Instruct: Given a question, retrieve passages that can help answer the question.
Query: Where were the Moors from?
The term "Moors" refers primarily to the Muslim inhabitants of the Maghreb, the Iberian Peninsula, Sicily, Sardinia, Corsica, and Malta during the Middle Ages. The Moors initially were the indigenous Maghrebine Berbers.[1] The name was later also applied to Arabs.[2][3]
Moore's father, Earle K. Moore, was a communications and civil rights lawyer in Manhattan, who won a landmark case establishing that broadcast stations must serve the interests of their viewers. His sister, Rebecca Moore, would become a computer scientist, environmentalist, and founder of Google Earth Outreach. Frank Moore was born in Manhattan in 1953, then moved with his family to Long Island, N.Y., first to Great Neck, and then to Roslyn, where he first attended Roslyn Junior High School. He graduated from Roslyn High School in 1971, where he had been active in student politics and served as class president. Moore's work was selected for display for years in the high school halls. They were eventually removed during a renovation and subsequently lost.
In August 1941, the War Artists' Advisory Committee commissioned Moore to record the Women's Land Army working on the harvest in Essex. Moore completed a number of paintings on the subject and was paid 15 guineas for three of them by WAAC. Kenneth Clark, the director of the National Gallery privately commissioned Moore to go, in secret, to Blaenau Ffestiniog to the disused slate mine where the paintings from the Gallery had been evacuated during the Blitz. Later in life, Moore would recall the "remarkable experience" of entering the slate mine and seeing "priceless Rembrandts, Van Dycks and Turners, etc stacked in racks". Moore spent three weeks at Blaenau Ffestiniog and Clark later gave the drawings she produced there as "thank-you" presents to the staff who had engineered the evacuation of the collection. Moore's paintings from East Anglia were included in the June 1942 exhibition of the Queen's pictures held at the National Gallery in London. Also, during the war, in 1944, Moore produced 16 colour lithographs and the cover illustration for the book "Sea Poems" by Myfanwy Piper which were well reviewed. Moore's painting "The Agony in the Garden" won the £200 first prize in a competition for religious images.
When she was five years old, Moore's family fled their home in Monrovia to escape civil war. Along with her father and sisters, Moore wandered for weeks in the forest, eventually finding shelter in her maternal grandmother's rural village. To protect the children from the horrors of the war, Moore's father and grandmother created a magical narrative for them in which gunshots were "dragons fighting" and dead bodies were "people sleeping on the road." At the time, Moore's mother Mamawa was studying at Columbia University on a Fulbright scholarship, and had no news of her family's fate. Mamawa flew to Sierra Leone, where she eventually found a female fighter who was able to locate the rest of the family and bring them across the border. Subsequently, the Moore family moved to Houston, Texas. There, Moore read and wrote prolifically, which she credits with helping her overcome the trauma she experienced during the war.
In 1905, Robert S. Moore, his brother Joseph A. Moore, and John Thomas Scott purchased the National Iron Works located in the Hunter's Point section of San Francisco, and founded a new company, the Moore & Scott Iron Works Moore had previously been vice president of the Risdon Iron Works. Scott was a nephew of Henry T. Scott and Irving M. Scott, owners of the nearby Union Iron Works, where John had risen from apprentice to superintendent. Their new business was soon destroyed by fire resulting from the San Francisco earthquake. They quickly recovered and were back in business before the end of 1906.
John Moore is descended from the Ancient Family of de la Moor/Moore of Moorhayes in the parish of Cullompton in Devonshire, where they resided from at least 1120 AD.
No.9r was then sent to the RNAS airship station at Howden in the East Riding of Yorkshire where it spent most of the time being used for experimental mooring and handling tests. From 17 October 1917 to June 1918 it was stationed at RNAS Pulham in Norfolk where it was finally dismantled due to demand for shed space to allow construction of newer airships, having spent 198 hours and 16 minutes in the air, of which some 33 hours were at a mooring mast. Although unable to compete against contemporary Zeppelins, No.9r provided valuable experience of handling a rigid airship and the use of mooring masts, which would evolve into a unique method of mooring airships.
