Dry or dryness denotes a lack of water. It may also refer to:
Landry Delica better known by his stage name Dry (born 19 November 1977) is a French rapper of Congolese origin. He is also known by the aliases "L'Amiral" and "L'Intransférable".
Landry Delica grew up in Sevran in Seine-Saint-Denis, outside of Paris, where he was friends with the rapper Nessbeal before moving in 1991 to Orly in the Val-de-Marne.
In addition to his solo work, Dry is a member of French rap group Intouchable alongside band member Demon One (real name Hakim Sid). He is also part of the French rap collective Mafia K-1 Fry (sometimes stylized as Mafia K'1 Fry) alongside the other Intouchable member Demon One. Intouchable, Dry and Demon One had a lot of collaborations with other members of the collective.
As member of Mafia K-1 Fry, Dry took part in albums by rappers Ideal J, Rohff and 113 before releasing with Intouchable the 2000 album Les points sur les I. In 2004, he took part in the third album Rohff La fierté des nôtres and in the compilation Street Lourd Hall Stars with "La hass" featuring Kamelancien, de Bicêtre -94-, and Rohff. In 2005, Intouchable released their second album La vie de rêve with a joint title "La gagne" featuring Tonton David. Dry has also been featured on a number of Sexion d'Assaut rap band.
Dry is a Cantopop music duo that formed between 1997 and 1998 with Mark Lui (Chinese: 雷頌德) and Stephen Fung (Chinese: 馮德倫) as bandmates. The group was formed when Mark decided to create a band with himself and another person. After meeting Stephen through friends introductions, they agreed to start a music duo with Universal Music. A year after they formed, they decided to part ways to pursue different career paths. Mark continued as songwriter to many cantopop artists such as Leon Lai and Miriam Yeung. While Stephen started his career in acting and later shift toward to directing and producing Hong Kong films such as Enter the Phoenix.
Even the group only lasted about a year, they have produced 3 studio albums and one compilation album.
In electrical engineering, ground or earth is the reference point in an electrical circuit from which voltages are measured, a common return path for electric current, or a direct physical connection to the Earth.
In electrical power distribution systems, a protective ground conductor is an essential part of the safety Earthing system.
Electrical circuits may be connected to ground (earth) for several reasons. In mains powered equipment, exposed metal parts are connected to ground to prevent user contact with dangerous voltage if electrical insulation fails. Connections to ground limit the build-up of static electricity when handling flammable products or electrostatic-sensitive devices. In some telegraph and power transmission circuits, the earth itself can be used as one conductor of the circuit, saving the cost of installing a separate return conductor (see single-wire earth return).
For measurement purposes, the Earth serves as a (reasonably) constant potential reference against which other potentials can be measured. An electrical ground system should have an appropriate current-carrying capability to serve as an adequate zero-voltage reference level. In electronic circuit theory, a "ground" is usually idealized as an infinite source or sink for charge, which can absorb an unlimited amount of current without changing its potential. Where a real ground connection has a significant resistance, the approximation of zero potential is no longer valid. Stray voltages or earth potential rise effects will occur, which may create noise in signals or if large enough will produce an electric shock hazard.
A ground is a unit of area used in India approximately equal to 203 square metres (2,185 ft²). After metrication in the mid-20th century, the unit is being phased out. However, it is still popular in Real Estate parlance.
One ground is commonly taken as 2400 square feet and approximately one half ground is used as a small and standard lot to construct a small individual house in small towns in India. In olden times houses used to adjoin and have common walls. In modern constructions one sees this in the construction of condominiums or so-called flats only. It is still in vogue in villages for economic reasons.
"Ground". Sizes, grades, units, scales, calendars, chronologies. Retrieved 2007-01-20. External link in |work=
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In Dzogchen Ground (Tibetan: གཞི, Wylie: gzhi ; IAST: āśraya or sthāna) is the primordial state. It is an essential component of the Dzogchen tradition for both the Bonpo and the Nyingmapa. Knowledge of this Ground is called rigpa.
The Tibetan: གཞི, Wylie: gzhi has been rendered as 'Base', 'Basis', 'Ground' and 'Ground of Being' amongst other English glosses. According to Dudjom the original Sanskrit-term is āśraya (IAST; Sanskrit Devanagari: आश्रय; Etymology: आ- √श्रि), but it could also be sthāna.
Sam van Schaik states that gzhi is to be distinguished from kun gzhi. In the Seminal Heart series a distinction is made between kun gzhi, c.q. ālaya, "the base of it all", the samsaric basis of consciousness, of all the samsaric appearances; and gzhi, "the nirvanic basis known as the ground."
According to the Dzogchen-teachings, the Ground or Buddha-nature has three qualities:
Selah (/ˈsiːlə/; Hebrew: סֶלָה, also transliterated as selāh) is a word used seventy-four times in the Hebrew Bible—seventy-one times in the Psalms and three times in Habakkuk. The meaning of the word is not known, though various interpretations are given below. (It should not be confused with the Hebrew word sela‘ (Hebrew: סֶלַע) which means "rock".) It is probably either a liturgico-musical mark or an instruction on the reading of the text, something like "stop and listen." Selah can also be used to indicate that there is to be a musical interlude at that point in the Psalm. The Amplified Bible translates selah as "pause, and think of that." It can also be interpreted as a form of underlining in preparation for the next paragraph.
At least some of the Psalms were sung accompanied by musical instruments and there are references to this in many chapters. Thirty-one of the thirty-nine psalms with the caption "To the choir-master" include the word selah. Selah may indicate a break in the song whose purpose is similar to that of Amen (Hebrew: "so be it") in that it stresses the truth and importance of the preceding passage; this interpretation is consistent with the meaning of the Semitic root ṣ-l-ḥ also reflected in Arabic cognate salih (variously "valid" [in the logical sense of "truth-preserving"], "honest," and "righteous"). Alternatively, selah may mean "forever," as it does in some places in the liturgy (notably the second to last blessing of the Amidah). Another interpretation claims that selah comes from the primary Hebrew root word salah (סָלָה) which means "to hang," and by implication to measure (weigh).