. Some have continued to use that older phrase; see the Comparisons section below for more detail on this topic).

Third generation: the Kai He form

Li Yiyu's top disciple Hao Weizhen created a form that is usually taught as a sequence of 81 to 88 postures. Hao was the first to use the term "kai he", or "opening and closing", in the names of specific movements in a form, drawing from Li Yiyu's writing on theory (discussed further below). As a result, this has often been called "the Kai He Form" and at times the entire style has been called "Kai He tai chi" ().

This is the oldest Wu (Hao) form still widely practiced today. As performed in many schools it is still representative of the early forms with its upright middle frame and its clearly martial aspect. The sequence, in most of the posture names at least, is familiar to practitioners of Yang and other styles. In Wu (Hao) schools that no longer practice it regularly, its influence is visible to the trained eye in the fourth generation and Sun-style forms. However, some lineages or branches that still practice this form have modified certain aspects to align with their curriculums.

In 1914 when Hao Weizhen first taught in Beijing, this form was performed in about eight or nine minutes, the same speed at which Yang Chengfu and Wu Jianquan were timed doing their own long forms that decade in largely the same sequences we know today. All these forms were performed at a varying slow-swift tempo then, usually with jumps and fa jin. The 1977 film of Li Baoyu disciple Ouyang Fang's performance of this form is like a time capsule for us, with few if any changes from the original he'd begun learning almost fifty years before. In the early twentieth century, tai chi forms were still intended for martial artists who also spent long hours each day training on individual moves and their applications, often after years of experience in other martial arts.

Yang Chengfu and Wu Jianquan modified their primary training forms to a slow even speed, removing jumps and fa jin, to make the art more accessible for the health of the broader public with the encouragement of government officials. But Hao Weizhen's form retained speed, jumps, and fa jin for decades, because the next generations developed other forms to meet the new goals.

The Li Baoyu lineage has preserved this form relatively unchanged, as documented in the 1998 book 郝式太极拳 (Hao Style Taijiquan) written in collaboration with Li Baoyu's daughter Li Guihua. It is practiced with some minor variations among schools in Hebei and Shanxi, where it is taught at a steady training pace of about fourteen minutes and at the faster nine-minute pace as well. Only in the worldwide Dong family tai chi branch is the focus only on a slowed down and smoothed out pace.

Because this is the only Wu (Hao) form in the Dong family curriculum, they perform in about eighteen minutes with only a few optional fast movements, giving advanced students time to focus on the unique Wu (Hao)-style internal training it offers. The original slow-swift tempo is instead available in the Dong family fast forms, which include sections that incorporate techniques and principles Dong Yingjie learned from Li Baoyu.

In addition, as practiced by the Dong family branch the postures are slightly forward-inclined, in a larger frame, and with Dong Yingjie's signature "iron finger" hands. Internally, practitioners focus on bringing energy to the outside perimeter of the body in all directions, so that unlike the classic Yang-style metaphor of "an iron bar wrapped in cotton" this is more like "a crab shell on the outside, and soft inside". This remains a "soft-style" form with a focus on internal strength and structure, developed by cultivating "fullness" rather than stretching or external strength, but the Dong lineage call this their "hard form" to contrast it with their primary Yang-style "soft form". Their formal names for it remain "the Kai He form" and "the Hao form".

The Hao family lineage modified this form as well: they made it small frame, to align it with their next-generation forms. It retains vigorous features including speed, a jump kick, and some fa jin. It is taught to advanced students, and although Grandmaster Liu Jishun stated in a 1999 interview that it is taught at a fourteen-minute training pace, he also published a DVD in 2005 showing that once mastered it can still be performed in less than nine minutes or even under five minutes, in the classic slow-swift tempo.

Fourth generation: new traditional forms

In the first half of the twentieth century the forms got longer still, but with a change in focus: creating routines for the broader public and not just for martial artists.

The first was Hao Yueru's 96-movement small frame form. Gu Liuxin gave these examples of changes in that form: "Originally there were also jumping movements until the fourth generation teacher Hao Yueru (1877-1935) removed them. The 'Double-Slap Swinging Lotus' was also changed so that there is no slapping of the top of the foot. These were adaptations made for the needs of the old and infirm."

Accessible to "the old and infirm", yes, and Hao Shaoru did say it was a qigong quan (), but it still contains a martial arts core, with lessons on the applications of internal strength and other topics for intermediate and advanced students. The Hao family lineage is known for their focus on yi () as well as qi ("energy"), with masters demonstrating the use of their small and seemingly soft movements to launch opponents into the air and across the room just as well as masters of other lineages often do.

Next were two 108-movement routines. Like the Hao Yueru 96 form, these are now considered the traditional long forms of their respective lineages.

The Li family lineage (as we have named them for the purposes of this article), under Wei Peilin, Yao Jizu, and others, standardized a 108-posture form, in middle frame with no jump kicks or other immediately strenuous movements. Advanced students are introduced to fa jin movements and other aspects of internal strength in the form, and also learn to practice in small frame as well as a Pao Chui version with more fa jin.

