The three-stage-to-orbit launch system is a commonly used rocket system to attain Earth orbit. The spacecraft uses three distinct stages to provide propulsion consecutively in order to achieve orbital velocity.


Examples of three stage to orbit systems[edit]

Saturn V


Ariane 4 (optional boosters)

Ariane 2

Ariane 1 (four stages)

GSLV (three stages and boosters)

PSLV (four stages)

Proton (optional fourth stage)

Long March 5 (optional boosters and optional third stage)

Long March 1, Long March 1D


Minotaur IV (four stages)



Big Ben is the nickname for the Great Bell of the clock at the north end of the Palace of Westminster in London[1] and is usually extended to refer to both the clock and the clock tower as well.[2][3] The tower is officially known as Elizabeth Tower, renamed to celebrate the Diamond Jubilee of Elizabeth II in 2012; previously, it was known simply as the Clock Tower.


When completed in 1859, it was, says clockmaker Ian Westworth, “the prince of timekeepers: the biggest, most accurate four-faced striking and chiming clock in the world.”[4] The tower had its 150th anniversary on 31 May 2009,[5] during which celebratory events took place.[6][7]


Along with the Great Bell, the belfry houses four quarter bells which play the Westminster Quarters on the quarter hours. The four quarter bells sound G♯, F♯, E, and B. They were cast by John Warner & Sons at their Crescent Foundry in 1857 (G♯, F♯ and B) and 1858 (E). The Foundry was in Jewin Crescent, in what is now known as The Barbican, in the City of London.[47] The bells are sounded by hammers pulled by cables coming from the link room—a low-ceiling space between the clock room and the belfry—where mechanisms translate the movement of the quarter train into the sounding of the individual bells.[48]


The quarter bells play a once-repeating, 20-note sequence of rounds and four changes in the key of E major: 1–4 at quarter past, 5–12 at half past, 13–20 and 1–4 at quarter to, and 5–20 on the hour (which sounds 25 seconds before the main bell tolls the hour). Because the low bell (B) is struck twice in quick succession, there is not enough time to pull a hammer back, and it is supplied with two wrench hammers on opposite sides of the bell. The tune is that of the Cambridge Chimes, first used for the chimes of Great St Mary's church, Cambridge, and supposedly a variation, attributed to William Crotch, based on violin phrases from the air "I know that my Redeemer liveth" in Handel's Messiah.[49][50] The notional words of the chime, again derived from Great St Mary's and in turn an allusion to Psalm 37:23–24, are: "All through this hour/Lord be my guide/And by Thy power/No foot shall slide". They are written on a plaque on the wall of the clock room.[51][52]


The second "Big Ben" (centre) and the Quarter Bells from The Illustrated News of the World, 4 December 1858


An icon of Saint Hubertus depicting his vision of a cross between the antlers of a stag.

The label on Jägermeister bottles features a glowing Christian cross seen between the antlers of a stag.[10][11] This image is a reference to the two Christian patron saints of hunters, Saint Hubertus and Saint Eustace, both of whom converted to Christianity after experiencing a vision in which they saw a Christian cross between the antlers of a stag.[10][11][12][13]



All members of the mandolin family, except some versions of the lowest-pitched, have courses each of two or three strings, most commonly eight strings in four courses.


The exception is some varieties of mando-bass, which have four individual strings.


The national instrument of Colombia, the tiple Colombiano, has four courses of three strings each. Its higher-pitched relative, the tiple requinto, is similarly triple-strung.


The American tiple, a smaller instrument loosely derived from the Colombian tiple, uses two double-strung courses and two triple-strung courses.


The electric twelve-string bass has twelve strings in four triple courses.


Bermudo later mentions in the same book that 'Guitars usually have four strings,' which implies that the five-course guitar was of comparatively recent origin, and still something of an oddity."


In music, the cross motif is a motif.


A motif (Crux fidelis) was used by Franz Liszt to represent the Christian cross ('tonisches Symbol des Kreuzes' or tonic symbol of the cross) and taken from Gregorian melodies.[1]


Another way of approaching the cure for the modern male malaise comes from the book King, Warrior, Magician, Lover: Rediscovering the Archetypes of the Mature Masculine, by Jungian psychologist Robert Moore and mythologist Douglas Gillette. Moore argues that masculinity is made up of four archetypal male energies which serve different purposes. All men, whether born in the U.S. or Africa, are born with these archetypal energies. The authors argue that to become a complete man, a man must work to develop all four archetypes. The result of striving to become complete is a feeling of manly confidence and purpose.


Over the next few months, we’re going to be delving into the four masculine archetypes in KWML. We’ll explore what they are and how you can access them on your journey to becoming a better man.