In Portugal, mouro (feminine, moura) may refer to supernatural beings known as enchanted moura, where "moor" implies 'alien' and 'non-Christian'. These beings were siren-like fairies with golden or reddish hair and a fair face. They were believed to have magical properties.[25] From this root, the name moor is applied to unbaptized children, meaning not Christian.[26][27] In Basque, mairu means moor and also refers to a mythical people.[28]
Until the mid-twentieth century, all peat was cut by hand. Although the effects of the industry on the ecology of the moors were serious, hand cutting mainly affected the surface of the moors. It left behind trenches and ditches, which soon became waterlogged, and were re-colonised to become part of the diverse habitat. Once the cutting process was mechanised, peat could be cut from a greater depth, and at a faster rate, resulting in less ability for the moors to recover. Mechanical peat cutting was introduced to the moors in the early 1960s, and the process was similar to hand cutting, in that the peat was extracted over a small area but to a considerable depth. More destructive to the ultimate regeneration of the moors was the introduction of peat milling in 1985, where a thin layer of peat was stripped from a wider area. Thus in 1910, around 56 tonnes per acre were extracted from of the moors, whereas in 1985 the yield was 10 tonnes per acre over double that area. As early as the late 1960s, academics and conservation agencies expressed concerns that the moors had been so badly damaged by peat extraction and farming that they were not worth saving.
At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching post. During the war, Moore produced powerful drawings of Londoners sleeping in the London Underground while sheltering from the Blitz. Kenneth Clark, the chairman of the War Artists' Advisory Committee (WAAC), had previously tried to recruit Moore as a full-time salaried war artist and now agreed to purchase some of the shelter drawings and issued contracts for further examples. The shelter drawings WAAC acquired were completed between the autumn of 1940 and the spring of 1941 and are regarded as among the finest products of the WAAC scheme. In August 1941 WAAC commissioned Moore to draw miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century. Moore drew the people in the shelters as passively waiting the all-clear while miners aggressively worked the coal-faces. These drawings helped to boost Moore's international reputation, particularly in America where examples were included in the WAAC "Britain at War" exhibition which toured North America throughout the war.
Where practicable, areas of the moor were used for pasture by herdsmen from the parishes surrounding the moor. Granite boulders were also taken from the moor and used for stone posts and to a certain extent for building (such material is known as moorstone). Granite quarrying only became reasonably productive when gunpowder became available.
After the war Moore spent some years in Europe. He eventually returned to Melbourne, where he taught painting at Swinburne Technical College from . Moore also painted images from his Belsen sketches and photographs. They were exhibited commercially, but failed to sell. The Australian War Memorial initially rejected the material because it did not depict Australian soldiers; however it accepted them in 1969 when they were donated by Moore. In 201314 the Belsen images formed the basis of a year-long exhibition at the Australian War Memorial in Canberra, which Moore himself visited at the invitation of the Memorial.
Moore's Dublin Edition of "Encyclopædia Britannica" was an Irish printing of "Encyclopædia Britannica" Third Edition, printed by James Moore of College Green, Dublin. The title pages are dated the year they were printed, in volume order from 1788 to 1797, as opposed to those of "Britannica", which were all dated 1797. This leads to the curious situation where the pirated version of a work has an earlier date than the original.
As with other neighbouring moorlands, Harden Moor was used for military training during the Second World War. Empty shell casings and tail fins from mortar rounds have been found scattered across these moors. On the St Ives Estate is an old hut where the Home Guard used to meet up and were called out to search for enemy parachutists dropping down onto Harden Moor (though there is no documentary evidence that anyone did actually parachute onto Harden Moor). In 1945, four Keighley teenagers were walking across the moor when one of them found a mortar and without realising it was live, threw the mortar against a wall. An explosion followed and all suffered injuries (three of them seriously) and they were taken to Bradford Royal Infirmary for treatment. A further three explosions of unattended ordnance followed during the summer of 1945, and one of which resulted in the death of 13 year old Frank Charles Smith (of Keighley). This prompted Bingley Urban District Council, who owned the moor at the time, to initiate a burn policy across parts of the moor to allow mine detectors to be used in the search for unexploded ordnance.
Moore took his Ph.D. at Harvard University's Department of Sociology
in 1940. Moore along with Kingsley Davis, Robert Merton and John Riley were part of Talcott Parsons first group of PhD students. Moore is perhaps best known for "Some Principles of Stratification" (written with Davis). Moore and Davis wrote this paper while at Princeton University where he remained until mid-1960s. This was followed by a period at the Russell Sage Foundation before moving to the University of Denver where he stayed until his retirement.