In the Li Shengduan lineage, Chen Gu'an standardized another 108-movement form in a small frame approach that, as with the others of this generation, is accessible to a wider range of people yet contains martial training for intermediate and advanced students. This is the traditional long form taught today by Jimmy K. Wong and other disciples of that lineage, with a focus on internal strength and structure.

Fifth generation: simplified and competition forms

The era of shortened / simplified Wu (Hao) forms began in the mid-twentieth century with Hao Shaoru's 49-movement routine. Requiring only about 10 minutes to perform, as compared to approximately 25 minutes for the full 96-movement version, it is taught to beginners and used for public demonstrations.

Wu (Hao)-style masters were not included in the development of the 24-movement Simplified Form published in 1956, which was composed entirely of Yang-style postures, nor the 48-movement Combined Form of 1976 which included postures from Chen-, Yang-, Wu- (, Wú), and Sun-style and was later condensed into the 42-movement Competition Form in 1989.

But in 1995 a Wu (, Wǔ)-style 46-movement Competition Form was finalized by a committee led by (as we have named them for the purposes of this article) the Li family lineage. That form was formally published and officially adopted by the national standards committee in 1996. Then in 2006 Zhai Weichuan of the same lineage published his 6-minute 37-movement simplified form to make tai chi available to a wider swath of the public. He and his disciples have since developed shorter forms, including a 28-posture routine, consistent with national trends and standards.

Meanwhile the Li Shengduan lineage, led abroad by Jimmy K. Wong, has developed simplified forms in 36, 32, 24, 13, and 8 movements. These are similar in length to new short forms developed by other styles at the behest of China's national standards committees.

Weapons forms and partner routines

Wu (Hao)-style weapons forms include, with some variation among the lineages and individual schools, straight sword (), saber/broadsword, and long pole (, gǎn). Although spear methods () are mentioned in a 19th-century manual by Li Yiyu, they are seldom practiced today. However the pole forms and drills for one and two persons include many spear-like movements, similar to the sticking and thrusting pole practice of the Yang and Chen styles, but without the many rotations of Chen-style spear forms.

These forms share many other similarities with Yang-style weapons forms, and may be closely related. In some Hao family schools the straight sword form is almost exactly the same as the Yang-style version. In the Li family lineage, although their straight sword form is a different sequence, their two-person saber set is quite similar to a set practiced by some Yang-style branches and may be related via Yang Banhou. This is worthy of more research.

Partner work includes stationary and stepping push hands (, tuīshǒu), as well as two-person sparring routines and freestyle grappling (, sàndǎ). Wu Yuxiang and his family preferred moving over stationary partner practice. Further discussion of push hands theory is in the Comparisons section below. As mentioned above there are also two-person weapons sets for saber and staff.

The 13 Important Points

The tai chi classics of the Wu (Hao) style include a list of thirteen important points for every practitioner to keep in mind. Wu Yuxiang compiled the first eight, the "body methods" (, shēnfǎ), while Li Yiyu added the final five "essentials" (, Simplified , yāolǐng). All Wu (Hao) lineages agree on the importance of this list for each and every movement, though some list them in a slightly different order. Following is a translation of the list as taught by Liu Jishun, grandmaster of the Hao family lineage.

Comparisons: Chen and Yang (and the origin of Kai He)

Wu (Hao)-style tai chi is based on principles shared with other styles, especially Yang style. For example, Yang Chengfu's "Ten Essential Points" are quite similar to the Wu (Hao)-style "Thirteen Important Points" listed above, and in fact Wu Yuxiang has been named as the source of the Yang essential points list by some writers in the Yang-style lineage. Chen-style masters also teach these essentials with a few additional points, most notably the concept of internal spiral energy paths.

Like Yang-style, Wu (Hao)-style focuses on "pulling silk" (, , chōusījìn) rather than the Chen-style "reeling silk" (, , chánsījìn), and Wu (Hao) shares with Yang the focus on "sinking qi to the dantian" (, ) rather than the Chen emphasis on dantian rotation (, ). But all tai chi styles contain all of these principles, varied only by emphasis.

Other points of comparison include the many posture names and sequences in the empty-hand forms that are shared with Yang style and a few with Chen style, and the similarities with Yang-style weapons forms noted above, as well as similarities and differences on fundamental principles such as the Wu (Hao) style's focus on shifting and sinking vs. the Yang style's focus on shifting and twisting, though both styles contain all of those internal principles, just as all styles require the practitioner to clearly distinguish between "empty and solid" (, , xūshí) weighting during those movements.

Shared principles aside, much of the Wu (Hao) approach is evidence of an independent evolution and can provide a new perspective for students of other styles. For example, in their forms where Yang stylists perform their signature moves of Commencing (qǐshì, , ) and Stroke Peacock's Tail's (, ) "péng lǚ jǐ àn" (), the Wu (Hao) forms instead perform Commencing and Lazily Bind the Cloak (lǎn zā yī, , ). In name that would seem to derive from the Chen style, but in this style that sequence is different from both Yang and Chen, with a unique approach to internal alignment.

Beginning with Hao Weizhen, the internals of those movements have been named as:

and these can also be applied to every posture in the form.