Alright, so what are the archetypes that Jung believed existed in each person? While Jung suggested a number of universal archetypes, the four main ones are: the Self, the Shadow, the Animus and Anima, and the Persona. For the purpose of this article, I’m not going to go into detail on all four of these. If it’s something you’re interested in, I’d encourage you to investigate these archetypes on your own.


"The Crucified Jesus stared at Carrie mournfully. His sorrowful, weeping eyes casted down upon her, and seemed to look into her soul. And they knew all the secrets of woman-blood, that her mother had never told..."-(CARRIE Novel)


"Jesus watches from the wall, but his face is cold as stone, And if he loves me As she tells me Why do I feel so all alone? "- (A poem by Carrie)


Carrietta N. White, simply known as "Carrie" is the titular protagonist from Stephen King's first Horror Novel titled Carrie, published in 1974. In the story, Carrie is a friend of Sue Snell in the 2002 film that's a remake of the 1976 film and a girlfriend of Tommy Ross and a girl who was confronted by girls and was allegedly the only daughter of Margaret Brigman and Ralph White, (even though it hints Ralph may have had other children with different women). Carrie was also the granddaughter of Judith Cochran and John Brigman, and the great-granddaughter of Sadie Cochran.


Part Four: Devil Comes To Chamberlain


Chamberlain up in Hellfire

"A WITNESSES TESTIMONY: People were running and yelling all over the place, and that's when I saw Carrie White. I had never seen her before, but somehow I just knew it was her, it was Carrie White, I can't explain it. She had started downtown, and lemme tell you, she looked God awful. She was wearing some kind of fancy party dress, well, what was left of it, and she was completely covered with blood. She looked like she just crawled out of a terrible accident. But then I looked at her face, and she was grinning. It wasn't happy though, it was a wicked grin. I never saw such a grin. It was like the Devil's grin. It was like a death's head. And she kept looking at her hands and rubbing them on her dress, trying to get the blood off and thinking she'd never get it off, and how she was going to dump blood on the whole town and make everyone pay. She stopped at a the corner and stood motionless under a street light, by the fire hydrant on the corner of Main and Spring. Then all of the sudden the street light flickered and it came falling down right into the street with a big crash, sparks were shooting everywhere, causing car accidents when the vehicles slammed on their breaks and tried to miss hitting it. Next I looked, and the whole top of the hydrant exploded in three different ways. Water came out through the left, right, and straight up to heaven in crucifixion pattern.


Margaret then brought Carrie to her knees so that the two could properly pray together. Meanwhile, Margaret had "snapped" earlier on and hidden a knife under one of the floor boards to stab Carrie with, having fallen to the belief that her daughter was ruled by Satan. While they both recited the Lord's Prayer, Margaret stabbed Carrie and caused her to fall downstairs, backwards. She then stalked the frightened child throughout the house, eventually backing Carrie into a corner. Finally, Carrie used her powers to "crucify" her mother to the kitchen doorway.




The first blatant reference to Jesus Christ occurs when Chief introduces the Chronic patient Ellis. The recipient of many electroshock treatments, Ellis adopts a pose of crucifixion by spreading his arms against the wall, reflecting the shape of the electroshock table and directly alluding to Christ nailed to the cross. Chief reemphasizes this posture when he relates Harding's explanation of electroshock to McMurphy: "You are strapped to a table, shaped, ironically, like a cross, with a crown of electric sparks in place of thorns."

Altar marking the spot of Thomas Becket's martyrdom, Canterbury Cathedral. Installed in 1986, the dramatic new sculpture represents four swords for the four knights (two metal swords with reddened tips and their two shadows). The design is the work of Giles Blomfield of Truro.


Four Nights in Knaresborough is a play written by Paul Corcoran (now known as Paul Webb) and first performed at the Tricycle Theatre, London in 1999. It recounts the aftermath of the murder of Thomas Becket by four knights making "the worst career choice in history".[1] Despite being an historical drama, the play uses modern language, including an abundance of profanity and slang.[2]


A film version of the play, scripted by Webb and titled Four Knights is to be produced by The Weinstein Company, directed by Paul McGuigan.[3][4]

Set in 1171, Four Nights in Knaresborough opens in Canterbury Cathedral where four knights, Brito, Fitz, Morville, and Traci come to arrest Becket, the Archbishop of Canterbury. However, rather than arresting him, Becket is killed by Fitz.[5] The knights then flee to Knaresborough Castle in Yorkshire where they ensconce themselves for a year to avoid the wrath of the public and the Pope.