Christine Moore Howell (March 19, 1899 – December 13, 1972) was a hair care product businesswoman who founded Christine Cosmetics where she formulated her own line of cosmetics and hair care products. She was the head of the New Jersey Board of Beauty Culture Control. She was the first African-American to graduate from Princeton High School.
She was born on March 19, 1899 as Christine Moore in Princeton, New Jersey to William Moore, Sr. (1863-1920) and Adelaide Williams, both from Hillsboro, North Carolina. Her siblings were Bessie Moore, Arthur C. Moore, and William Moore, Jr. Her father migrated from Hillsboro, North Carolina to Princeton, New Jersey where he opened a shop buying and selling used clothes and furniture to the university students. She attended Princeton High School, where she was the first African-American to graduate.
In 1935, there were of tracks on Thorne Moors, with 150 peat wagons and 18 flat wagons. There was an additional of temporary track. 50 peat wagons and six flat wagons ran on of permanent track on Hatfield Moors, where there were of temporary track. By 1989, there were about of permanent track on Hatfield Moors, and double that on Thorne Moors. Following the arrival of the Dutch workers in the 1890s, the community continued to expand with the arrival of workers from the Netherlands until about 1912, but most had returned to their country of origin by 1914. In the 1930s, the British Moss Litter Company employed around 160 people, and haulage was achieved by twelve horses. During the Second World War, the Ministry of Supply ran the works, and the workforce dropped to 138, although there were still twelve horses. After the war, several of the men were assisted by their wives, who helped with the stacking of the peat, but did not get paid for their labour. Numbers had dropped to 118 by the 1960s, although a number of unpaid wives were still working on the moors. With the increasing sales of peat for gardeners, the workforce increased to 185 by the mid-1970s, swelled by up to 90 contract workers during busy periods. The total annual output of dried peat at this time was around 45,000 tonnes, produced from 400,000 tonnes of wet peat, all of it going to the horticultural industry. Swinefleet Works stopped production in July 2000, and was fully decommissioned by September. Subsequently, peat from Thorne Moors was transferred to Hatfield for processing.
In 1922, Moore married Dr Robert Cecil Robertson and she gave birth to their daughter, Ailsa, the following year. In 1925, the family moved to Shanghai, China, where Robertson was appointed with the Shanghai Municipal Council. Moore continued to paint in Shanghai, where she was inspired by the street scenes and by the Yangtze River Delta. Moore and her daughter were evacuated from Shanghai to Hong Kong during the Sino-Japanese War in 1937, and returned to Scotland soon after, though she had stopped painting. Her husband, Dr Robertson, remained in Hong Kong until his death in 1942.
On 21 August 1916 when the eyes of the world were concentrated on the titanic struggle in The Somme, there occurred at Low Moor, Bradford one of the most awful industrial disasters ever, in this country. This took place at the premises of the Low Moor Munitions Company, formerly the Low Moor Chemical Company, situated at the bottom of New Works Road, where picric acid, used in the making of high explosives, was being manufactured in large quantities. Efforts were made by the works fire brigade to bring a fire under control, but to no avail. The first of the Bradford firemen to arrive came from Odsal station and were later joined by 18 men from Central. A tremendous explosion occurred which blew them completely off the engine and, in the words of Chief Officer Scott:
Before the 1911 Ceylon Census Moors in Sri Lanka were counted as one. From the census onwards they were divided into Indian Moors and Sri Lankan Moors. Indian Moors were brought to Sri Lanka for the same reasons as the Indian Tamils, as labourers to the plantations. In 1971 Indian Moors numbered 29,416 declining from 55,400 in 1963. Their decline was partly due to returning to India and some declaring themselves and being enumerated as Sri Lankan Moors. Indian Moors were mostly found in the Colombo and Kandy Districts.
During the next nine days or so the clashes and assaults spread through the Central, North Western, Western, Southern and Sabaragamuwa Provinces; and at one point, on the 2nd June, were reported to be occurring simultaneously at 116 centres. Large crowds were involved in the attacks on the Moors; mobs of over a thousand were reported at Matale, Wattegama, Kadugannawa, Gampola, Rambukkana, Panadura, Godapitiya and Akuressa. Areas where large populations of Moors saw fighting with Moors attacking Sinhalese and elsewhere Sinhalese mobs attacked Moors with Tamils joining in. The police and military came down hard on the riots with many Sinhalese shot and arrested. As they cleared towns of riots, the riots spread to villages where the Punjabis who were also Muslims came down hard on the villages.