Furthermore, Yao Jizu taught that all tai chi movements contain these principles:

This is not to say that Wu (Hao)-style masters haven't from the beginning also taught the four directions "péng lǚ jǐ àn" and the four corners "cǎi liè zhǒu kào" (), at least in the context of pushing hands, as they have for example in the Pushing Hands Ditty () transmitted by Li Yiyu, and in Wu Chengqing's recommendation to begin partner training with péng, lōu (), and zhǒu (the Wu family's alternate terms for the same moves), as well as Hao Weizhen's mention of pushing hands in his advice to Sun Lutang, through more recent works such as Yao Jizu's chapter on pushing hands which shows the continued importance of the four directions and four corners by beginning with a basic push hands set in the pattern of "péng, lōu, zhǒu, àn".

Yet for Wu (Hao) stylists, the most fundamental concept is "kai he". Other styles of tai chi and other internal martial arts also give attention to the importance of opening and closing in all movements, but Li Yiyu was the first to specifically call it kai he in his "Treatise on the Diagram of Substantial/Insubstantial and Opening/Closing",  and Wu (Hao) masters have uniquely made this concept their central focus.

It took some time for Li's terminology to be adopted, however. The first two generations both called the internal aspects of Commencing and Lazily Bind the Cloak by the terms "qǐ chéng zhuǎn hē", with "zhuǎn" (, ) meaning "to turn", "to change direction", or "to circle about". This is evidence of the origins of Wu (Hao) style with a family of the literati social class, as "qǐ chéng zhuǎn hē" is also the structure of classical Chinese essays required for the imperial examinations, as well as classical poetry. In modern times it has spread across East Asia as the structure of narratives such as screenplays, and is known in Japanese as "Kishōtenketsu" ().

But when Li Yiyu's student Hao Weizhen began spreading the art to the broader public, he refined his teaching for practical application by replacing "zhuǎn" with "kāi". Since then most masters have used the term "kai he", and in fact at times the entire style has been called "Kai He tai chi". However others, including Wu Wenhan of the Li Shengduan lineage, preserved the old terms in their teachings.

The unique focus on "zhuan he" / "kai he" in Wu (Hao) practice sets reveals their origin with the Wu/Li family of gentry scholars who cultivated this art among themselves while leading their community through difficult times, and is also a central example of the important contributions of Hao Weizhen.

Notes

References

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Yan, Hanxiu (, Simplified character edition, 1996),  (Taijiquan Persons of Extraordinary Talent and Achievement),  (People's Sports Publishing), ; (, (Traditional character edition, 2001),  (Taijiquan Persons of Extraordinary Talent and Achievement),  (Dah Jaan Publishing Inc.),

Yang, Banhou (, 1875*),  (Explaining Taiji Principles), available online in Chinese and English translation at Scribd and also included in Chinese and English translation in Wile, Douglas (1996), Lost T'ai-chi Classics from the Late Ch'ing Dynasty, State University of New York Press,  (*Scholars estimate the publication date to be between 1875 and 1910, and believe the author(s) to be Yang Banhou and/or his disciples)

Yu, Gongbao (, 2006),   (China Taijiquan Dictionary),  (People's Sports Publishing House),

Yu, Gongbao (, 2013),  (Dong Family Taiji: Dong Yingjie Taijiquan Tradition and Essentials),  (Contemporary China Publishing House),

Zhai, Weichuan (, Simplified character edition, 2006), 武式太极拳37式 (Wu Style Taijiquan 37 Form), 山西科学技术出版社 (Shanxi Science and Technology Press), ;  (Traditional character edition, 2014) 武式太極拳37式, 大展出版社有限公司 (Dah Jaan Publishing Inc.),

Zhai, Weichuan (, Simplified character edition, 2006), 武式太极拳小架 (Wu Style Taijiquan Small Frame), 山西科学技术出版社 (Shanxi Science and Technology Press), ; (Traditional character edition, 2015) 武式太極拳小架, 大展出版社有限公司 (Dah Jaan Publishing Inc.),

Zhai, Weichuan (, Simplified character edition, 2006), 武式太极拳老架 (Wu Style Taijiquan Old Frame), 山西科学技术出版社 (Shanxi Science and Technology Press), ; (Traditional character edition, 2015) 武式太極拳老架, 大展出版社有限公司 (Dah Jaan Publishing Inc.),

Zhai, Weichuan (, 2006), 武式太极拳竞赛套路, (Wu Style Taijiquan Competition Form), 山西科学技术出版社 (Shanxi Science and Technology Press),

Zhang, Shan (, 2014), , The Competition Routine of Wu Style Taijiquan, Second Edition'' (English and Chinese edition), Shanxi Science and Technology Press,

External links

Web pages

Li family lineage:
China Yong Nian Yu Xiang Tai Chi Chuan Institute
Wǔ 武 Tai Chi — Facebook

Hao family lineage:
Hao-Style Taijiquan, UK
Wu (Hao) Taiji Association of Silicon Valley
Liu Family Tui Na, San Diego area, California
Wu (Hao) Taichiquan Association, Thailand
Hao Style Taijiquan Research Institute, Singapore — Facebook