Over the course of four evenings, in January, March, September and December, the play portrays the gradual decline of the knights, showing their repressed desires, fears and misgivings.[2] Emphasising clashes of personalities, the play glosses over the deeper political and historical consequences of the murder.[6]

Of the four knights, Morville is the one most upset by his excommunication and isolation and argues that Becket had to die as he was opposing the progressive reforms of King Henry II. He even claims that Henry is playing a careful political game but is really on the knights' side.[5]

Brito is not an aristocrat like the other knights, but is rather a "new man" who joined the others less out of conviction than of opportunism. As the most active and the youngest of the four knights, his imprisonment is a kind of rite of passage and he grows through the play. Brito is also rampantly heterosexual and, despite a mutual attraction between himself and Traci, he chases Catherine and ultimately martyrs himself for her when she succumbs to a fatal disease circulating the village of Knaresborough.[5]

Traci is the most complex character in the play. Guilt-ridden like Morville, he is also in love with Brito. In the past he has had a relationship with the fourth knight, the aristocratic Fitz, but is now very much alone.[5]

While the knights wait out their time in the castle, Catherine keeps the villagers at bay by assuring them that her tenants are seeking penance through a constant cycle of fasting and prayer. Ultimately, she is tried as a witch by water.[5]


In his book The Pictorial Key to the Tarot, A. E. Waite, the designer of the Rider-Waite tarot deck, wrote of the symbol:


The gallows from which he is suspended forms a Tau cross, while the figure—from the position of the legs—forms a fylfot cross. There is a nimbus about the head of the seeming martyr. It should be noted (1) that the tree of sacrifice is living wood, with leaves thereon; (2) that the face expresses deep entrancement, not suffering; (3) that the figure, as a whole, suggests life in suspension, but life and not death. [...] It has been called falsely a card of martyrdom, a card of prudence, a card of the Great Work, a card of duty [...] I will say very simply on my own part that it expresses the relation, in one of its aspects, between the Divine and the Universe.[2]


The Cross of St. Peter is shown in this French stained glass window. Saint Peter is conventionally shown as having been crucified upside-down.


The young man is hanged upside down on a Tau cross-like tree but he is smiling, it seems that he is in that situation on the voluntary basis, like he is seeking something. We see his hair is white, obviously pointing to the fact that he gained wisdom seeing The World from this kind of perspective of the Universal Law. He seeks wisdom and gains it thanks to his new and, no doubt, to other people, strange and unenviable situation. He is changing his perspective and in the process he is changing himself. There is an obvious reference to Odin when we see that the figure is hung upside down. The detail that the figure is tied by just one leg and that there is a certain content with this situation shows that he is reconciled with the apparent bondage and restriction. One could make an assumption that exactly his evolving attitude towards his restrictions allows him to evolve. It is the attitude in everyday life towards all boring duties and obligations that also makes a difference here. There is an halo behind his head that further underscores our conclusion of the very deep insight of The Hanged Man. His legs forms a fylfot cross but also the number four where we can see the connection with The Emperor card. The Emperor stands for stability, material world and order so we can assume that those are the things that The Hanged One sees from another perspective. This card is associated with element water and planet Neptune, both closely connected with the concept of sacrifice. Neptune also offers possibility of perceiving the world on alternative and unusual, almost transcedental way. The hebrew letter Mem also means water. This is the reference to a sacrifice but also to dissolving our false egos. He is standing still, immovable, but conscious and alive, he realizes that no one ever thinks, moves or acts of himself, but simply expresses the thought, motion and action of the Universal Self.


Kiryat Arba or Qiryat Arba (Hebrew: קִרְיַת־אַרְבַּע‎), lit. "Town of the Four," is an urban Israeli settlement on the outskirts of Hebron, in the Judean Mountains region of the West Bank. Founded in 1968, in 2016 it had a population of 7,272.


Kiryat Arba is mentioned in the Hebrew Bible (Genesis 23) as the place where Abraham buried Sarah. The Book of Joshua chapter 14 verse 15 says (Darby Bible): "Now the name of Hebron before was Kirjath-Arba; the great man among the Anakim..."[4] There are various explanations for the name, not mutually exclusive. According to the Biblical commentator Rashi, Kiryat Arba ("Town of Arba") means either the town (kirya) of Arba, the giant who had three sons, or the town of the four giants: Anak (the son of Arba) and his three sons – Ahiman, Sheshai and Talmai – who are described as being the sons of a "giant" in Numbers 13:22: "On the way through the Negev, they (Joshua and Caleb) came to Hebron where [they saw] Ahiman, Sheshai and Talmi, descendants of the Giant (ha-anak)..."[5] Some say that Anak ("Giant", see Anak) is a proper name (Targum Jonathan and the Septuagint),[6] and that he, Anak, may have been the father of the three others mentioned in the Book of Numbers as living in Hebron, previously known as "Kiryat Arba."