The feud was handed down from generation to generation. In 1526, Nuthurst bailiffs chased the Chadderton livestock off the moors. Retaliation from Chadderton soon followed with 200 armed farmers and labourers descending across Theale Moor where they were met by the Nuthurst men and bailiffs. A miniature battle ensued and the quarrel became more violent as time went on. The feud was only finally resolved at the end of the sixteenth century when boundary stakes were set up on the common moors.
From a junction with the Whitehaven and Furness Junction Railway (absorbed into the Furness railway in 1866) at Mirehouse Junction, one mile south of Whitehaven (Corkickle) the line climbed steeply to Moor Row where the company had its engine shed and works. Just beyond Moor Row was a junction, from which one arm of the system headed north and east through Cleator Moor to Frizington. This arm originally terminated at the Parkside mines in Frizington, but as a result of subsequent extensions it eventually ran to a junction with the LNWR's Cockermouth-Workington line at Marron Junction. Stations on this arm were Cleator Moor - Frizington - Eskett (later Yeathouse) - Winder - Rowrah - Wright Green (later Lamplugh) - Ullock - Branthwaite - Bridgefoot - Marron Junction. 
From Moor Row junction, the other arm ran south to Egremont, with an intermediate station at Woodend. The southern arm was later extended (by the Cleator and Furness Railway - jointly owned by the WC&ER and the Furness Railway) via Beckermet where there was an intermediate station to a junction with the Furness's Whitehaven-Barrow line at Sellafield 
There was no north-south curve at the Moor Row junction. Various deviations from the original line were found necessary because of mining subsidence: most notably a new route through Cleator Moor (and a
new Cleator Moor station) had to be built, although the old alignment was retained as the Crossfield branch (and the old station used as a goods station). 
The purpose of the WC&ER was to serve the mines that sprang up on the ore-field (and later the iron- and steel-works of the area), and therefore there was an extensive system of mineral railway branches running to mines and works (the Bigrigg, Beckermet, Eskett, Ehen Valley, Gillfoot, Mowbray, Pallaflat, and Ullcoats Branches). The Gilgarran Branch ran from a north-facing junction just north of Ullock to a colliery at Gilgarran, but was then extended via Distington, where it served an ironworks, to a south-facing junction with the main LNWR line along the coast at Parton.
Moore began to travel with a handful of his students to several tournaments as far away as Canada. He later ventured out opening karate schools throughout the Cincinnati area and began traveling the Midwest and East coast. Being successful in competition, he meets the father of American Karate Robert A. Trias. Robert Trias with his skills and ability took Moore under his wings. He continued to train with Trias at various tournaments and seminars, learning the Kenpo and Goju-Ryu styles of Karate, Moore traveled many times to the USKA headquarters in Phoenix, Arizona where he had received rank up through his Masters level while in the USKA. Trias taught many style, but his main style was Shuri-Ryu. While Moore spent time in the USKA, Maung Gyi took him under his wings, taking him as a personal student. Gyi taught him Bando, stick fighting, and all the various weapons too numerous to name. Gyi was also Moore’s kickboxing instructor, teaching Moore all the moves of thai boxing. Later, Vic Moore and Joe Lewis introduced kick boxing to America on the Merv Griffin TV show in 1973. Moore and Joe Lewis were the first to introduce kickboxing on national TV and were some of the first professional kickboxers in the United States. Jim Harrison defeated Moore in the first kickboxing tournament in the United States. Vic Moore gives seminar's all over the USA and lives in Lumberton, NC where he teaches privately from his home.Moore has fought some of the top fighters in the world and also competed against Michael G. Foster (Miami 1965), Mike Stone, Jim 'Ronin' Harrison, Fred Wren, Chuck Norris, and Joe Lewis.Moore placed in every tournament he competed in from 1965 to 1975 when he retired from competition.
In 2017, Moore created "Hotties of MTV's Next," where she posted her collection of profiles from MTV's Next. The page was praised by news outlets such as "The A.V. Club" who called it "a time machine that highlights an undocumented era when collars were popped, tips were frosted, and farting was its own kind of cultural currency." Cosmopolitan called the page "perfect" and called Moore a "genius." Moore also appeared on @midnight with a segment based around the account which Chris Hardwick called "amazing." 