Li Shengduan lineage:
Wu Hao Tai Chi Chuan

Videos

Li family lineage:
Zhong Zhenshan performing the 108 form
WSTJDJX YouTube Channel
Wu Tai Chi YouTube Channel
TJQTN.com Wu Style videos (Chinese)

Hao family lineage:

Jon Thomas, Wu Hao Tai Chi (USA, San Diego area — YouTube Channel
Hao Style Taijiquan Research Institute (UK / Singapore) — YouTube Channel
WuHaoTaiChi (Thailand), featuring Master Li Weiming () —  YouTube.com channel

Li Shengduan lineage:

Grandmaster Jimmy K. Wong () — YouTube channel

Li Baoyu (Li Xiangyuan) lineage:

Master Yu Haishen () performing the Hebei version in Renxian, Xingtai — YouKu.com

Master Hu Tianjun () performing the Shanxi version in Nanhengshancun, in 3 variations at the 9-minute pace — YouKu.com

Master Alex Dong () performing portions of the Dong family forms including the Hao Weizhen Kai He form

Tai chi styles

Wu (Hao)-style tai chi


The Anarchical and Revolutionary Crimes of 1919 (popularly known as the Rowlatt Act) was a law passed in 1919 by British India. Under this law, the government got many powers, including the ability to arrest people and keep them in prisons without a trial. They also obtained the power to stop newspapers from reporting and printing news. The people called this act the Black Act. Indians protested against this law in many places.

This act was stopped by an Indian freedom fighter Mahatma Gandhi. He started a nationwide, non-violent civil disobedience against the unjust Rowlatt Act. It began with a hartal on 6 April 1919. Rallies were organised in various cities. Workers went on strike in railways. Workshops and shops closed down. Alarmed by the popular upsurge and scared that lines of communication such as railways and telegraph would be disrupted. The British administration decided to clamp down on nationalism. Local leaders were picked up from Amritsar and Mahatma Gandhi was barred from entering Delhi. On 10 April, 1919 the police in Amritsar fired upon a peaceful procession, provoking a widespread attack on banks, post offices and railway stations.

1910s in India
1919 in Asia
Law of British India

Rowlatt Act


Nepal has a unique culture. Its cultural heritage has developed over several thousands of years. It covers Nepal's many ethnic, tribal and social classes.

There are at least 92 living languages spoken in Nepal, though some studies list 123. Nepal's languages come from three major language groups: Indo-Aryan, Tibeto-Burman and indigenous. The official national language of Nepal is Nepali, written in Devanagari script. It is the first language of about half the country's population, and is used by people of most ethnic groups to communicate with each other.

Both Hinduism and Buddhism in Nepal date back more than 2000 years. The 2001 census recorded that 80.6% of the population was Hindu. Buddhism was practiced by about 11% of the population, although many people often practice their own mix of Hindu, Buddhist, and/or animist traditions. About 3.2% practice Islam. Another 3.6% of the population follows the native Kirant religion. Christianity is practiced officially by less than 0.5%.

Nepalese people have several festivals that they celebrate each year. The longest and the most important of these is Dashain. It is celebrated for 15 days, and is dedicated to the Hindu goddess Durga. Most festivals include dancing and music, as well as all kinds of local food.

Some Nepalese dances include:
Charya: popular among the Buddhist community
Kartik: started by King Siddhi Nasingh Malla in Kathmandu valley
Ghatu: popular among the Gurung and Magar communities at Gandaki Zone

Related pages
 Nepal at the Olympics
 Nepal national football team

Other websites
 Nepal Encyclopedia culture category

Culture of Nepal


The Petit Saguenay River is a watercourse flowing in Quebec, Canada, in:
 the unorganized territory of Sagard, Charlevoix-Est Regional County Municipality, in administrative region of Capitale-Nationale;
 the municipality of Petit-Saguenay, in the Le Fjord-du-Saguenay Regional County Municipality, in the administrative region of Saguenay-Lac-Saint-Jean.

This river has the status of "salmon river"; the course of the river is administered by the zec de la Rivière-Petit-Saguenay which supervises 24 salmon pits and a non-quota zone. A lower segment (near the Saguenay River) is administered by the Saguenay Fjord National Park and the zec de l'Anse-Saint-Jean.

The lower part of this river is served by Quai Street (West Bank) from the mouth, rue Tremblay and rue Eugène-Morin. The route 170 passes on the east bank between the village of Petit-Saguenay and the confluence of the Deschênes River. The intermediate section is served by Lac Victor Road and Ovila-Lavoie Road. The upper part is served by various secondary forest roads.

Forestry is the first economic activity in the sector; recreational tourism activities, second.

The surface of the Petit Saguenay River is usually frozen from the beginning of December to the end of March, however, safe ice circulation is generally from mid-December to mid-March.

Hydrology
With  long, the "Petit Saguenay River" drains a watershed of  including  for the basin upstream of the "Petit Saguenay" water measurement station located 1 km downstream of the confluence with the outlet of David Lake. At this measuring station, the average flow of the river reaches .