Alternatively, the name may refer to the four couples buried in the Machpela Cave: Abraham and Sarah, Isaac and Rebecca, Jacob and Leah, and according to the Zohar, Adam and Eve.[7]


Israeli settlers living at Kiryat Arba have been subjected to multiple attacks by Palestinians. Between 1981 and 1986, four people from Kiryat Arba were shot and wounded in the Hebron marketplace. In 1994, a 17-year-old girl from Kiryat Arba was shot and killed in a drive-by shooting.[11] In March 2003, a man was shot in his home.[12] Two months later, a married couple was killed in their home.[12] On November 26, 2009, a Palestinian stabbed and wounded two Israelis at a Kiryat Arba gas station. The Palestinian was then shot dead by an Israeli soldier.[13] On August 31, 2010, four residents, including a pregnant woman, were shot to death in their car by Hamas militants outside Kiryat Arba


1 In the third year of the reign of Jehoiakim king of Judah, Nebuchadnezzar king of Babylon came to Jerusalem and besieged it. 2 And the Lord delivered Jehoiakim king of Judah into his hand, along with some of the articles from the temple of God. These he carried off to the temple of his god in Babylonia[a] and put in the treasure house of his god.


3 Then the king ordered Ashpenaz, chief of his court officials, to bring into the king’s service some of the Israelites from the royal family and the nobility— 4 young men without any physical defect, handsome, showing aptitude for every kind of learning, well informed, quick to understand, and qualified to serve in the king’s palace. He was to teach them the language and literature of the Babylonians.[b] 5 The king assigned them a daily amount of food and wine from the king’s table. They were to be trained for three years, and after that they were to enter the king’s service.


6 Among those who were chosen were some from Judah: Daniel, Hananiah, Mishael and Azariah. 7 The chief official gave them new names: to Daniel, the name Belteshazzar; to Hananiah, Shadrach; to Mishael, Meshach; and to Azariah, Abednego.


8 But Daniel resolved not to defile himself with the royal food and wine, and he asked the chief official for permission not to defile himself this way. 9 Now God had caused the official to show favor and compassion to Daniel, 10 but the official told Daniel, “I am afraid of my lord the king, who has assigned your[c] food and drink. Why should he see you looking worse than the other young men your age? The king would then have my head because of you.”


11 Daniel then said to the guard whom the chief official had appointed over Daniel, Hananiah, Mishael and Azariah, 12 “Please test your servants for ten days: Give us nothing but vegetables to eat and water to drink. 13 Then compare our appearance with that of the young men who eat the royal food, and treat your servants in accordance with what you see.” 14 So he agreed to this and tested them for ten days.


15 At the end of the ten days they looked healthier and better nourished than any of the young men who ate the royal food. 16 So the guard took away their choice food and the wine they were to drink and gave them vegetables instead.


17 To these four young men God gave knowledge and understanding of all kinds of literature and learning. And Daniel could understand visions and dreams of all kinds.


18 At the end of the time set by the king to bring them into his service, the chief official presented them to Nebuchadnezzar. 19 The king talked with them, and he found none equal to Daniel, Hananiah, Mishael and Azariah; so they entered the king’s service. 20 In every matter of wisdom and understanding about which the king questioned them, he found them ten times better than all the magicians and enchanters in his whole kingdom.


21 And Daniel remained there until the first year of King Cyrus.


The biblical story of three Jewish lads—Hananiah, Mishael and Azariah—and their friend, Daniel, begins with the four of them being taken captive from their homes in Jerusalem in 605 B.C. during a siege by King Nebuchadnezzar of Babylon. All four were intelligent, good-looking young men at the time of their capture, and they were likely of the royal family or nobility of Judah (Daniel 1:3-4).


Three-year training program

Unlike most victorious kings, who typically only allowed people of their own ethnicity to rule while enslaving all subjugated peoples, King Nebuchadnezzar determined to train for governmental service those with the best minds among the people within his kingdom, regardless of their race. On this basis, Daniel and his three friends were selected by Ashpenaz, the chief court official, for a three-year program in which they would be taught the language and literature of the Babylonians.


One of the first things that happened to these four young men was the changing of their names (verse 7). As Matthew Henry notes in his commentary, “Their Hebrew names, which they received at their circumcision, had something of God, or Jah, in them: Daniel—God is my Judge; Hananiah—The grace of the Lord; Mishael—He that is the strong God; Azariah—The Lord is a help. To make them forget the God of their fathers, the guide of their youth, they give them names that savour of the Chaldean idolatry. Belteshazzar signifies the keeper of the hidden treasures of Bel; Shadrach—The inspiration of the sun, which the Chaldeans worshipped; Meshach—Of the goddess Shach, under which name Venus was worshipped; Abed-nego, The servant of the shining fire, which they worshipped also” (comments on Daniel 1:1-7).