The Petit Saguenay River is a river of white water, with a bed of pebbles, gravel and sand.

Geography
The main hydrographic slopes near the Petit Saguenay River are:
 North side: Saguenay River;
 East side: rivière de la Baie des Rochers, Saint-Athanase River, Saint-Étienne River;
 South side: Noire River, Deschênes River;
 West side: Rivière du Portage, Saint-Jean River.

The Petit Saguenay River has its source in the "Troisième lac des Marais" (Third Marsh Lake) (length: ; altitude: ) of various bodies of water in the zec du Lac-au-Sable, then flows east to Sagard. From its source ("Troisième lac des Marais"), the course of the Petit Saguenay River descends on  according to the following segments:

Upper course of the Petit Saguenay River (segment of )
  to the north by collecting the Pierrot Lake discharge (coming from the southwest), to the outlet (coming from the west) of "Petit lac au Sable";
  northwesterly, forming a hook to the east, to the east shore of Lac au Sable;
  north across the Lac au Sable (elevation: ) along its full length to its mouth. Note: this lake receives, on the west bank, Bazile Brook and Sable Creek;
  north across Lac au Bouleau (Birtch Lake) (length: ; altitude: ) on its full length to its mouth;
  northerly, westerly to the east bank, then north across the Emmuraillé Lake (length:  altitude: ) on  to its mouth;

Upper course of the Petit Saguenay River, downstream from Lake Emmuraillé (segment of )
  northerly, forming a large loop to the east and then to the northeast, including crossing Petit Saguenay Lake (length: ; altitude: ) on its full length to its mouth;
  to the northwest by collecting the discharge (coming from the north) of an unidentified lake, to the dump (coming from the south-east) of Lake Chicot, the lake Onesime and McLagan Lake;
  northerly in a valley sometimes enclosed, to the outlet (coming from the west) of Lake Ti-Jos;
  east, then north, to a river bend;
  easterly forming a long curve to the south, collecting the outlet of Pichetoune Lake and the outlet of Beaver Lake, until the confluence of the Deschênes River (from the south);

Intermediate course of the Petit Saguenay River (segment of )
  northerly passing through the village of Sagard, to the outlet (coming from the west) of an unidentified lake;
  northerly along the west side of route 170 and winding through a few marsh areas to the dump (coming from West) of Red Pine Lake;
  to the east forming a large S in marsh area, to the outlet (from the east) of Lake David;
  north, crossing four sets of rapids, to a river bend corresponding to the dump (coming from the southeast) of Lac de l'Oeuf;

Lower course of the Petit Saguenay River (segment of )
  southwesterly, first northwesterly to form a large misshapen loop, then south to a marsh zone, to a bend in the river;
  northwesterly, collecting the Cold Water Creek and forming large streamers in the marsh zone, to Dallaire Creek (coming from the southwest);
  northerly crossing a swamp area, to the outlet of Tom Lake (coming from the east);
  northwesterly, distancing itself to  west of route 170 to the west at the confluence of the Portage River (coming from the southwest);
  northerly in a steep valley, to a bend in the river corresponding to a creek (coming from the east);
  northwesterly, forming a hook to the southeast and along the southwestern side of Highway 170, to the center of the village of Petit-Saguenay;
  northwesterly in a straight line to its mouth.
Note: Between Sagard and Petit-Saguenay, the Petit Saguenay River is bordered by route 170.

The mouth of the Petit Saguenay River flows into a narrow bay on the south shore of the Saguenay River, partially closed by a jetty. This berry provides protection from boating in the event of a windstorm. This confluence is located at:
  north-east of the village center of L'Anse-Saint-Jean;
  northwest of the village center of Petit-Saguenay;
  west of Tadoussac.

History
The name of the river was mentioned by James McKenzie in the legislature of Lower Canada in 1824. The occupation of the region dates back to the late 1830s. In 1842, a sawmill was built near the mouth of the Petit Saguenay River. William Price (1789-1867) bought it in 1844 and established a model farm there which also became the headquarters of his activities in the area. As a result, river salmon became scarce due to the presence of sawmills and overfishing.

The fire of Mr. Price's sawmill in 1870 resulted in the displacement of upstream dwellings on the present site of the village of Petit-Saguenay.

Fishing
Salmon fishing rights in the Petit Saguenay River were first held by William Price. At the end of the 19th century, they passed into the hands of several rich English speakers, before being granted to clubs and associations. In 1950, a group of Americans acquired land bordering the river, upstream of the village, and built fishing lodges. This complex (land and construction), known as the "Gentlemen's Club", is now managed under the name of "Petit-Saguenay River Site".

Since 1999, the territory has been established in controlled harvesting zone (zec) and the "Petit-Saguenay River Association" has been managing Atlantic salmon sport fishing since 1966. The organization is recognized for its role in the sustainable development of salmon resources by being the founder of the Atlantic Salmon Protective Charter.

Thirteen of the 88.4 kilometers are open to salmon fishing, including one on the Portage River, a tributary of Petit-Saguenay. For the salmon fishery, the river has 24 pits in 1 open access area and 2 restricted access areas.

Toponymy
The name "Petit Saguenay River" was originally mentioned in 1824 by James McKenzie, at the House of Assembly of Lower Canada who wanted to know more about this sector. McKenzie then refers to the "Little River named Petit Saguenay on which we also take salmon." Surveyor William Tremblay, in his report on the canton of Saint-Jean, in 1893, mentions the "Petit Saguenay River" to identify this watercourse.

In Quebec toponymy, we often find duplicates in diminutive of the main watercourse (ex.: "Saguenay river" versus "Petit Saguenay river").

The toponym "Petit Saguenay River" was formalized on December 5, 1968, at the Bank of Place Names of the Commission de toponymie du Québec.

Notes and references

Annexes

Related Articles
 Le Fjord-du-Saguenay Regional County Municipality
 Petit-Saguenay, a municipality
 Portage River
 Cabanage River
 Deschênes River
 Sagard, an TNO
 Zec du Lac-au-Sable, a controlled harvesting zone
 Zec de la Rivière-Petit-Saguenay, a controlled harvesting zone
 Zec de l'Anse-Saint-Jean, a controlled harvesting zone
 Saguenay Fjord National Park
 List of rivers of Quebec

External links

Rivers of Saguenay–Lac-Saint-Jean
Le Fjord-du-Saguenay Regional County Municipality
Charlevoix-Est Regional County Municipality
Rivers of Capitale-Nationale

Petit Saguenay River


Don Facundo Bacardí Masó (, ; 13 October 1813 – 9 May 1886) was a Catalan businessman who, in 1862, founded the eponymous Bacardi rum distillery.

Biography
Bacardí was born in Sitges (province of Barcelona, Spain), son of a bricklayer. In 1828, he followed his older brothers to Cuba, finding employment in their general store in Santiago. In 1843 he established his own mercantile shop in Santiago, three months after marrying Lucia 'Amalia' Victoria Moreau, a woman from a very prosperous family of Franco-Haitian descent.

Amalia and her family would come to the financial aid of Facundo repeatedly throughout the course of their business ventures. Facundo and Amalia had a number of children, many of whom would play important parts in building the rum business for which the family became famous: Emilio was born in 1844, Juan in 1846, Facundo Jr. in 1848, María in 1851, José in 1857, and Amalia Jr. in 1861.

A 7.0 magnitude earthquake followed by a cholera epidemic devastated Santiago in 1852, claiming the lives of Juan and María. In efforts to safeguard the lives of their children, Facundo and Amalia decided to take the family to Catalonia to stay with Facundo's parents for a number of months. Upon his return to Santiago later that year, Facundo found his store looted and business conditions poor in the wake of the disaster and amid a global slump in sugar, the mainstay of the economy. Facundo's business Facundo Bacardí y Compañía wasn't able to recover, and it was bankrupt in 1855.

Soon after, Facundo, who noticed a gap in the spirits market for a premium Cuban rum, began to experiment with the process of distilling rum. Previously, rum was a crude, low quality beverage. Facundo, with the help of a French Cuban named José León Boutellier, a tenant of a building in Santiago owned by Doña Amalia's godmother Clara Astie, began to experiment with methods of distillation. A combination of revolutionary rum making methods utilizing a proprietary single yeast strain, a parallel distillation process, charcoal filtration, and white oak barrel aging resulted in a much more refined, tamer drink (now known as BACARDÍ rum) which they successfully sold through Facundo's brother's general store.

On February 4, 1862, the partners purchased a distillery on the outskirts of Santiago and constituted the firm "Bacardí, Boutellier, and Company", using capital supplied by Facundo's younger brother José. After owning a general retail business in Cuba for many years, Facundo Bacardí understood how to sell things, and realized that his innovative rum would benefit from good branding. He began to sign each shipment of rum with a bold "Bacardí M" (for Bacardi Massó); in addition, his wife Amalia suggested the adoption of the bat as a logo after spotting a colony of fruit bats hanging in the distillery rafters, a sign of family unity, good fortune and health to the Spanish and Cuban Taíno people.

In 1874, the firm was reorganized into "Bacardi and Company". Facundo's younger brother José chose to sell his shares, and his sons contributed some of their own capital and bought out most of Boutellier's stake as he declined in health. Bacardí rum grew in popularity as it was sold throughout Cuba and even the wider world after winning prizes in international exhibitions. In 1877, Facundo retired, turning management of the company over to his sons Emilio (president), Facundo Jr. (master blender), and José (sales).

The ensuing period of Cuban history was politically tumultuous, as a strong nationalist movement took shape, causing three wars of independence and dividing Cuban society. While Facundo was staunchly pro-Spanish, having been a member of a Volunteer Battalion in Santiago de Cuba in the 1850s, his sons were in favour of Cuban independence, a cause they openly defended after their father's death. However, Emilio became highly involved in politics and the fight for Cuban Independence while running the business and became suspected by the authorities. During one of many sweeps by the loyalist security services, Facundo himself and his son Emilio were arrested. Facundo was released but Emilio was eventually imprisoned for four years, during which the business was operated by the remaining brothers with Emilio providing strategic advice from afar.

Facundo lived to see Emilio released and the business to grow in fame, although not yet in financial strength. In March 1886, Don Facundo died at the age of 72. Despite creating a rum legacy passed down through generations of the Bacardí family, he left behind only a small house in Santiago de Cuba, a small family farm, and a company surviving on the verge of bankruptcy.

References

1814 births
1886 deaths
Bacardi people
Businesspeople from Catalonia
Cuban businesspeople
Cuban people of Catalan descent
People from Sitges

Facundo Bacardi


Antoine Graves (1862–1941) was a prominent Atlanta realtor, first principal of Gate City Colored Public School (1884–1886), and principal at the Storrs School, the first school in Atlanta for blacks. He had his real estate offices in the Kimball Building on Wall Street, a street otherwise totally occupied by whites. He brokered the deal for the sale of the land where the Georgia State Capitol now stands. His is the only mausoleum in the black section of Oakland Cemetery.

When principal of Gate City Colored Public School, Jefferson Davis's body passed in front of the school on the way to Richmond, Virginia for burial. Schools were ordered to close that day so everyone could attend the memorial parade, but Graves refused to honor a man who fought for slavery. Graves was fired as a result of this refusal.

His wife Catherine Webb was the daughter of Sinai Calhoun Webb, born a slave in 1830 and the biracial daughter of prominent Southern politician and mayor of Atlanta Judge William Ezzard.

The Atlanta Housing Authority's Antoine Graves senior citizen highrise (built 1965, demolished 2009) was named after him.

References

1862 births
1941 deaths
American real estate brokers
Schoolteachers from Georgia (U.S. state)
19th-century African-American educators
19th-century American educators
Burials at Oakland Cemetery (Atlanta)
20th-century African-American people

Antoine Graves


The Battle Point Site, also designated 20OT50, is an archaeological site located on Battle Point, along the Grand River in Crockery Township, Ottawa County, Michigan. It was listed on the National Register of Historic Places in 1973.

Historical context
Battle Point was the site of Fort Village and an Odawa Indian burial ground, likely used for a span of about 20 years between 1815 and 1835. The Odawa at the site were led by Chief Onamontapay.

In 1836, the Treaty of Washington ceded the lands north of the Grand River to the United States. As a result, the Potawatomi Chief Shiawassee, then living upriver at the confluence of Crockery Creek and the Grand River, called a council at Battle Point, where he attempted to induce the Odawa living there and other local groups to revolt and massacre European settlers. However, the Rev. William Ferry and his Indian friends successfully defused the situation.

However, Chief Shiawassee and his Potawatomi soon moved out of the area, and the village at Battle Point was abandoned by the Odawa at about the same time. However, some Odawa families continued to live in the area, and a Native American school was established on Battle Point in 1855. These families continued to live in the Battle Point area as late as 1878.

Archaeological excavations
The burial sites on Battle Point were forgotten for many years. However, the site was brought to the attention of amateur archaeologists in the 1950s, when erosion from the cutting action of the nearby river uncovered some of the burial sites. Five of these were excavated at that time by the Coffinberry chapter of the Michigan Archaeological Society. Nine further graves were excavated in 1971-2 by researchers from Grand Valley State University.

The artifacts recovered from the burial sites were primarily American and European trade goods. These included utilitarian goods such as knives, firesteels, gunflints, axes, and kettles. Also included were decorative goods such as silver brooches and bracelets, clay pipes, and glass beads.

References

National Register of Historic Places in Ottawa County, Michigan
Archaeological sites in Michigan
Archaeological sites on the National Register of Historic Places in Michigan

Battle Point Site


847 Agnia is a minor planet orbiting the Sun. It is approximately 28 kilometers in diameter.

The spectrum of this object indicates that it is an S-type asteroid with both low and high calcium forms of pyroxene on the surface, along with less than 20% olivine. The high-calcium form of pyroxene forms 40% or more of the total pyroxene present, indicating a history of igneous rock deposits. This suggests that the asteroid underwent differentiation by melting, creating a surface of basalt rock.

847 Agnia is the namesake of the Agnia family of asteroids that share similar orbital elements and physical properties. The members of this family, including 847 Agnia, most likely formed from the breakup of a basalt object, which in turn was spawned from a larger parent body that had previously undergone igneous differentiation. Other members of this family include 1020 Arcadia, 1228 Scabiosa, 2401 Aehlita, and 3395 Jitka

Photometric observations of this asteroid collected during 2004–2005 show a rotation period of 14.827 ± 0.001 hours with a brightness variation of 0.45 ± 0.03 magnitude.

References

External links
 Discovery Circumstances: Numbered Minor Planets

000847
Discoveries by Grigory Neujmin
Named minor planets
000847
000847
19150902

847 Agnia


Indian summer is a period of unusually warm and dry weather. It happens in autumn in the Northern Hemisphere. The United States National Weather Service describes Indian summer as weather conditions which are sunny and clear with higher than usual temperatures. That occurs between late September and the middle of November.

It is not known where the term came from. It may have come from regions inhabited by Native Americans (who used to be called Indians), or because the Native Americans first described it to Europeans. It also may have been based on the warm and hazy conditions in autumn when Native Americans hunted.

References

Other websites

Seasons

Indian summer


Electronic Diesel Control is a diesel engine fuel injection control system for the precise metering and delivery of fuel into the combustion chamber of modern diesel engines used in trucks and cars.

Overview

The mechanical fly-weight governors of inline and distributor diesel fuel injection pumps used to control fuel delivery in diesel engines under a variety of engine loads and conditions could no longer deal with  the ever-increasing demands for efficiency, emission control, power and fuel consumption.
These demands are now primarily fulfilled by the Electronic  Control, the system which provides greater ability for precise measuring, data processing, operating environment flexibility and analysis to ensure efficient diesel operation. The EDC replaces the mechanical control governor with an electro-magnetic control device.

EDC system
The EDC is divided into these main groups of components.
 Electronic sensors for registering operating conditions and changes. A wide array of physical inputs is converted into electrical signal outputs.
 Actuators or solenoids which convert the control unit's electrical output signal into mechanical control movement.
 ECM (Electronic Control Module ) or Engine ECU (Electronic Control Unit) with microprocessors which process information from various sensors in accordance with programmed software, and outputs the required electrical signals into actuators and solenoids.

Components

Sensors
 Injection pump speed sensor - monitors pump rotational speed
 Fuel rack position sensor - monitors pump fuel rack position
 Charge air pressure sensor - measures pressure side of the turbocharger
 Fuel pressure sensor
 Air cleaner vacuum pressure sensor
 Engine position sensor
 Temperature sensors - measure various operating temperatures
 Intake temperature
 Charge air temperature
 Coolant temperature
 Fuel temperature
 Exhaust temperature (Pyrometer)
 Ambient temperature
 Vehicle speed sensor - monitors vehicle speed
 Brake pedal sensor   - operates with cruise control, exhaust brake, idle control
 Clutch pedal sensor - operates with cruise control, exhaust brake, idle control
 Accelerator pedal sensor
 Driver input switches - cruise control, idle increase /decrease, engine/exhaust brake
 Injector needle movement sensor - monitors the actual injection time and feeds the information to the ECU (as used on VM Motori 2.5 and 3.1 engines)

Electronic Control Unit

The ECU collects and processes signals from various on-board sensors. An ECU electronic module contains microprocessors, memory units, analog to digital converters and output interface units. Depending upon the parameters, a number of different maps can be stored in the onboard memory. This allows the ECU to be tailored to the specific engine and vehicle  requirements, depending on the application. The operating software of the ECU can be adapted for a wide variety of engines and vehicles without the necessity of hardware modification. The ECU is usually located in the  cab or in certain cases, in a suitable position in the engine bay where additional environmental conditions might require cooling of the ECU as well as a requirement for better dust, heat and vibrations insulation  .

Actuators and Solenoids

Electro-magnetic actuators are usually located on the fuel pump to transfer electrical signals into mechanical action in this case fuel rack actuator and or fuel stop solenoid which means that depending on requests from control unit full fuel or no fuel quantity.

Injectors
Boost-pressure actuator
Intake-duct switchoff
Throttle-valve actuator
Exhaust gas recirculation actuator
Auxiliary heating
A/C compressor
Radiator fan
Electronic shutoff valve
Rail-pressure control valve
Diagnosis lamp

Operation
The injection of fuel or the quantity of injected fuel has a decisive influence on engine starting, idling, power and emissions. The ECU is programmed ("mapped") with relevant data to where the fuel rack position has an equivalent signal for the amount of fuel being injected. The driver requests the torque or engine speed requirements via accelerator pedal potentiometer thereby sending a signal to the engine ECU which then, depending on its mapping and data collected from various sensors, calculates in real time the quantity of injected fuel required, thus altering the fuel rack to the required position.
The driver can also input additional commands such  as  idle speed increase  to compensate  e.g.  for  PTO  operation  which can be either variably set or has a preset speed which can be recalled. The road speed function can be used to evaluate vehicle speed and possibly activate a speed limiter (Heavy Vehicles), or maintain or restore a set speed (cruise control). Further functions can include exhaust brake operation which, when activated, will result in the fuel pump rack position being set to zero delivery or idle. The engine ECU can also interface with various other vehicle systems e.g. traction control and carry out self monitoring duties and self diagnostic functions to keep the system working at an optimal level. To ensure the safe operation in case of failure, the limp home mode functions are also integrated into the system, e.g. should the pump speed sensor fail the ECU can use an alternator speed signal function for engine RPMs counter as a backup signal.

Additional Functions

Engine protection, cold start - when starting cold, engine rpms are limited.
Engine protection, overheating - when overheating, to avoid damage the engine power output is  limited.
 Remote engine shutdown - when auxiliary equipment is in use e.g. crane in case of rollover.
 Constant engine speed - the engine maintains set revs irrespective of load e.g. PTO operation

References

 Diesel Fuel Injection published  by Robert Bosch GmbH, 1994

Diesel engine technology
Engine fuel system technology

Electronic Diesel Control